FADE IN: 1 EXT. STREET - BAR - NIGHT A lone WOMAN steps out of the bar. The neighborhood isn't too good. She's obviously a little drunk. Her features are hidden by her scarf and the darkness. She starts to walk down the street. A black van turns the corner behind her and slows as it approaches, cruising along behind for several moments as though the occupants are checking her out. The van stops. A man gets out behind her. His name is CHARLES LEE RAY. He's late thirties, cadaverous with deep sunken, mad eyes. He falls into step behind the woman. The van speeds up and passes her, turning the corner. The woman becomes aware that she is being followed. She picks up her pace. Grinning, Ray picks up his. He enjoys this. She passes aan alley. He suddenly leaps forward, grabbing her and dragging her into it. 2 I NT. ALLEY - NIGHT He whips out a knife, holding it up to her throat, grinning at her. He has a speech defect that causes him to hiss like a snake, spit flecking the corners of his mouth. RAY Okay, bitch, show me what you look like. The woman suddenly rips away her scarf revealing the hardened features of a man in his mia-thirties, MIKE NCRRIS, New York City cop. He grins back at Ray. MIKE What do you think? Am I pretty enough for you? Before the killer can react, Mike knees him. Ray drops to the ground, holding his nuts and groaning. Mike strips off the dress, shucking the high heels as he reaches into his purse for a pair of sneakers. He sighs in pleasure as he slips them on. MIKE (Cont.) God, that feels good — Ray suddenly erupts to life, rising and slamming a garbage can into Mike. The cop goes down as the killer tears out of the alley. ChildsPlay 10/20/87 2 3 I NT, STREET - NIGHT Ray races down the street and around the corner. Mike is right behind him, yelling into the Police Wire he wears. MIKE I*ve got him. Corner of Thirty-First and Third* 4 I NT., COP CAR - NIGHT JACK SANTOS, late twenties, Mike's partner, a New York City Italian, starts the car as he hears the words coming over the receiver on the seat. 5 EXT. THAT STREET - NIGIT The cop car squeals away from the curb and tears down the street. 6 EXT. ANOTHER STREET - NIGHT Mike races around the corner after Ray, pulling out his gun and yelling at the escaping felon. MIKE Stop! Ray. whirls on the run and snaps off a shot at him. Mike fires back, the bullet catching Pay in the leg. The killer goes down, scrambling back to his feet as Mike races down the street after him. Ray screams at the black van up ahead idling at the curb RAY Eddie, help me! 7 INT. BLACK VAN - NIGHT EDDIE CAPUTO, thirty, a smaller washed out version of Ray, sticks his head out the window, glancing back at his partner. Ray is limping madly down the street, Mike racing up behind him. 8 EXT. STREET - NIGHT Jack screeches around the corner in his police car, roaring down the street toward the black van, his bubble machine going, the siren wailing. 9 INT. BLACK VAN - NIGHT Eddie sees the cop car coming and forgets about his partner, laying rubber to get out of there. 10 EXT. STREET - NIGHT Ray picks up his pace, running after the black van as it squeals away from the curb and tears down the street. (CONTINUED) ChildsPlay 10/20/87 3. 10 CONTINUED: FAY Eddie, don't leave me! But it's useless. The van has already disappeared around the corner, the cop car in hot pursuit. Ray looks back at the cop behind him. Mike is gaining fast. He fires a shot at him, forcing him to take cover behind a parked car. Ray ducks into a doorway. Mike looks up from behind the car, yelling to the killer. MIKE Give it up, Ray. It's all over I In the doorway Ray ignores him, shooting the lock off the door and pushing his way inside. Mike leaps up from behind the car, diving after him. 11 IUT. PLAY LAND TOY STORE - NIGHT Ray limps down an aisle, Mike bursting through the door behind him. Ray turns and fires. Mike fires back, the bullet catching the killer squarely in the chest, a mortal wound. Ray spins, somehow manages to keep his balance, and staggers down another aisle. Mike goes after him, skidding to a halt to find himself at an intersection of four aisles, all equally empty. Ray has eluded him. He begins to stalk him through the silent aisles, gun ready, toys staring down at him from everywhere. Ray staggers down another aisle, holding his chest, monbling to himself in growing desperation. RAY Got to find someone, got to find someone — He stops, staring down at the spreading blood stain across his chest in horrified disbelief. FAY (cont.) He killed me. He lifts his head, screaming into the darkness of the store. RAY (Cont.) You hear me, you asshole. You killed me. But I'm going to get you for it! Mike stops in his aisle, whirling about, trying to figure out where the voice is coming fran. (CONTINUED) ChildsPlay 10/20/87 4 11 CONTINUED: RAY (Cont.) (o.s.) I'm going to get you and Eddie no matter what! The voice dies off into silence. Trying to ignore what he’s just heard, trying to repress the shiver running up his spine, Mike starts down the aisle again. Ray staggers down another aisle, stumbling and falling. He pulls down a rack on top of him. He finds himself surrounded by dolls. "Play Pal Dolls, A Boy’s Best Friend.” the boxes read. Happy plastic freckled faces grin out at the killer from under cellophane coverings. Ray slowly grins back. He fumbles one of the boxes open, clamping his sweatey palm to the forehead of the doll, raising his voice in a ritualistic chant. RAY (Cont.) Oh, Damballa, Sateria, Shango, Macumba — In another aisle, Mike pauses and listens, the chant building in power . 0 RAY (Cont.) (o.s.) Give me your power so I can avenge myself on my enemies. Mike grips his gun tighter and moves down the aisle, searching for the source of the chant while Ray lies on the floor in his aisle, his life blood slowly seeping av;ay, his chant continuing to build. RAY (Cont.) Leveau mercier au bois chaloitte secoise entienne mais pois de morte! 12 EXT. STREET - TOY STORE - NIGHT Huge black clouds suddenly start roiling in the sky, thunder booming and lightening crackling. It seems to be centered directly above the toy store. 13 INT. TOY STORE - NIGHT Mike pauses, staring out the window. Rain is beginning to pour down, a terrible wind whipping down the street, lightening flashes turning night into day. He tries to ignore it, following the sound of that terrible chant. Ray lies in his aisle, his chant still building, his palm pressed hard against the forehead of the doll. (CONTINUED) Chi ids Pi ay 10/20/87 13 CONTINUED: RAY Morteisma lieu ae vocuier de meiu vochette — **** stops in his aisle, turning toward the windows as the thunder outside reaches a deafening crescendo, almost as though it's keeping time to the chant he is hearing. In his aisle, Ray continues his chant, screaming it out. RAY Edenlieu pour du boisette Damballai He finishes in a gurgle of blood. 14 EXT. STREET - TOY STORE - NIGHT A huge bolt of lightening snakes down from the storm clouds, striking the toy store in an explosion of electricity and light. 15 I NT. TOY STORE - NIGHT Mike throws his hands over his head and dives for the floor as the windows iT.plode, a million shards of glass flying directly toward him. A huge wind howls through the store, overturning racks and scattering toys up and down the aisles, burying Mike beneath flying debris. It's as though a storm from hell is suddenly inside the store. Ihen as suddenly as it came, it dies away, dropping off to nothing, the store alarm ringing, the fire sprinklers going off, and the emergency lights snapping on covering Mike in a harsh white glow. He struggles to his feet and runs down the aisle, jurping over the debris, trying to find Charles Lee Ray. He turns a corner and skids to a halt. Ray lays on the floor dead, surrounded by piles of dolls. There is something horribly disconcerting about the killer even in death. Mike stares at him, trying to figure it out. Then he realizes what it is. Ray wears a big shit eating death mask grin. CUT TO: 16 EXT. NEW YORK CITY - DAY (AND CREDITS ROLL) The City is in the grip of a gray Wintry day. All is still at this hour. The tinny sound of an early morning tv cartoon show is heard. LITTLE BILLY'S VOICE (OVER) I've got no friends. No one will p]ay with me. ChildsPlay 10/20/87 6 . 17 EXT. WEST EIGHTY- SEVENTH STREET - DAY It's a a nice, quiet street of modest rent-controlled five and six-story apartment buildings. The tv show is coming frcm a front apartment on the uppermost floor of one of the buildings. PLAY PAL'S VOICE (OVER) Hey, cheer up I LITTLE BILLY'S VOICE (OVER) Who are you? 18 INT. BARCLAY APARTMEOT - LIVING ROOM - DAY It's the top sixth floor apartment in the building, messy in a nice lived in way. A handwritten "Happy Birthday, Andy!" banner is strung across the ceiling and on the coffee table there are two gift-wrapped presents, one large, the other small. There is a fireplace in the corner and a tv against the back wall. On the tv a very poor, B quality animated Play Pal show is in progress. The Play Pal animated doll on the screen wears a rainbow colored shirt, blue overalls, and red sneekers. He also has a huge, permanent, freckled grin on his face. We have seen this doll before. It is the same doll Charles Lee Ray chanted over as he died. He stands before an animated little boy who has been crying. The Play Pal gives him his big grin. PLAY PAL I'm your Play Pal. I've came frcm the Play Pal Clubhouse. I'll be your friend to the end! LITTLE BILLY You will? ANDY BARCLAY, six-years old today, pops his head out the doorway to the kitchen, watching the tv. He's an average looking kid with unruly hair and eyes as big as saucers. He also wears worn Play Pal Pjs that have the same colors as the Play Pal's outfit. Andy's face sags in disappointment. ANDY Oh, I saw this one. He disappears back inside the kitchen as the Play Pal and Little Billy skip down the cartoon street together, the Play Pal jingle playing, child's voice singing "When you're down and feeling blue. Plat Pal will always be there for you!" 19 INT. KITCHEN - DAY Andy is dividing his attention between making breakfast and trying to watch the Play Pal show on the tube. (CONTINUED) Chi Ids Play 10/20/87 7. 19 CONTINUED: He pops some bread in the toaster and dunps brightly colored Play Play Sugar Loops cereal into a bowl, A picture of a Play Pal is on front of the box. The cereal goes spilling all over the counter. Andy places the bowl on a tray and pours milk into it, sloshing it over the sides, hardly aware of the mess he is making as he listens to the show in the other roam. ANNOUNCER (o.s.) That's right, boys and girls, always remember, your Play Pal will be your friend to the end. Now stay tuned for a very important message. Andy dives for the door to see what the announcer is talking about. Behind him the bread begins to burn in the toaster. 20 INT. LIVING ROOM - DAY As Andy sticks his head out the door, the cartoon segues into a live action commercial, a brightly painted tree-house appearing on the screen. Birds cirp loudly. A sign on the tree reads "Play Pal Clubhouse? Members Only!" Inside the tree house is a dream world for little boys. Baseball gloves, model airplanes, pirate ships, toys of all kinds abound. Sitting in the middle of this magical clubhouse is a Little Person dressed just like a Play Pal doll. Beside him sits a thirty inch tall Play Pal doll that looks just like him. PLAY PAL Hi, Play Pals. Boy, have I got Play Pal news for you. Now you can have your very own Play Pal doll. That's right, you can have all the adventures we have on tv in your very own home. He picks up the Play Pal doll. PLAY PAL (Cbnt.) Play Pals say three different sentences. We even turn our heads and blink our eyes when you talk to us. He shoves a soft spot on the back of the doll's head, turning to it with a question. PLAY PAL (Cont.) Isn't that right, friend? The doll in his hands suddenly comes alive, his eyes snapping open, his head turning to look at the live action Play Pal. (CONTINUED) ChildsPlay 10/20/87 20 CONTINUED: PLAY PAL DOLL Hi, I'm Oscar, and I love you. Andy stares at the doll, his eyes widening in wonder. ANDY Wow! Behind his head, smoke drifts through the door from the kitchen. He shells it and dives back inside the kitchen. 21 INT. KITCHEN - DAY He grabs the toaster, shaking it. The toast pops out. It’s burnt to a crisp, still smoking. It doesn't bother Andy. He slathers it with butter, the tv still going in the other room. PLAY PAL (o.s.) Every Flay Pal has a name all his own so he can be your very own special friend. So remember to tell Mom and Dad you want a Play Pal. Perfect for birthdays or just any old time! Andy's ears prick up. He hurriedly plops the toast on the tray, picks it up, and heads for the living rocm. 22 INT. LIVING ROOM - DAY Andy whips into the living room, stopping above the coffee table, looking at the big gift wrapped box sitting on it. His eyes snap from the box to the tv, the PJay Pal and the doll still on the air, the little boy mentally comparing the size of the doll on the tube to the size of the box on the table in front of him. PLAY PAL Think what fun we'll have cause you and me will be friends to the end. He and the doll both break up laughing, the commercial disappearing to be replaced by a newscaster. TV NEWS ANNOUNCER Now for the seven o'clock news break. Andy whirls, dashing for the hall v/ith the tray in his hand, calling out to his mother. ANDY Hey, mammy! ChildsPlay 10/20/87 23 I NT. HALL WAY - DAY Andy hurries down the hall the tray bouncing in his hands, the milk fran the cereal bowl sloshing over the sides onto the burnt toast and soaking it. The announcer* s voice follows him down the hall. TV NEWS ANNOUNCER (O.S.)) Charles Lee Ray, the Bayside Strangler, was shot and killed shortly before three A.M. this morning — Andy never hears it, calling out again to his mother. ANDY Hey, maimy, wake up! He disappears through the door into his mother's room. 24 I NT. KAREN'S BEDROOM - DAY He plops the tray down on the night table before a bundle of sheets in the bed. Andy leans over, hitting the clock radio. Easy listening F.M. comes on. The bundle stirs and a hand flops out, but that's all. Andy shakes it. (AND CREDITS END) AIOY Mommy, wake up. Slowly the other hand lifts the sheet and KAREN BARCLAY, Andy's mother, peers out. She's a nice looking woman around thirty. She cracks a sleep-filled eye at the clock. KAREN Andy, it's six-fifteen in the morning. ANDY It's a beautiful day outside. He pulls the curtains. Wintery sunshine spills into the rocm. Karen blinks, shielding her eyes with her hand, looking at him. KAREN I'm sure it's lovely. How long have you been up, birthday boy? He looks at her, hopping back and forth from one foot to the other, hardly able to contain his excitement. ANDY Since forever. Here, I made you breakfast in bed. (CONTINUED) ChildsPlay 10/20/87 10 CONTINUED: He pushes the tray across the bed toward her, sloshing even more milk and cereal out of the bowl. KAREN You did? Well, thank you — She looks down at the tray, her sentence trailing off. Cereal and milk swim all over it. She picks up a piece of the soggy toast. It crumples in her hand. She turns to Andy, keeping a straight face. KAREN (Cont.) That's very sweet of you. Tell you what, 1*11 eat it later. She suddenly comes to life, grabbing him, hugging him tight and tickling him. He squirms in her arm, laughing happily as she gives him a big kiss. KAREN (Cont.) Happy birthday, putpkin. ANDY Thanks. Can we open my presents now, morrmy, can we, can we? Sne smiles, letting him go as she sits up, putting the tray on the bed stand and searching for her slippers. KAREN Sure, just let me find my slippers ANDY Whoopee ! He's gone before she even has a chance to slip the first one on. I NT. LIVING ROOM- - DAY He races into the room, skidding to a halt before the biggest present, staring down at it, his mouth almost watering. Karen enters a moment later, tying her robe. ANDY Can I open this first, can I, can I? The tv is still going with the newscaster talking away. NEWSCASTER Eddie Caputo, Ray's accomplice, was captured by the police six blocks from — (CONTINUED) ChildsPlay 10/20/87 11 25 CONTINUED: She turns the sound completely off, leaving the newscaster to mouth the words silently on the screen. She doesn't give the tv a glance as she turns to Andy. KAREN Don't you want to start with the smaller present first? He looks up at her, shaking his head emphatically. She can't help but smile. KAREN (Cont.) Okay, go ahead and open it. He tears into it with a vengence, his face filled with expectation. It suddenly falls as he pulls back the top and finds himself staring at three pairs of sturdy blue jeans. Karen doesn't notice at first. KAREN (Cont.) I couldn't find another box to put them in, but they should fit you She pulls a pair out, holding them up to his waist, measuring the inseam with her eye. That's when she notices his face. KAREN (Cont.) What's wrong, Andy? He turns away, trying to hide his real feelings. ANDY Nothing. They're great. KAREN (smiling) Ah, you wanted toys, didn't you? Not boring old clothes, right? He turns back to her, his face lighting up with renewed hope. KAREN (Cont.) Well, here, open this. She hands him the smaller package. He looks at it skeptically. No way a Play Pal doll would ever fit in this. He tears it open anyway. Inside is a Play Pal lunchbox with the doll's smiling face grinning up at him. Karen looks at him expectently. KAREN Well, what do you think? (CONTINUED) ChildsPlay 10/20/87 12 CONTINUED; (2) Andy turns to her, trying to anile, but not quite making it. He can't really hide his true feelings frcm her. ANDY It's really neat, mammy. Thanks. He gives her a hug and a kiss. When he pulls back, she's studying his face. KAREN Neat? Is that all it is? Just neat? ANDY No. It's super duper neat. KAREN That's better. She returns his kiss only to see his little face has turned grave. KAREN (Cont.) What's wrong, Andy? ANDY (studying his shoes) No thing. KAREN Came on, tell me. ANDY This is my first birthday without him, isn't it? That freezes her. She stops, looking at him. Than she nods sadly. KAREN Yes, it- is. ANDY Why can't he be here? KAREN (gently) I told you, he's up in heaven. ANDY I don't want daddy up in heaven. I want him here! He suddenly whirls, running out of the room and down the hallway. She rises, hurrying after him. Chi Id sPlay 10/20/87 13 INT. ANDY’S ROOM - DAY He races into his roan and throws himself on his bed, burying his face in his pillow. Karen enters a moment later, sitting on the bed and stroking his head. KAREN I'm sorry, sweetheart. I miss him, too. Andy looks up fran underneath his pillow toward a framed picture on his bureau. Karen's gaze follows his. The picture is of Andy, Karen, and Andy's father, BOB, all three smiling at the camera and waving, obviously very happy together. He was a pleasant looking sandy-haired man. Karen suddenly canes alive, trying to break the mood. KAREN Tell you what, Andy. How would you like a Play Pal for Christmas? He turns to her, brightening. ANDY I'd love it. KAREN Then that's what you'll have. Your very own Play Pal for Christmas. I pr anise. ANDY Oh, thanks, mairny! He gives her a great big kiss, suddenly pulling back, looking at her gravely. ANDY How long away is Christmas? Karen grins in spite of herself, giving him a great big hug. KAREN It'll be here before you know it, Andy. It'll be here before you know it. DISSOLVE TO: EXT. NEW YORK - DAY It's midday, the City jammed with tourists and workers, everybody hurriedly going about their business. ChildsPlay 10/20/87 14 28 I NT. DEPARTMENT STORE - KITCHEN WARE SECTION - DAY Karen is busily checking stock as her best friend, MAGGIE PETERSON, russhes up to her. Maggie is a bit older, mid-thirties, with a raspy voice and a sharp sense of humor. MAGGIE Karen, you know that doll you wanted for Andy, the one that cost over a hundred bucks? KAREN A Play Pal? MAGGIE Yeah, whatever you call it. There's a peddler in the alley behind the store selling stuff and I think he's got one. KAREN What would a peddler be doing with a doll? MAGGIE Who cares? Grab your purse and come on. We can get a deal on it. KAREN But I can't leave the cash register MAGGIE Do you want the damn thing for Andy or don't you? KAREN Of course, I do — MAGGIE Then came on — She grabs her arm, dragging her toward the service stairs leaving Karen just enough time to to grab her purse and shout to a fellow worker . KAREN Dave, would you take over for me for a few minutes? The too well dressed clerk nods as Karen and Maggie disappear down the service stairs. ChildsPlay 10/20/37 15 29 EXT. ALLEY IN BACK OF THE DEPARTMENT STORE ~ DAY The two women emerge from the back service entrance into the alley and stop before a PEDDLER just as a couple of other female employees turn away, costume jewelry in their hands. The Peddler is of indeterminate age, toothless with the ruined face of a dedicated alcoholic. He has a duffle bag full of stuff thrown over his shoulder. Maggie looks at him. MAGGIE Go ahead, show her. He pulls out a Play Pal doll. It grins up at her from its cellophane covered box, its freckled face and buttony blue eyes just dripping good cheer. Although Karen doesn't know it yet, this is CHDCKY. The box is crinkled and out of shape, stained with water damgage. Maggie turns to Karen. MAGGIE (Cont.) Well, is it a Play Pal or not? KAREN (nodding) Yes. Yes, it is. MAGGIE See, I told you. (back to the Peddler) How much? The Peddler measures Karen's excited face with a mixture of shrewdness and greed. PEDDLER Thirty dollars. MAGGIE (snapping right back) Ten and not a penny more. PEDDLER Twenty. MAGGIE Are you kidding me. That thing's not worth twenty — Karen digs in her purse. KAREN That’s all right, Maggie. I'll pay it. (CONTINUED) ChildsPlay 10/20/87 16 29 CONTINUED: MAGGIE Hold on. How do we know the damn thing works? PEDDLER Do you want it or not? If not. I'll find someone else to buy it. KAREN Here She offers him the money. He snatches it out of her hand, thrusting the Play Pal into it. PEDDLER Done. May it bring you and your kid a lot of joy. He throws his duffle bag over his shoulder and starts down the alley for the street. Maggie stares after him. MAGGIE Hold on. How do we know the damn thing isn't stolen? The Peddler flips her the bird without breaking stride. PEDDLER Up yours, lady — Maggie looks after him, making a face. MAGGIE I think I dated him. Karen grabs her arm, dragging her back inside the store. KAREN Oh, Maggie, Andy's going to be so happy — 30 INT. DEPARTMENT STORE - KITCHEN WARE SECTION - DAY Karen and Maggie emerge frcm the service stairs into the Specialty Kitchen Ware Department to find the floor manager, MR. CRISWELL, waiting for them. He is a small fat man with very clean fingernails. He's tapping them on the counter as the ladies approach . MR. CRISWELL Mrs. Barclay, so nice of you to drop by. Have a nice break? (CONTINUED) ChildsPXay 10/20/87 17 30 CONTINUED: KAREN I'm sorry, Mr. Criswell. I was only gone for a minute — Maggie steps forward. MAGGIE Have a heart, Criswell. We were just downstairs buying her little boy a birthday present. MR. CRISWELL We have specified break times for activities like that, Miss Peterson, (back to Karen) Mrs. Howe has taken sick and we’re short handed tonight. You'll have to fill in for her. She glances at her watch. KAREN I can't. I have to pick Andy up at the day care center in an hour. MR. CRISWELL I’m sorry, but this is an emergency. MAGGIE I'll take over for her. MR. CRISWELL Miss Peterson, you work in shoes, not kitchen supplies. (back to Karen) You'll just simply have to do it, Mrs. Barclay. You can take off at five, but you have to be back at seven. KAREN (glancing at her watch) But I'll never get a baby sitter at this hour — MAGGIE Don't worry. I'll watch Andy for you. KAREN Oh, would you, Maggie. (CONTINUED) Chi Id sPlay 10/20/87 18 CONTINUED: (2) MAGGIE Sure. Why not? It’s the hottest date I’ve had in months. MR. CRISWELL (dryly) I can't imagine why. (to Karen) Thank you, Mrs. Barclay. Both I and the store appreciate it. He turns and waddles off. Maggie watches him go, muttering under her breath. MAGGIE Asshole. DISSOLVE TO: EXT. ELEMENTARY SCHOOL PLAYGROUND - DAY Karen steps through the gate into the playground, stopping to watch several children playing tag under the supervision of their young teacher, MRS. WATERS. Andy sits alone against a fence, staring out at nothing. Karen walks over to the teacher. KAREN Hello, Mrs. Waters. How’s Andy been * today? MRS. WATERS Just fine. Karen turns to look at her son sitting all alone. The sight obviously troubles her. Mrs. Waters turns kind eyes on her. MRS. WATERS (Cont.) It takes time to recover from the death of a parent, Mrs. Barclay. But that’s all he needs, time. Karen sniles at her gratefully. KAREN Thanks, Mrs. Waters. I need a little reassurance every now and then. She walks over to where Andy sits, stopping above him. KAREN (Cont.) Well, hello, champ. Ready to go hone? (CONTINUED) ChildsPlay 10/20/87 19 CONTINUED: ANDY Sure. He dispiritedly climbs to his feet, puts his hand in hers, and starts to walk across the playground toward the street. KAREN How was your day? ANDY Okay. KAREN You have your new lunch pail? He lifts his birthday present, the Play Pal lunch pail. ANDY Un-huh. They exit the play ground into the street. EXT. STREET - DAY They walk down the street toward her not very new Honda. Karen glances down at him mischievously. KAREN I may have something to go with it? Andy looks up at her with sudden interest. What? ANDY KAREN You'll have to wait till we get heme to find out. ANDY Where is it? KAREN In the tunk of the car. She opens the front door for him, but he makes no move to get in. He's too busy staring at the trunk, wondering what's under it. ANDY Is it a Play Pal, mom? Is it, huh, is it? (CONTINUED) ChildsPlay 10/20/87 20 32 CONTINUED: KAREN You’ll have to wait till we get hone to find out. ANDY Aw, man — KAREN The faster we get home the faster you'll find out. He leaps inside the car, scooting across the front seat to make roam for her. She climbs in after him and takes off down the street at a good clip. CUT TO: 33 I NT. BARCLAY APARTMENT - HALLWAY - DUSK A key turns in the lock and Andy bursts through the door. He turns to Karen expectantly as she enters. ANDY We're hone, mom* KAREN I know, darling. She turns to him with a smile and a kiss, pulling an oblong gift-wrapped package from the brown paper bag. KAREN (Cont.) Happy Birthday again, Andy. ANDY Wow — He whirls, racing down the hallway into the living roan with the gift. Karen smiles, taking off her coat before following him. 34 INT. LIVING ROOM - DAY She enters, sitting beside him on the couch as he finishes tearing off the last of the paper, revealing Chucky's face smiling up at them through the cellophane top of the box. Andy's face lights up. ANDY A Play Pal. I knew it, I knew you'd get me onel He pulls the doll out of the box, holding him up for Karen to see. (CONTINUED) ChildsPlay 10/20/87 21 34 CONTINUED: ANDY (Cont.) Look at him, mcm, just look at him, KAREN Well, show me how he works. Andy pushes the soft spot on the back of his head. Gears whir and Chucky' s baby blue but tony eyes snap open. Andy looks at the doll, talking to him. ANDY Hi, I'm Andy. What's your name? Chucky's head swivels toward Andy, obviously mechanically drawn by the sound of his voice. Ihe doll replies in his high-pitched little voice, his lips badly out of sync with his words. CHUCKY Hi, I'm Chucky, and I'm your friend to the end. Hidey ho, ha-ha-ha. Karen looks at the doll, a bit startled. KAREN Well, isn't he something. Andy looks at the doll adoringly, doing a perfect imitation of his voice. ANDY Yeah, I'm your friend, too. Hidey ho, ha-ha-ha. Karen looks at her son in some surprise. KAREN Where did you learn to do that? ANDY From Play Pals. Oh, mom^ thanks! He throws himself into her arms, giving her a big kiss. She kisses him back, the two of them laughing happily. There is a sudden knocking at the door. She disentangles herself. KAREN Here, you play with Chucky. I'll be right back. She rises, heading for the hallway. Chi Ids PI ay 10/20/87 22 35 I NT. HALLWAY - DUSK Dusk is turning to night as she stops before the door. She turns on the light, unlocking it to find Maggie standing there. KAREN Maggie, ccme on in. Maggie steps inside. She has a gift wrapped package under her arm. Karen glances at it as she closes and locks the front door. KAREN Is that for Andy? (Maggie nods) You shouldn’t have, Maggie. MAGGIE Nonsense. What else am I going to do with my money. How did the doll go over? KAREN Just great — Andy bursts out of his room, running down the hallway, and skidding to a halt before Maggie. He holds up his doll. ANDY Aunt Maggie, look what mom gave me. She leans down, looking at Chucky, pretending she's seeing him for the first time. MAGGIE Look at him. He's big, isn't he? ANDY (nodding) He talks and everything. MAGGIE He does? KAREN (to Maggie) You're not going to believe this doll. Andy turns to Chucky. ANDY Say something to Aunt Maggie, Chucky. Chucky turns and he looks at Maggie. (CONTINUED) ChildsPlay 10/20/87 23 35 CONTINUED: CHUCKY Hi, I like to be hugged. They all laugh. MAGGIE Well, he certainly does talk, doesn't he? Look, another birthday present for you. She hands her gift to Andy. ANDY Thanks, Aunt Maggie. He gives her a great big hug and tears into his present. Maggie throws a look at Karen. MAGGIE Why can't all men be that nice? ANDY Oh, man, look! He pulls out an automatic battery powered squirt gun that looks just like a real AK-47 scaled down to a child's size. Karen turns to Maggie. KAREN Oh, Maggie, why did you have to give him a gun of all things. MAGGIE Hey, it's a cold cruel world out there. He'd better start learning how to defend himself now. (to Andy) Right, Tiger? ANDY Right! Bang, bang, bang — He starts playing make-believe, like he's shooting Maggie. She throws up her arms and staggers back against the wall like she's been hit. MAGGIE Oh, no, you got me! (CONTINUED) ChildsPlay 10/20/87 24 35 CONTINUED: (2) KAREN Maggie* would you stop it * — (she glances down at her watch) Oh, no, quarter to seven. I'm going to be late for work. She grabs her coat, talking as she puts it on. KAREN (Cont.) There's left over stew on the stove. I've made same salad. It’s in the fridge. MAGGIE We'll be fine. You just sell those kitchen wares and make Criswell happy. KAREN (smiling at Maggie) You're a real friend, you know that, Magg ie. MAGGIE Yeah, I know. Even if I do like Rambo better than Mr. Rodgers. Karen bends over and gives Andy a goodbye kiss. KAREN Now you be good and do what Aunt Maggie tells you. I'll be home as early as I can. She steps for the door when Andy suddenly holds Chucky up. ANDY What about Chucky? Don't you want to kiss him goodnight, too. KAREN (smiling) Sure. Goodnight, Chucky. She gives the doll a kiss and slips out the door. Maggie locks it behind her. She turns to Andy. MAGGIE Well , what do you say? How about sane Irish stew? (CONTINUED) ChildsPlay 10/20/87 25 35 CONTINUED: (3) CHUCKY (suddenly piping up) Hey, wanna play? ANDY Yeah, let's play! He runs down the hall with Chucky and the squirt gun, making shooting noises as he goes. ANDY (Cont.) Bang, bang, bang — He disappears into the living room, Maggie staring after him wistfully. MAGGIE Ah, to be young again. She disappears into the kitchen. DISSOLVE TO: 36 I NT. KITCHEN - NIGHT Dinner is finished, Maggie at the sink doing the last of the dishes. Over her shoulder through the doorway into the living roan Andy can be seen sitting on the floor in front of the tv, playing with Chucky and his squirt gun. He wears his worn Play Pal PJs. 37 I NT. LIVING ROOM - NIGHT Andy drops the gun, picking up his Slinky, and entertaining his doll with it. ANDY Wanna see how my Slinky works, Chucky? You just do like this — He runs it from hand to hand, ignoring the tv as suddenly the show is interrupted by a news break. NEWSCASTER Eddie Caputo, reputed accomplice of Charles Lee Ray, the Bayside Strangler, has just escaped from the Thirty-Fourth Precinct jail. More details on the eight o'clock news next. Chucky* s head suddenly turns and stares at the tv. Andy looks at him, running the slinky frati hand-to-hand. (CONTINUED) Chi Ids Play 10/20/87 37 CONTINUED: ANDY Hey, Chucky, you're not watching me. Chucky' s eyes stay glued to the tv for an instant too long, almost as though he's watching it, and then he turns to Andy. CHUCKY Hi, I love you. 38 I NT. KITCHEN - NIGHT Maggie is just finishing drying the dishes when she glances at her watch. She yells over her shoulder. MAGGIE Time for bed, scout. Through the doorway, Andy can be seen turning to Chucky. ANDY Cane on, Chucky, we got to get ready for bed. Maybe the doll says something, maybe it doesn't. The tv in the next roam drowns it out, but Andy can be seen stopping as though the doll's said something to him and then leaning over to listen to him. Then he straightens, looking through the doorway at Maggie in the kitchen. ANDY Chucky wants to watch the nine o'clock news. 39 INT. KITCHEN - NIGHT MAGGIE (smiling to herself) Sure he does. She finishes off the last dish, drops the towel, and goes into the living room. 40 INT. LIVING ROOM - NIGHT She snaps off the tv, scooping Andy up in her arms, and heading for the hallway. MAGGIE Off we go, little man. He suddenly comes alive in her arms, squirming and kicking, reaching back for Chucky left on the floor. (CONTINUED) ChildsPlay 10/20/87 27 40 CONTINUED: ANDY Chucky! MAGGIE Oh, yes, Chucky — She does a one-eighty, grabs the doll off the floor, deposits him in Andy's arms, and carries both of them into the hallway. 41 I NT. HALLWAY - NIGHT She carries the whole kit and caboodle down the hall toward Andy's bedroom. MAGGIE And now, young man, it's brush your teeth, and under the covers with you. 42 INT. ANDY'S BEDROOM - NIGHT She drops him on the floor, Andy clutching Chucky. She looks down at him gravely. MAGGIE Agreed? Andy nods, equally grave. Maggie sr.iles, tousling his head. MAGGIE (Cont.) Good. Yell when you’re ready for me to tuck you in. She turns and leaves. Andy stares around the room, Chucky in his arms. He looks down at the doll. ANDY This is my room. He walks the roam, pointing his things out to the doll as he goes. ANDY (Cont.) That's my train set and this is my electric car. And this is my baseball bat and jar of marbles and there's my bicycle. Those are trainer wheels. He stops by the framed photograph of himself, his mother, and father on the bureau. (CONTINUED) ChildsPlay 10/20/87 42 CONTINUED: ANDY (Cont.) This is mam and my dad. Bob, He died in a car wreck, but man and I loved him very much. He walks over to a fish bowl where a lone goldfish swims. ANDY (Cont.) And this is Ralph. He likes to swim. He sets Chuck y down on a chair, and heads for the door. ANDY (Cont.) Okay, you stay here while I brush my teeth and change. 43 I NT. HALLWAY - NIGHT Andy canes out of his bedroom, down the hall, and into the bathroom. 44 I NT. KITCHEN - NIGHT Maggie looks up from stacking the dishes, yelling over her shoulder. MAGGIE You brushing your teeth, young man? 45 I NT. BATHROOM - NIGHT Andy yells back, his mouth full of toothpaste.
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Elise [3279378] Level 31
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The update sucks. They can change it back and there wouldn't be a problem
100% agree. I was so Hyper fixated on trading and what not that this almost makes me want to quit the game.
Boat License
Bored as hell
(3/3)
ANDY
(shaking his head again)
No, he isn't. Chucky ' s alive. And
he's going to come here to get me.
DR. ARDMORE
(sniling)
Don't be silly, Andy. Chucky isn't
caning for you. He can't. He's
a doll. And even if he aren't he
could never get inside this
building.
Andy goes to the window, staring out between the bars. It over
looks a courtyard far below.
ANDY
He'll find a way. I know him. He'll
find a way and come here and try
to kill me.
DR. ARDMORE
You don't have to worry about it,
Andy. I'm here. I'll protect you.
You try to get same sleep now.
He carries the doll out of the room, closing the door behind him.
Andy can hear the bolt slanming home, locking him in. He
continues to stare out the window, talking to himself.
ANDY
You won't be able to stop him.
No one will. He's going to come
here and kill me —
CUT TO:
Chi Ids Pi ay 10/20/8?
85.
143 I NT. CHARLES LEE RAY’S APARTMENT - LIVING ROOM - DAY
The door opens. Karen stands in the corridor with the SUPER, a
fat slob of a man. She lays a twenty in his hand and he
disappears down the hall. Karen steps inside the apartment
closing the door behind her. She looks around.
The place is a pigsty, more a nest for a rodent than a heme for
a human being. The room is filthy, trash littering the floor,
the few pieces of furniture torn apart and filthy with age.
Scraps of food dot the floor, flies buzzing around. She steps
over them, heading for the door to the bedroom.
144 I NT. BEDROOM - DAY
She steps into the room and stops with a shock, staring at the
walls. The roan is a giant mural, the work of a madman, all four
walls covered with the impressionistic, terribly disturbed and
disturbing paintings. The first wall shows a man, a self-portrait
by the artist, Charles Lee Ray, beseeching a black man dressed
in a Haitian costume. The black man has a very distinctive face,
kind eyes surrounded with coal black skin. Karen doesn't know
what Ray is asking of the man. The mural seems to depict the
beginning of some kind of ritual. Her eyes travel to the next
wall. It shows Ray receiving seven slashes on one wrist, his
blood dripping onto a small wooden effigy of himself, a primitive
doll or Gris-Gris as the Haitians call it. The third wall shows
Ray with the effigy hung about his neck by a leather thong, on
his knees before a huge snake God who rears up above him, the
lower half human, the upper half snake, his beady lid less eyes
staring down at the small man below, his forked tongue spitting
poison at him, the horrid substance slicking his entire body
and dripping to the floor, puddling around his feet.
Karen steps back, recoiling from the picture, something so
hideous and wrong with it that she can hardly stand to look at
it. She turns her gaze to the fourth and final wall. Ray lies
there dead on same filthy floor, but he's been transformed.
Another man stands over his body and out of those eyes stare
the crazy, maniacal eyes of Charles Lee Ray. The other man even
has the same demented grin. Karen gasps as she realizes vhat
it is. It's a rrural of rebirth, the rebirth of the mad artist
and killer, Charles tee Ray, and there written on the wall in
what can only be dried blood are the words, "Oh, thank you,
mighty Damballa, for life after Death'
She turns, ready to flee the place only to discover herself
staring at a flier attached to the wall. "Dr. Death," it
advertises, "John Aelsop Bishop, Papalois of Santeria. Your Wish
Is His Command." and beneath that is an address in Brooklyn.
But it isn't the words that ccrrmand Karen's attention. It is
the picture of the man on the front of the flier. She rips it
off the wall and turns to the mural on the first wall, the one
depicting Ray beseeching a black man in ceremonial garb for
something. It is the same face as in the picture. It is a drawing
of Doctor Death, John Aelsop Bishop.
(CONTINUED)
ChildsPlay 10/20/S7
86
144 CONTINUED:
Someone suddenly speaks from behind her.
MIKE (o.s.)
Voodoo.
She whirls to find herself staring at Mike Norris. He stands in
the doorway staring back at her.
KAREN
Did you check it out?
MIKE
(with a shrug)
Why bother? He was dead. I thought
that was the end of Charles Lee
Ray.
KAREN
And now?
He holds up the hand Chucky sliced the night before. It is
covered with a clean new bandage.
MIKE
Chucky attacked me last night.
He almost killed me. I'd stopped
by the station house to pull Charles
Lee Rays’ file. Know what I found
out?
KAREN
What?
MIKE
His nickname was Chucky. But it
won't do Andy any good.
KAREN
Why not?
MIKE
We have no proof, no hard evidence
that anybody's going to believe.
KAREN
I know one person who's going to
believe us.
MIKE
Who?
KAREN
Dr. Death.
(CONTINUED)
ChildsPlay 10/20/87
87
144 CONTINUED: (2)
She holds up the picture of the black man. It's as though he's
sailing directly at Mike.
CL7T TO:
145 I NT. DR. DEATH'S APARTMENT - LIVING ROOM - DAY
DR. DEATH, also known as JOHN AELSOP BISHOP, leans over a small
BABY held in his MOTHER'S arms. He wears the ceremonial headdress
of a Papalois Witch Doctor. The child's FATHER watches anxiously.
He and the mother are Haitian peasants. The infant bawls
incessantly. The croup maybe, maybe something worse. Dr. Death
rubs the infant with an ar.ulet, mumbling in that foreign tongue
similar to that used by Charles Lee Ray when he was dying. He
is exactly as he was in the mural, of indeterminate age, tall
and very black with kindly brown eyes. The room is festooned
with dolls of all shapes and sizes from the most primitive to
store brought. They're nailed to the walls and hang from the
ceiling, hardly a square inch of blank space left. Dr. Death
suddenly stops his chant, finished. The baby stops crying an
instant later. The roam is suddenly deafeningly quiet. Dr. Death
turns to the mother and hands her the amulet.
DR. DEATH
Here. Keep this with him at night
and he won't cough anymore.
MOTHER
Oh, thank you, doctor, thank you
She abjectly bows her way out of the roar., the husband pushing
a few dollar bills in the doctor's hands, afraid to touch him,
anxious to be gone, and yet happy that his baby has stopped
crying. Dr. Death watches the two of thorn out the door and turns
wearily for the kitchen.
146 I NT. KITCHEN - DAY
He steps into his kitchen, taking off his ceremonial headdress
and laying it on the sink. Somehow it transforms him from Doctor
Death to John Aelsop Bishop, a much more approachable man. He
picks up a cup, going about the mundane business of fixing
himself a cup of tea. Suddenly there is a voice behind him, that
frighteningly familiar high-pitched squeak mixed with an adult
timber .
CHUCKY (O.S.)
Hello, John.
John Bishop whirls, staring about the room. There is no one
there. The voice cares again.
(CONTINUED)
Chi Ids Play 10/20/87
88 .
146 CONTINUED:
CHUCKY (Gont.) (o.s.)
Over here, John.
He turns again, this time staring at the window. Chucky stands
on the sill, staring back at him. He smiles.
CHUCKY (Cont.)
Hi.
John Bishop drops the tea cup, the delicate china smashing into
a million pieces on the floor. As John Bishop stares
open-mouthed. Chunky hops onto the sink and twirls, his arms held
out.
CHUCKY (Cont.)
What do you think? The gris-gris
work?
{John nods numbly)
Of course, I wasn't close to another
human being when I was dying so
I had to use the next best body
available. Freaky, huh?
All John Bishop can do is nod again. Chucky stares at him.
CHUCKY (Cont.)
You know, when I came here learning
all that stuff about how to be beat
death, I thought maybe you were
pulling my chain. But not now.
Un-unh, not now. Only one problem.
JOHN
(a hoarse croak)
What?
CHUCKY
This.
He pulls up his rainbow colored shirt revealing his bullet wound
frcm the night before. He has shoved the stuffing back inside
and plastered it over with a bandaid.
CHUCKY (Cont.)
I didn't think anything could hurt
me. After all, I'm in a doll's body,
right? But last night I got shot.
You know something? It hurt. It
hurt like a son-of-a-bitch. It even
bled. Now why's that, John? You
wouldn't think something like that
would happen, would you?
(CONTINUED)
Chi Ids Play 10/20/87
89.
146 CONTINUED: (2)
JOHN
(slowly)
You* re turning human.
CHUCKY
What?
JOHN
(nodding)
The more time you spend in that
body, the more human you'll become.
Lungs, heart, blood vessels, even
human skin.
CHUCKY
You mean I * 11 be some kind of human
midget someday? You mean I'll have
to live out the rest of my life
in this body!
John Bishop nods. Chucky goes into a tirade, striding across the
sink, destroying it, tossing pots and pans this way and that,
heaving appliances crashing to floor.
CHUCKY (Cont.)
No, no, no, I won't allow it. I'm
not going to be same kind of freak
for the rest of my life. There
has to be a way out. There has to
be!
He suddenly whirls on John Bishop, staring up at him.
CHUCKY (Cont.)
You got me into this. Tell me what
do I have to do to get out?
JOHN
You have to transfer your soul out
of the doll into a human being.
That breaks Chucky up. He begins laughing maniacally.
CHUCKY
Well, that's easy enough. There
are enough people walking around
out there. I'll just chose the first
good locking guy I meet. I've
always wanted to be good looking.
(in a renewed fit of
laughter)
Maybe the woman will like it better
that way when I kill them. What
do you think?
(CONTINUED)
ChildsPlay 10/20/87
90
146 CONTINUED: (3)
He looks up at John Bishop, the black man looks down at him,
hardly able to hide his revulsion.
JOHN
You don't understand. Not just any
person. The first person you
revealed your true self to.
CHUCKY
You mean the first person I let
in on the fact I was really alive?
John Bishop nods. Chucky goes into renewed gales of laughter,
tears running out of his but tony eyes and down his plastic face.
CHUCKY (Cont.)
I don't believe it. I just don't
believe it.
JOHN
What?
CHUCKY
The first person I let in on my
little secret was a six-year old
kid. I'm going to be six years old
again.
(suddenly sobering)
Of course, he does have a beautiful
mother. Not that I'll be able to
do much about it now. But I'll
grow up, won't I, doc? And fcfoen
I do —
He turns, crossing the kitchen counter for the window.
CHUCKY (Cont.)
Well, thanks, doc. You've been a
big help. And remember to keep your
mouth shut. We wouldn't want anybody
else in on our little secret, would
we?
JOHN
I'm afraid I can't do that, Charles.
Chucky has just reached the sill, about to disappear outthe
window when he stops and turns toward the doctor. The anile is
gone from his plastic little face.
CHUCKY
What are you talking about?
(CONTINUED)
ChildsPlay 10/20/87
91.
146 CONTINUED: (4)
JOHN
You're insane, Charles. Criminally
insane. I didn't know that when
I taught you the gris-gris. I didn't
know you were the Bayside Strangler.
I had to find out on the seven
o'clock news, but if I had, none
of this would have happened. Believe
me!
He turns for the door. Chucky takes a step after him, his buttony
eyes turning glittery.
CHUCKY
What are you going to do?
JOHN
I'm going to call the police. I'm
going to tell them about you and
save that little boy. You're an
abomination, Charles. You have to
be stopped.
He goes out the door into the living room.
147 I NT. LIVING ROCM - DAY
John Aelsop Bishop crosses to the phone, picking it up, and
beginning to dial. Chucky appears in the doorway to the kitchen,
leaning against the jam, looking up at him.
CHUCKY
You know, I thought something like
this might happen. That's why I
prepared for it.
JOHN
(into the phone)
Yes, this is an emergency. Get me
the police.
(back to Chucky)
What are you talking about?
CHUCKY
This.
With exaggerated casualness, he pulls out a snail wooden effigy
of John Aelsop Bishop from behir>5 his back. He holds it up for
the doctor to see.
(CONTINUED)
ChildsPlay 10/20/87
92.
147 CONTINUED:
CHUCKY (Cont.)
Your own personal mojo, doc. Made
out of your hair, your clothes,
even bathed in a little bit of your
own blood, right?
Fear leaps into John Bishop's eyes. He drops the phone, hurrying
across the room toward Chucky.
JOHN
Give me that —
CHUCKY
Sure. How do you want it? With a
knife through the leg.
He suddenly whips his kitchen knife out from behind his back and
sinks the blade deep into the right leg of the doll. Blood
spurts out of John Bishop's right leg. He grabs it, hitting the
floor with a scream. He lays there, moaning in pain. Chucky grins
down at him.
CHUCKY (Cont.)
Shouldn’t tell your customers your
professional secrets. Gets you in
trouble every time.
He slits the doll across the arm. John Bishop screams, grabbing
his arm as it erupts in blood. He writhes on the floor in pain,
Chucky grinning at him.
CHUCKY (Cont.)
Well, John, it's been nice, but
I've got to go. I have a date with
a six-year old.
(giving him one last
final look)
And you have a date with death.
He plunges the knife into the doll's chest. Dr. John screams,
grabbing his chest as blood suddenly gurgles up through his
shirt, his breath becoming labored ani short, his body going into
the shock just prior to death. Chucky throws his mojo on the
floor next to him.
CHUCKY (Cont.)
So long, doc. I can't say it hasn't
been fun.
And he's gone with a high-pitched laugh, leaving John Bishop
writhing on the floor in his death throes as he escapes out the
kitchen window.
Chi Id sPlay 10/2C/37
93.
148 EXT. STREET - LITTLE HAITI SECTION OF BROOKLYN - DAY
Mike pulls up in his car. He and Karen get out and hurry toward
Dr. Death's tenement apartment. Black faces look at them with
frank curiosity, but no one makes a move to interfere with them.
They disappear into the tenement.
149 INT. TENEMENT LIVING ROOM - DAY
John Bishop lays on the floor, gasping for breath. The door
swings open and Karen and Mike stand there, looking down at him.
Her face pales.
KAREN
Oh, my God —
She falls to her knees beside John Bishop as Mike dives for the
phone, dialing the emergency number for the paramedics. Karen
works on Bishop, trying to staunch his bleeding. He looks up
at her, shaking his head.
JOHN
Too late. Must save the boy —
KAREN
What boy?
JOHN
Little boy, some little boy —
KAREN
It's my little boy. Did Chucky do
this to you?
(he stares at her
blankly)
Charles Lee Ray. Did he do this
to you?
John Bishop manages to nod. Karen leans over him, whispering in
his ear, realizing he's losing strength fast.
KAREN (Cont.)
He's killed people and my little
boy is taking the blame for it.
I have to find him and stop him
John Bishop grabs her sleeve, pulling her close, whispering in
her ear with the last of his failing strength.
JOHN
Go to your little boy. He's headed
there. Must get his soul inside
him just like he got it into doll
(CONTINUED)
Chi Ids Play 10/20/87
94
149 CONTINUED:
KAREN
(her eyes widening in
terror)
What? Ray’s going to do the same
thing to Andy that he did to the
doll?
John Bishop nods, barely managing to vhisper.
JOHN
Yes. Take him over. You must stop
him before he says the chant. Kill
him before he can say it —
KAREN
How? Nothing stops him.
JOHN
The heart. His heart is almost
human. It’s the only way, through
the heart —
He dies in her arm. Mike hangs up the phone, looking at her.
MIKE
The paramedics are on the way.
KAREN
(closing John Bishop’s
eyes)
They’re going to be too late.
She leaps to her feet, heading for the door.
KAREN (Cont.)
Came on —
MIKE
Where?
KAREN
Bellevue. Chucky's going after Andy!
She’s out the door. Mike is right behind her.
CUT TO:
150 INT. BELLEVUE - ANDY’S ROOM - DAY
Andy sits on his bed, his feet curled up under him, staring at
the door, wondering if Chucky is going to come at him that way.
Thunder crashes outside his window, a storm beginning, and then
beneath it another sound. A scraping sound that doesn’t belong
there. Andy slowly turns and looks at the window. The scraping
sound is growing louder. He rises and pads toward the window.
ChilasPlay 10/20/87
95
151 EXT. BUILDING - DAY
Andy pokes his head out, staring down the side of the building.
Rain begins to slash down from the storm clouds overhead, the
day suddenly so dark Andy can hardly see in front of him.
Lightening flashes, illuminating everything. Andy gasps. Chucky
is no more than ten feet below him, climbing up a drain pipe
attached to the side of the building. He looks up at Andy,
smiling broadly as the rain beads and runs down his plastic face.
CHITKY
Hi, Andy. Hold on a sec. I'll be
right there.
152 I NT. HOSPITAL ROOM - DAY
Andy leaps off the window sill and races to the door, standing
on a chair to scream out the rectangular viewing port in the
door.
ANDY
Help me, he's coming to kill me.
Help me!
153 INT. HOSPITAL CORRIDOR - DAY
Up and down the corridor, kids come to the viewing ports in their
doors, echoing Andy's screams as though it's a game.
KIDS ALL TOGETHER
Help me, help me, he's coming to
kill me!
Raucous laughter follows, other kids in the hallway joining
along. The ORDERLIES don't even bother to look up. This happens
to the crazies all the time, especially during an electrical
storm. It continues to thunder and lightening outside.
154 INT. ANDY'S ROOM - DAY
Andy leaps off the chair, running from the door to the window.
155 EXT. BUILDING - DAY
He looks out the window at Chucky on the drain pipe below. He no
longer need the lightening to see into the preternatural
darkness. The doll is now no more than five feet away. Chucky
looks up at him.
CHUCKY
Hold on, Andy, just hold on.
He starts climbing again
ChildsPlay 10/20/87
96
156 I NT. ANDY'S ROOM - DAY
Andy leaps off the window sill, looking around desperately for
seme way to save himself. Block the window, that’s it, block
the window so Chucky can’t get in. He upends the table, shoving
it against the window, grabbing the chair from across the roan
and shoving it against the table, anything to block that window.
157 EXT. BUILDING - DAY
Chucky climbs up onto the ledge outside Andy’s window to find
himself facing the table. His plastic face purples with rage,
bloody veins beginning to show through as he undergoes his
transformation, rain soaking his snail body.
CHUCKY
Think a table will stop me, boy.
No way. No f**king way!
He steps forward, thrusting his hand through the crack in between
the table and the window edge.
158 I NT. ANDY’S ROOM - DAY
Chucky* s hand shoots in between the crack, flailing around for
Andy. Andy, his back against the table, ducks aside, Chucky
unable to reach him.
159 EXT. BUILDING - DAY
Chucky pulls his hand back out, screaming through the crack in
the window.
CHUCKY
Going to be smart about it, are
we? Well, not smart enough!
He turns away, walking down the ledge toward the window one room
over, the rain slashing down, but not bothering the doll.
160 INT. ANDY'S ROOM - DAY
Andy hears Chucky moving away. He leaps for the door, screaming
up at the viewing port.
ANDY
Help me, somebody's got to help
me!
161 INT. CORRIDOR - DAY
Dr. Ardmore hurries down the corridor, brought by all the noise.
He stops by the door to Andy’s room, peering through it.
:hildsPlay 10/20/87
97.
162 I NT. ANDY’S ROCM - DAY
Andy sees the doctor’s face appear in the port and jumps up and
down madly. Saneone's here to save him.
ANDY
He's here, doctor, Chucky's here!
163 I NT. CORRIDOR - DAY
The doctor stares through the port. He sees nothing but an empty
rocm with all the furniture piled up against the window and a
small boy inside, obviously insane with paranoid delusions.
DR. ARDMORE
I don't see anybody.
164 I NT. ANDY'S ROOM - DAY
ANDY
(frantic)
But he's here. Chucky's here and
he's going to kill me!
165 I NT. CORRIDOR - DAY
Dr. Ardmore turns away from the doer, speaking to an Orderly as
he passes.
DR. ARDMORE
I'm going to get him a shot of
Thorazine. Keep the others quiet
if you can.
He strides rapidly down the hall toward his office, the Orderly
moving toward some screaming crazies grouped in a corner of the
corridor.
166 INT. ANDY'S ROCM - DAY
Andy stands on his chair, watching the doctor walk away, tears
in his eyes.
ANDY
No, don't leave me, please, don't
leave me!
But the doctor's gone. Andy turns, staring about the roam.
Chucky's caning. Where can he hide? Nowhere is the answer.
167 INT. ORDERLY'S LOUNGE - DAY
An Orderly sits at a chair, making out a report. Chucky slips
through the window, dropping silently to the floor. He slips
the man's pass key off the key ring dangling from his belt and
slides silently out the door.
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98.
168 INT. CORRIDOR - DAY
MONA, the crazy young girl Andy noticed when he came in, sits
with her back against a wall, staring out at nothing. Chucky
stops in front of her, snagging her attention.
CHUCKY
Want to take me for a walk?
She stares at him for a moment, seeing nothing out of the
ordinary in a talking doll. She slowly nods. Chucky grins.
CHUCKY (Cont.)
Good.
He hops into her arms. She slowly rises, starting down the hall
with the doll. She passes the lounge where the Orderly sits,
still at his reports. He looks up as she passes.
169 INT. LOUNGE - DAY
ORDERLY
Hi, Mona. Where you going?
She nods at the doll in her arms.
MONA
He wants to go for a walk.
ORDERLY
That's nice.
Smiling at her obvious craziness, he turns back to his report.
Mona disappears from the doorway, moving down the corridor.
170 INT. CORRIDOR - DAY
Mona stops before the door to Andy's room. Chucky leans out from
his position in her arms and unlocks the door. He pushes it open,
dropping to the floor and disappearing into the room before
anyone notices. Mona is left standing there, staring blankly
at the door as it closes shut.
171 INT. ANDY'S ROOM - DAY
Chucky turns away from the door, staring about the room. His
shadow dances crazily against the back wall as the lightening
crackles and thunder booms outside the window. The room is empty
except for a huddled mass beneath the covers. Chucky grins as
he sees it.
CHUCKY
Kant to play hide and seek, do we?
(CONTINUED)
ChildsPlay 10/20/87
99.
171 CONTINUED:
He throws aside the pass key, whips out his butcher knife, and
leaps onto the bed, grabbing hold of the blankets with one hand,
brandishing the knife with the other.
CHUCK* (Cont.)
Well, I've found you!
He whips back the covers to discover the bed empty, just a mass
of blankets bunched up to make it look like Andy was under there.
His face flushes with fury as he looks wildly about the roan.
CHUCKY (Cont.)
What? Where are you? Where are you,
you little —
Andy suddenly breaks from under the bed, grabbing the pass key
off the floor as he ducks out the door. Chucky screans in rage,
leaping off the bed, and tearing after him.
CHUCKY
No!
172 INT. CORRIDOR - DAY
Andy races down the corridor just as Dr. Ardmore turns the corner
behind him with a hypodermic needle in his hand. He yells as
he sees the boy.
DR. ARDMORE
The boy's escaped. Stop him!
He races down the corridor after Andy, Orderlies appearing from
patient's roan and fran near the elevator, all giving chase.
173 INT. ANDY'S ROOM - DAY
Chucky skids to a halt, staring out the cracked door as Dr.
Ardmore and the orderlies race by in the corridor.
174 INT. CORRIDOR - DAY
Andy skids to a halt. Orderlies block the way in front of him.
Behind him Dr. Ardmore and more orderlies are caning. He jams
the pass key into the nearest lock, turning it, opening the door,
and diving through it, the door slamming shut behind him.
175 INT. FIRE STAIRS - DAY
He finds himself on the fire stairs. He dives down them.
176 INT. CORRIDOR - DAY
Dr. Ardmore fishes out his pass key, fumbling it as he opens the
door Andy went through.
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100 .
177 I NT. ANDY’S ROOK - DAY
Chucky peeks out the door, watching as Ardmore gets the door open
and he and the orderlies dive through it. He turns and races
across the room toward the window and the drain pipe. Mona
stands in the hallway, watching him through the crack in the
door with blank eyes.
178 I NT. FIRE STAIRS - DAY
Andy skids to a halt. He can hear people racing up the stairway
from below. He looks over the railing. Sure enough, orderlies
are pounding up the stairs. He looks up. Above him he can hear
Dr. Ardmore and the others coming down the stairs. Using the
pass key, he lets himself through the door on the landing
opposite him.
179 I NT. AiOTHER FLOOR - CORRIDOR - DAY
Andy races down a deserted corridor, the storm outside the
windows still building. He hears the lock turning in the door
he just came through. He dives through the nearest door off the
corridor.
180 INT. OPERATING ROOM - DAY
It's total darkness in here. He slides to a halt under a guerney,
making himself small as he hears the thunder of adult feet in
the hallway outside. They race by. Then silence. Breathing hard,
he comes out from under the guerney and heads for the door. He's
got to get out of here before Chucky finds him again.
Powerful overhead lights suddenly snap on, blinding him. He
spins, looking around, shielding his eyes from the glare with his
hand. He is in the center of an operating roam, a balcony above
him. Then he hears that terrible voice.
CHUCKY (o.s)
Going somewhere?
He whirls, looking up at the balcony. Chucky is standing there,
grinning at him. Andy dives for the door. Chucky launches himself
off the railing, landing squarely on his back, smashing Andy
to the floor. He goes rolling into a chest of instruments, the
chest crashing to the floor. An array of gleaming scalpels go
flying. Andy grabs one, leaping to his feet, whirling to face
Chucky. Tne doll isn't there. Breathing hard, he looks around.
No sight of him. Suddenly all the lights go off, plunging the
room back into darkness. Out of the blackness and silence canes
that terrible voice, whispering to him again.
CHUCKY (Cont.)
Thought you were going to get away,
did you? Well, there's no getting
away from me. Not now, not ever!
(CONTINUED)
Chi Ids Play 10/20/87
101 .
180 CONTINUED:
Andy spins. Where is he? Where is Chucky? A hand suddenly grabs
hiir. by the nape of the neck, lifting him flailing into the air.
A light snaps on, and he finds himself staring into Dr. Ardmore's
worried face.
DR. ARDMORE
Easy, Andy, easy. You don't need
this anymore.
He takes the scalpel from him, carrying him toward the operating
table .
ANDY
But I do. Chucky' s in the room and
he's trying to kill me.
DR. ARDMORE
Sure he is —
ANDY
Please, listen to me. He'll kill
you, too —
The doctor sets Andy on the operating table, keeping a firm grip
on him as he holds up the hypodermic needle full of Thorazine.
Andy jerks back in fear.
ANDY (Cont.)
No, please —
DR. ARDMORE
This will only hurt for a second
The doctor raises the needle, about to plunge it home when
suddenly he stiffens, screaming. He looks down in horror at his
right lag. A scalpel is buried in his thigh up to its hilt. He
drops Andy to the floor, the boy hitting his head against a leg
table, momentarily stunned. Ihe doctor clutches his thigh, his
needle forgotten as he goes crashing to the floor. Chucky steps
out from behind a ventilator, grinning at him.
CHUCKY
Hello, doc.
Dr. Ardmore stares at the doll, his mind unable to comprehend
what his eyes are seeing. He starts stuttering to himself in
disbelieve.
DR. ARDMORE
No, no, no —
(CONTINUED)
Chi Ids Play 10/20/87
102 .
180 CONTINUED: (2)
CHUCKY
{grinning wildly)
Oh, yes, yes, yes —
He suddenly slaps a headset contraption of steel over both the
doctor* s temples.
CHUCKY (Cont.)
Is this vihat you use to make your
crazy patients better? Shock
treatments, aren*t they called?
He hops onto a chair, staring down at a bank of instruments.
CHUCKY (Cont.)
They used them on me once, but I
don’t think they worked. You think
they'll work on you?
He turns the panel on, his finger poised above a button. The
doctor sees what the doll is about to do, his eyes widening in
fear. He screams, the scalpel buried in his thigh forgotten as
he digs at the headset, trying to get it off.
DR. ARDMORE
No!
CHUCKY
Yes!
He punches the button, a huge jolt of electricity suddenly
shooting through the doctor’s body. Ardmore's eyes roll back in
their sockets showing pure white, his entire body bucking, once,
twice, three times as the jolts course through him. Across the
room, Andy shakes his head, clearing it, seeing the horrible
sight. He leaps to his feet, launching himself at Chucky.
ANDY
Stop!
The doll whirls, an aluminum tray in his hand, smashing it into
Andy's face. The small boy goes flying back across the roam,
skidding to a halt against the far wall. Chucky turns, staring
down at the doctor. The man lays on the floor, groaning. Chucky
shakes his head, clucking his tongue.
CHUCKY
No, you're not cured, not at all.
You need more!
He shoves the voltage regulator all the way up and slams the
button down again, this time holding it there. The doctor's body
goes rigid, his hair starting to crackle and fry, his eyeballs
popping, his skin turning black. Chucky just watches and laughs.
(CONTINUED)
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180 CONTINUED: (3)
CHITKY (Cent.)
You better yet, doc? Huh, you better
yet?
He laughs maniacally, enjoying himself to the max as Andy looks
up to see what is going on. Horrified and sickened by the sight,
he scrambles to his feet, lurching out of the room, his stomach
threatening to do flip flops on him. Chuck y is much too into
his own sadistic enjoynent of what he is doing to even notice.
DISSOLVE TO:
181 I NT. CORRIDOR - DUSK
Mike and Karen come through the door, walking down the corridor
past cops and plain clothes detectives. The CORONER is here,
Ardmore's body being wheeled out as they come to a halt before
Jack Santos.
MIKE
What liappened?
JACK
(glancing at Karen)
Excuse me, ma'am.
He takes Mike's arm, leading him away a few feet to whisper to
him. Karen looks around, spotting Mona hunched against a wall.
She walks over to her.
JACK (Cont.)
Her kid killed Dr. Ardnore.
MIKE
What?
JACK
(nodding)
Fried him to a crisp with the
electric shock machine and escaped.
MIKE
Escaped where?
JACK
We don't know.
He turns to look at Karen. She's trying to get Mona to talk.
JACK (Cont.)
But I bet she does.
(CONTINUED)
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181 CONTINUED:
MIKE
Where’s Chucky? Have you seen him
around?
JACK
Who?
MIKE
The boy's doll. The same one we
had at the station house. Have you
seen him around?
JACK
No, of course not. What the hell
would he be doing here?
Mike abruptly turns away. Jack stares after him.
JACK
Hey, Mike, where you going?
Mike ignores him, caning to a stop by Karen who lias just finished
talking to Mona. Mike grabs her arm, hustling her toward the
door.
MIKE
They think Ardy did it.
KAREN
I know. That little girl said Chucky
had been here. He was looking for
Andy.
MIKE
Where's Ardy now?
KAREN
I'm sure he's at home. That's where
I've always told him to go when
he's in trouble.
MIKE
What about a key to get in?
KAREN
Hidden under the mat.
MIKE
Come on. We haven't got much time.
He picks up his pace, he and Karen heading for the door. Jack
yelling after him.
(CONTINUED)
Chi Ids PI ay 10/20/87
105.
181 CONTINUED: (2)
JACK
Hey, Mike, where you going?
Mike and Karen slam through the door. Jack staring after them.
CUT TO:
182 I NT. BARCLAY APARTMENT - HALLWAY - NIGHT
Darkness has fallen as a key turns in the lock and the door
opens. Andy steps inside, relocking it behind him. He runs for
the living roam.
183 I NT. LIVING ROOM - NIGHT
He closes and locks all the windows. He turns for the kitchen.
184 I NT. KITCHEN - NIGHT
He stops before the window Maggie went out a few scant days
before. It is boarded up. He pulls at the plywood. Solid. He
turns for the hall.
185 I NT. HALL - NIGHT
He races down the hall toward his room.
186 INT. ANDY’S BEDROCK - NIGHT
He runs into his room, locking all the windows. He stops, leaning
against a wall, breathing hard. His gaze falls on his toy chest.
It's just spilling over with toys. He stares at it, an idea
beginning to form in his head.
187 EXT. ANDY'S APARTMENT BUILDING - NIGHT
JOHNNY, a little boy no older than Andy, stops before the
apartment building. He looks up at it, then turns to the doll in
his arms. It is Qiucky.
JOHNNY
Is this it?
CHUCKY
This is it.
Johnny starts toward the lobby. MR. and MRS. JOHNSON, a
middle-age couple, pass by. The man recognizes him.
MAN
Hey, Johnny, shouldn’t you be
getting home? Your mother's going
to wo rry.
(CONTINUED)
Chi Ids Play 10/20/87
106.
187 CONTINUED:
JOHNNY
(glancing up at him)
In a minute-. Hr. Johnson. Chucky
wants me to drop him off here first.
He nods at the doll, disappearing inside the building. Mr.
Johnson glances at his wife, chuckling as he shakes his head.
MR. JOHNSON
Kids, huh?
Mrs. Johnson smiles back as they continue down the street.
188 I NT. ANDY'S BEDROOM - NIGHT
Andy races around his bedroom, pulling down all the shades,
making the roan as dark as possible. Finished, he starts
unscrewing all the light bulbs so they won’t work, stopping
before the wall switch. Ha flicks it. The overhead light in the
ceiling goes on, bathing the room, in light. He stares up at it
hopelessly. It's way beyond his reach.
189 INT. THIRD FLOOR CORRIDOR - NIGHT
An elderly couple, GEORGE AND LUCY, stand waiting for the up
elevator. It stops on their floor, the doors opening. They climb
inside, the doors closing behind them.
190 INT. ELEVATOR - NIGHT
Djcy jabs George, nodding down at their feet as the elevator
rises.
LUCY
Look, George, some child has left
their doll in the elevator.
George looks down. Chucky sprawls there in the corner, totally
doll like. Lucy bends down to pick him up, George grabs her,
stopping her.
GEORGE
Leave it alone. Whoever left it
there will come back looking for
it.
Lucy straightens, looking at him.
LUCY
You sure?
GEORGE
Positive.
The elevator stops on their floor. They get out
ChildsPlay 10/20/87
107.
191 EXT. FOURTH FLOOR - NIGHT
Lucy stops, looking back at the doll. It looks more and more like
Charles Lee Ray all the time, receeding hairline, scaraggly hair,
long, dirty fingernails. Sne wrinkles her nose.
LUCY
Ugly doll.
She turns away as the door closes. The floor indicator lights
blink as the elevator climbs toward the sixth floor.
192 INT. ANDY'S BEDROOM - NIGHT
Andy jabs at the overhead light fixture with a broom from the
kitchen, finally busting it, plunging the room into total
darkness except for the spill from the hallway. He grins happily.
193 INT. OUTSIDE CORRIDOR - SIXTH FLOOR - NIGHT
The elevator opens on Andy's floor. No one comes out. The doors
close again, the floor indicator showing the elevator is heading
for the penthouse.
194 INT. BARCLAY APARTMENT - HALLWAY - NIGHT
Andy hunkers down in the front hallway, keeping an eye on the
front door as he begins to pour liquid Drano from under the sink
into his metal AK-47 squirt gun.
He's just about finished when he hears it, a rustling noise
somewhere between a rustle and a scratch. It is coming from
somewhere in the apartment. Andy caps the squirt gun, rises,
slowly heading down the hallway for the living room*, the sound
getting louder the closer he gets.
195 INT. LIVING ROOM - NIGHT
He steps into the living room, looking around. Where is that
noise coming from? Then he hears the sound again and looks toward
the fireplace. He sees dirt dropping from the flu to land on
the logs below. He cautiously approaches, the scraping sound
getting closer. He suddenly realizes it's coming from the
chimney. He bends over, staring up the fireplace.
There at the top of it he sees Chucky crawling down the chimney.
The doll looks down at him, grinning wildly.
CHUCKY
Well , hello there —
He lets go, flying down the chimney directly toward Andy, the
small boy jerks his head out, stumbling back as Chucky lands in
the middle of the fireplace in an explosion of cinders and dust.
He grins up at Andy, his face streaked with dirt.
(CONTINUED)
Childs Play 10/20/87
108
195 CONTINUED:
CHUCKY (Cont.)
Surprise! Want a present? How about
me?
He leaps to his feet, his hands held out to Andy. He holds the
butcher knife in one of then. Andy whirls and dashes out of the
room. Chucky looks after him, his face sagging with false
disappointment.
CHUCKY (Cont.)
Nov; is that any way to treat scmeone
you love?
He starts walking after him.
196 INT. HALLWAY - NIGHT
Andy races down the hallway into his room, slamming the door
behind him. A moment later Chucky appears around the corner frar.
the living roam, walking slowly down the hallway toward the door
to Andy’s room. The knife glints in his hand, He yells at the
boy’s door as he approaches.
CHUCKY
You can run and hide, but you can’t
escape. Not from me, you can’t.
Kidey ho, ha -ha -ha!
197 IN?; ANDY’S ROOM - NIGHT
He shoves open the door to find himself in a dark room. He can't
see anything. He leaps up on a chair, flicking the light switch.
Nothing happens. He looks around at the darkness, chuckling
loudly.
CHUCKY
Playing games, are we? Tee, hee,
hee. Well, two can play games.
He leaps off the chair and starts across the floor, his knife
held ready. The door suddenly slams shut behind him, plunging the
roan into almost total blackness. He whirls, staring this way
and that into the darkness.
CHUCKY (Cont.)
Very funny. But not as funny as
you’re going to look when you see
what I have in mind for you.
There’s suddenly a hollow whistle, snail but loud. Wnooo, whooo,
it goes. The doll stops, looking around. A head light suddenly
pokes out of the dark, stabbing him in his but tony eyes, a
chugging sound reaching his ears. He raises his hand to his eyes
to see better and yelps.
(CONTINUED)
Chi Ids Play 10/20/87
109.
197
CONTINUED:
An electric train is racing out of the darkness directly toward
hi m. He stares down between his feet. He is straddling the
track. He goes to move, but he isn't fast enough, the train
smashing into him and carrying him back into the far wall,
burying him in a train wreck of box cars, cabooses, and double
locomotives.
He pokes his head out of the mess, shoving the cars off him,
standing up with a snarl, staring about the darkness.
CHICKY (Cont.)
You've had it, you little asshole.
I'm not going to kill you. I'm going
to do something much worse. I'm
going to take over your body. Now
where are you?
He begins to stalk the room. Suddenly he hears tires squeal as
they grab for traction, the sound of an engine roaring toward
him, twin headlights flying out of the darkness. He dives to
his left, a remote control fire engine red Ferrari roaring by
him as he rolls to safety. He springs to his feet to hear Andy
giggling at him somewhere in the darkness. It drives him crazy.
CHUUKY (Cont.)
Laugh at me, will you? Well, I'll
give you something to laugh about.
He races across the roan, leaping into the air to grab the door
knob to the hall door, and yanking it open. Light from the
hallway spills into the bedroom. Chucky drops to the floor,
turning to see Andy pressed against the far wall, the remote
control to the model car in his hand. The doll grins
triumphantly, hefting his knife. He starts across the roan for
him. Andy flicks the stick on the renote control. The Ferrari
tears out from under the bed, its wheels spinning as it grabs
for traction. Chucky turns, seeing it caning directly toward
him, enough light to clearly recognize for the first time there
is a kitchen knife taped to its hood. With a scream he tries
to leap out of the way, but too late. The knife sinks up to its
hilt in his plastic and cloth leg, the car slamming to a halt,
its toy wheels still spinning. Chucky screams, doubling over
in pain as he grabs the knife and tears it out. Blood, human
blood, starts to run down his plastic encased leg. He tosses
the knife away as suddenly Andy leaps forward, tearing out of
the roan. Chucky whirls, limping after him at a fast run,
screaming at him.
CHUCKY (Cont.)
You're going to suffer for that.
You hear me, you little f**ker?
Suffer, suffer, suffer!
ChildsFlay 10/20/87
110 .
198 IUT. HALLWAY - NIGHT
He comes through the door only to scream again, throwing his arms
up in the air, his legs pumping wildly for balance. He goes
flying flat on his back, surrounded by a field of marbles. Andy's
spread thorn all around the floor. The doll sits up, looking at
them, his face a mask of rage. He stands, starting down the
hallway with a more pronounced limp now just as Andy appears
from the living roam. He holds his AK-47 squirt gun in his hand.
It is aimed at Cnucky.
ANDY
Give up and 1*11 let you live.
CHUCKY
Really? That's more than I intend
letting you do.
He continues to march down the hall, the small boy backing up
toward the front door, nervously fingering the trigger of the
squirt gun.
ANDY
I mean it. Don't cane any closer
or I'll shoot.
CHUCKY
(smirking)
What* re you going to do? Drown me?
With a sudden snarl, he leaps for Andy's throat. The boy squirts
him full in the face. Chucky skids to a halt, screaming in pain,
digging at his eyes. They're burning him, his skin beginning
to melt and run as the Draino reacts chemically with his plastic
skin. Pie pulls his hands away, looking down at then. They're
covered with shriveled up pieces of his face.
CHUCKY (Cont.)
Whaaaat —
He leaps onto a chair, staring at himself in the hall mirror.
One side of his face has caved in and run down his cheek,one
buttony eye dangling by a thread. He whirls on Andy, staring at
him furiously.
CKUCKY (Cont.)
You little shit —
He leaps off the chair and bounds down the hallway after him.
Andy fires at him with the squirt gun again. The Draino hits the
doll in the leg. Chucky screams and whirls as Andy fires again,
missing him this time as the doll disappears into the living
room. Andy stands there in the hallway, looking after him.
ANDY
Chucky?
(CONTINUED)
ChildsPlay 10/20/87
111
198 CONTINUED:
Nothing but silence. Hefting the gun and stealing his nerves, he
walks down the hallway toward the living room.
199 INT. LIVING ROOM - NIOiT
Andy comes to a halt, staring about the room. No sight of Chucky.
He walks the perimeter, keeping his back to the wall. Still
no Chucky. He looks at the couch. It is the only piece of
furniture big enough for the doll to hide under. He walks over
to it, staring down at the dark space underneath.
ANDY
Give up and I'll stop shooting you.
Nothing but silence. Andy falls to his knees, careful to keep the
gun ready, staring into the darkness under the couch. No Chucky.
Just as he's lifts his head to rise the doll appears over the
back of the couch above him, slinging the steel loops of the
Slinky over his neck and pulling it tight. Chucky screams with
delight.
CHUCKY
Surprise!
Andy drops his squirt gun, flailing wildly, trying to get a grip
on the Slinky that is choking him, gasping for air as the room
begins to swirl into darkness around him.
200 EXT. APARTMENT BUILDING - NIGHT
Mike's car screeches to a halt in front of the building, he and
Karen leaping out and racing for the lobby.
201 INT. LOBBY - NIGHT
They skid to a halt before the elevator, **** hitting the button.
Karen looks up at the floor indicator. The elevator seens caught
on the Penthouse floor.
KAREN
Ccme on —
She whirls, racing for the fire stairs, Mike right behind her.
202 INT. LIVING ROOM - NIGHT
Chucky turns the unconscious boy over, looking at his face. He
lays his plastic ear against his chest, listening to his heart.
He grins.
CHUCKY
Good. Still alive
(CONTINUED)
ChildsPlay 10/20/87
112
202 CONTINUED:
He shoves Andy's hair back from his forehead, clamping his
plastic palirs there and beginning to recite the same litany he
used in the toy store that night he transferred his soul from his
human body into that of the doll.
CHUCKY (Cont.)
Oh, Dumballa, Sateria, Macumba,
Shango — give me your power once
more so I may livel
203 I NT. FIRE STAIRS - BUILDING - NIGHT
Karen and Mike come running up the stairs, thunder suddenly
booming outside and lightening flashing. He skids to a halt on
a landing, looking out the window. The sky is turning dark with
roiling storm clouds directly above the building, the lightening
and thunder building.
MIKE
No —
Karen stops, looking back.
KAREN’
What?
MIKE
It's like that night at the toy
store. It’s happening all over
again.
KAREN
Come on. He's started the chant
She dashes up the stairs, Mike right behind her.
204 I NT. LIVING ROOM - NIGHT
Chucky kneels on Andy's chest, his palm pressed against the boy's
forehead, his chant building, Andy trembling and rruxnbling as
if in the grip of a terrible nightmare. Outside the windows,
lightening crackles and a terrible wind blows, rain beginning
to pound down on the glass with a fearsome force.
CHUCKY
Morteisma, leiu de vocuier de meiu
voch-ette edenlieu Damballa pour
au boisette —
ChildsPlay 10/20/87
113.
205 IMT. SIXTH FLOOR HALLWAY - NIGHT
Karen and Mike burst through the fire door, rush down the
corridor to the front door of her apartment. She yanks on the
door only to find it locked. She beats on it with her fists,
screaming her son’s name.
KAREN
Andy!
206 I NT. LIVING ROOM - NIGHT
Chucky looks up from Andy toward the hallway, momentarily
distracted. He hears Karen beating at the door.
KAREN (o.s.)
Andy!
He turns back to the boy, continuing with his chant.
CHUCKY
Ccmieo liue de vochette du Papalois
sesoise la Santeria —
207 INT. SIXTH FLOOR HALLWAY - NIGHT
Mike pushes Karen out of the way and throws his shoulder against
the door with all his might.
208 INT. APARTMENT HALLWAY - NIGHT
The door smashes off its hinges, Mike falling to the floor,
momentarily off-balance. Karen rushes by him down the hallway.
209 INT. LIVING ROOM - NIGHT
Chucky glances up as Karen rushes into the room, and grabs him
by both shoulders, yanking him off the semi-conscious Andy.
Chucky whirls in midair, grabs her by the hair, and sinks his
sharp white teeth into her throat. Screaming, Karen stumbles
back,, beating at' the doll with both hands.
210 INT. HALLWAY - NIGHT
Mike springs to his feet, grabbing his .38 from his shoulder
holster, and rushes down the hallway.
211 INT. LIVING ROOM - NIGHT
He bursts into the room to see Karen whirling about, Chucky
tearing at her throat. He raises the gun to fire, sees it*s
useless trying to get a shot off, and rushes forward, grabbing
the dell with both hands and tearing it off her. Chucky flies
to the floor, bounding to his feet, and scooping up his butcher
knife that he*s dropped there. He rushes across the floor toward
Mike, brandishing the knife, and screaming like a Banshee.
(CONTINUED)
ChildsPIay 10/20/87
114
211 CONTINUED:
He whips it across Mike's calf, slashing him badly. With a scream
of pain he sinks to his knees. Chucky slams the knife into his
shoulder. Clutching at the knife, Mike sinks to the floor
moaning. Chucky rushes out of the room in a blur of pimping legs
and waving arms, laughing maniacally.
Mike grabs hold of the knife with both hands and biting down
hard, pulls it out. Blood darkens his jacket. He grabs his
handkerchief, stuffing it underneath his shirt, trying to staunch
the bleeding. He looks across the floor at Karen. She is on her
hands and knees, ignoring her own pain as she administers CPR
to Andy. His little face is blue as she blows air back into his
lungs. He coughs, his eyes fluttering open as he rejoins the
land of the living.
Mike lurches to his feet, drawing his backup gun, a snubnose nine
millimeter, from his ankle holster. He presses it into her hand.
MIKE
Here.
KAREN
(looking at the gun)
What's this for?
MIKE
In case I don't get him.
He turns and staggers toward the hallway, Karen looking after
him.
KAREN
Mike, wait. I don’t know how to
use a gun —
But he's gone around the corner, Andy suddenly gasping for
breath, demanding her attention. She turns back to her son.
212 I NT. HALLWAY - NIGHT
Mike stops, looking down the hall. Only two ways the doll could
have gone. Into Karen's roam or into Andy's. He starts walking,
pausing before the closed door to Karen's. He throws it open.
213 INT. KAREN'S BEDROOM - NIGHT
He flicks on the light, looking about the room. Bnpty. He
painfully gets down on his knees, looking under the bed. Nothing
there. There is a noise from the bathroom. He whirls, rises,
and heads toward that room.
ChildsPlay 10/20/87
115.
214 I NT* BATHROOM - NIGHT
He steps into the bathroom, flicking on the light. All white
linoleum and enamel and nothing but silence. Then he hears it.
Something coming from behind the shower curtain. Tightening
his grip on his pistol, he whips it back. It's just the faucet
dripping on a bar of soap. Breathing easier he turns and steps
out of the roam.
215 INT. KAREN’S BEDROOM - NIGHT
He crosses the roan toward the hall.
216 INT. HALL - NIGHT
He stops in the hall, staring toward the partially open door to
Andy’s room. In there, Chucky has to be in there. He limps down
the hall toward Andy's roan.
He passes the door to the linen closet. It’s ajar. He stops,
looking at it. Maybe in there. Maybe Chucky is in there. He whips
it open.
217 INT. LINEN CLOSET - NIGHT
Mike pears at the shelves rising to the ceiling and the cleaning
utensils on the floor. Nothing. He turns back toward the door
to Andy’s roam.
218 INT. HALLWAY - NIGHT
Chucky suddenly throws off the sheets ana towels that had hidden
him, rearing up behind him on a high shelf in the linen closet.
Andy's baseball bat is in his hand. Mike hears him, but too late,
lie spins just as the baseball bat comes crashing down on the
back of his head. He drops to the floor, badly stunned, his gun
flying out of his hand. Chucky leaps off the shelf onto Mike’s
back, lifting the bat, about to strike. A shot rings out. A hole
is blown in his leg, blood and cloth stuffing flying as he's
knocked off his feet. He twists onto his stomach, looking up,
Karen stands in the hallway, Mike's smoking gun in her hard.
KAREN
Take that, you little bastard'
She aims it at Chucky, pulling the trigger again. The gun jams,
the trigger refusing to pull. A slow grin spreads across ChucKy's
plastic face.
CHUCKY
What's wrong? Gun jam?
With a maniacal laugh, Chucky springs to his feet, racing down
the hallway toward her, swinging his bat wildly. Karen jumps
back into the living room.
Child sPlay 10/20/87
116
219 I NT. LIVING ROCK - NIGHT
Chucky turns the corner into the roar., the bat held high in
hands. Karen steps out from wall, slamming the fireplace poker
with all her might into his chest. He goes flying across the
roam, slams into a wall, and hits the floor with a hard thud.
He lays there, momentarily stunned. Karen drops the poker,
rushing to the fireplace and turning on the gas.
Behind her , chucky' s baby blues suddenly snap open and he looks
up at her with a snarl.
CHUCKY
Bi tch*
He struggles to his feet as she grabs the fireplace screen and
dashes toward him. Just as he stands, she slams into him with
screen, carrying him across the room and into the fireplace.
She stops there, her back against the screen, holding him in
place as her hands desperately search the hearth for the matches.
Inside the fireplace, Chucky goes crazy, screaming and hurling
himself against the screen, trying to break free, screaming
obscenities at her.
Her hand grabs a box of matches. She fumbles one out, striking
it to life, the yellow flame leaping into the air. Within the
fireplace, Chucky suddenly sees what she intends, backing as
far away frcm her as he can, forced to a halt against the back
wall of the fireplace. He looks at her, his baby blue buttony
eyes wide with fear.
No —
CHUCKY
KAREN
(grinning wildly)
Yes’
She flips the lit match pass the screen into the fireplace. It
hits the doll, Chucky exploding into flames, a living plastic
torch. He opens his mouth wide in a blood curdling scream. Karen
jams a piece of wood against the screen to hold it in place,
and backs away from the fireplace as the flames catch on the
wood and kindling, the entire hearth going up in a raging blaze.
Within the fireplace, the burning doll goes crazy, throwing
himself against the screen, bound ing off it again and again.
Karen stands across the room, watching with horrid fascination
as the doll is slowly consumed by flames. Suddenly he heaves
himself with maniacal force against the screen, busting it loose
in an explosion of fiery embers. Chucky, a flaming torch, steps
out into the living room. He looks at her, laughing wildly.
CHUCKY
See? I told you. Nothing can kill
me!
(CONTINUED)
Chi la sPlay 10/20/87
117.
219 CONTINUED:
He starts toward her, his flaming arms held out to give her a
kiss of death. Karen pulls out Mike’s gun, aiming it at Chucky
in desperation and pulling the trigger repeatedly, the gun
refusing to work. The doll smiles through the flames.
CHUCKY (Cont.)
It doesn't work. Remember?
The gun suddenly goes off, the bullet catching him in the
shoulder, blowing his arm off. The burning arm goes whirling
across the room and lands on the sofa, setting it afire. Chucky
ignores it, snarling at her and continuing to advance with only
one arm. Steadying her aim, Karen fires again and again and
again, the bullets hitting the doll repeatedly, finally blowing
off a leg. Chucky crashes to the floor, the flames beginning
to die and just lick at his body now. He grins up at her and
begins to drag himself one-armed across the floor toward her.
Karen backs up, aiming the gun again only to hit a footstool,
stumbling back and striking her head against the leg of a chair
as she hits the floor. Momentarily stunned, she's helpless as
Chucky crawls to her, pulling his butcher knife out and raising
it to strike down at her breast.
220 I NT. SIXTH FLOOR HALLWAY - NIGHT
Jack Santos and several patrolman carte bursting out of the
elevator, rushing down the hallway toward the open door to
Karen's apartment, Jack yelling at the top of his lungs.
JACK
Mi ke l
221 INT. LIVING ROOM - NIGHT
Chucky is just about to strike down with the knife when Mike
steps out of the hallway behind him, the doll's dropped bat in
his hand. He swings with all his might, catching the doll square
against the side of the head. Chucky' s round plastic head goes
flying off, ripped off his body by the force of the blow as Mike
sinks to the floor exhausted.
222 I NT. HALLWAY - NIQfT
The burning head goes flying into the hallway, striking an
armoire, and bounding down the hall just as Jack and the
patrolman burst through the door. Chucky' s head strikes Jack,
Chucky sinking his teeth deep into the back of his ankle. With
a scream of pain, the cop goes down, tearing at the head, trying
to rip it free.
Chi Ids PI ay 10/20/87
118.
223 I NT. LIVING ROOM - NIGHT
Karen shakes her head to clear it, looking up at Mike. He leans
against the wall, blood running down his leg from the knife
wounds. He manages to smile at her. She smiles back. He pushes
himself erect, crossing to the sofa and beating . out the flares.
She looks at Andy. He's sitting up, looking at her, not quite
sure where he is. She crawls to him, taking him in her arms and
holding him tight.
KAREN
It*s all right, Andy, it's all
right.
Behind her the headless one armed, one-legged doll torso sits up,
the body turning toward her, drawn by the sound of her voice.
It starts to crawl toward her. Mike looks up from the couch,
sees what is happening but is too far away to reach her in time.
MIKE
Karen, behind you!
She turns to see the headless torso pushing itself across the
floor toward her, the knife in its hand. She calmly picks up the
gun and aims it directly at Chucky's heart as the headless torso
rises up to strike at her.
KAREN
f**k you, you little prick.
224 I NT. HALLWAY - NIGHT
The head suddenly lets loose of Jack, rolling to a stop a few
feet away, the mouth suddenly speaking loud enough for Karen to
hear .
CHUCKY
No, don't shoot me. I'm your friend
to the end, r am amber .
225 INT. LIVING ROOM - NIGHT
KAREN
Yeah, sure. And this is the end,
friend!
She pulls the trigger, the bullet blowing a hole in Chucky's
chest right where his human heart is. Blood flies as the doll
slams back against a wall and sinks to the ground, dead, smoke
still rising off his charred body.
226 INT. HALLWAY - NIGHT
In the hallway, Chucky's head speaks one last time.
(CONTINUED)
ChildsPlay 10/20/87
119.
226 CONTINUED:
CHUCK*
I love you. Hidey bo, ha-ha-haaaaaaa
It runs down like a broken record ending in silence. The eyes
slam shut one last time. Jack staring at it in horror.
227 INT. LIVING ROOM - NIGHT
Mike draws Karen up in his arms, hugging her and Andy tightly,
Karen hugging him back, Andy looking back and forth happily
between the two of them, not guite sure what's happened, but
liking it.
DISSOLVE TO:
228 INT. EVIDENCE ROOM - POLICE STATION - NIGHT
A COP is putting the pieces of Chucky up on a shelf. One arm, one
leg, the torso and head. Jack Santos watches.
JACK
That little f**ker's alive.
The cop stares at the blacked head of the doll. The eyes are
gone, just two empty sockets staring out at him. A fly larx3s in
one of then, crawling about.
COP
Are you kidding me? This thing ’was
never alive and even if it was,
it sure as hell isn't now.
JACK
I tell you it's alive. I can feel
it.
COP
Come on-. I'll buy you a drink —
He grabs Jack, hustling him out of there, turning off the light,
plunging the room into darkness. He closes the door behind them.
Nothing is heard but the fly buzzing about.
Then suddenly a hand slap. The buzzing stops. Complete silence.
FADE OUT:
THE END (2/3)
ANDY Yes, Aunt Maggie. 46 INT. KITCHEN - NIGHT MAGGIE (smiling) Good. She heads for the fridge to put the milk away when suddenly the tv blasts fran the living roan. She freezes, turning, looking toward the door into that roam. She slowly steps for the door. 47 INT. LIVING ROOM - NIGHT She steps into the living room to find the tv on, tuned to the eight o'clock news. Chucky sits in front of the tv almost as though he's watching it. (CONTINUED) Chi Id sPlay 10/20/87 29* CONTINUED: NEWSCASTER — police say Caputo escaped from the jail bus on the way to his arraingment. A massive search has begun — Maggie steps forward, clicking the set off. She picks up the doll and heads for the hall. I NT. BATHROOM - NIGTT She appears in the doorway behind Andy just as he finishes brushing his teeth. She holds the doll up. MAGGIE Well, young man, what do you have to say about this? He looks at her blankly. ANDY About what? MAGGIE Came on — She grabs his hand, pulling him out of the bathroom. I NT. HALL - NIGHT She leads him down the hall toward his bedroom. MAGGIE You have to learn when I say something, I mean it. ANDY What'd I do? I NT. ANDY'S BEDROOM - NIGHT She comes through the door, carrying him and his doll over to the bed. She drops then both there, staring down at Andy. MAGGIE You know very well what I'm talking about. Turning the tv on and putting Chucky in front of it when I told you it was time to go to bed. ANDY I didn't do that (CONTINUED) Chi Ids Play 10/20/87 30 50 CONTINUED: MAGGIE Oh, no? What did Chucky do? Walk into the living room and turn it on by himself? ANDY No, I guess not — MACE IE You better know it. Now under the covers. Hurry. He crawls under the covers, trying to protest. ANDY But, Auntie — MAGGIE You heard me. Under the covers and not another word. ANDY But I didn't put Chucky in front of the tv — MAGGIE (shushing him) Shhhh. Enough already. Good night, Andy. And happy birthday? She bends over, giving him a goodnight kiss. He looks up at her, seeing it's useless to argue. ANDY Goodnight, Aunt Maggie. Maggie turns off the bedlamp and leaves the room, closing the door softly behind her. Andy turns to Chucky. ANDY (Cont.) I told you she'd be mad at you if you watched the news. He gives Chucky a good night kiss, turns over, and goes to sleep, Chucky next to him in bed. The doll stares blankly up at the ceiling overhead. A moment passes and suddenly his eyelids slam shut. DISSOLVE TO: 51 EXT. STREET - BARCLAY APARTMENT BUILDING - NIGHT It is later now, fewer lights on in the apartment building. A cold wind begins to whistle down the street. Chi IdsPlay 10/20/87 31 52 I NT® LIVING ROOM - NIGHT Maggie sits in the dark rocm, the tv on low, reading a book by the narrow light of a table lamp. 53 INT. HALLWAY - NIGHT The door to Andy's roam cracks open a couple of inches® Someone stares out of the darkness down the hallway. The tv can be dimly heard in the living room. 54 INT. LIVING ROOM - NIGHT Maggie looks toward the partially open window, the rising wind outside giving her the shivers. Pulling her sweater around her, she rises to close the window. 55 INT. HALLWAY - NIGHT The door to Andy's rocm suddenly cracks open further and someone darts out, racing down the hall. It's too dark to see who it is, but we see from his point of view- Wnoever he is, he isn’t very tall. Perhaps Andy's height, perhaps a little shorter. It's hard to tell. From this perspective the entire world seems quite huge. Whoever it is stops by the open doorway into the living room, peeking around the corner. He sees Maggie seated on the couch, her sweater pulled over her shoulders, trying to ignore the whistling wind outside as she reads her book. He darts across the doorway. 56 INT. LIVING ROOM - NIGHT Maggie whirls, looking toward the doorway into the hall just in time to catch a glimpse of someone flashing by. The blur of colors are just right for a Play Pal outfit like the PJs Andy wears. MAGGIE Andy? No answer, just silence. Thinking it must have been her imagination, she goes back to reading her book. 57 INT. HALLWAY - NIGHT Whoever he is grabs the chair from the phone table and drags it as quietly as possible across the floor till it's directly underneath the door. He climbs up on it, reaching for the lock to open the door. 58 INT. LIVING ROOM - NIGHT Maggie hears the click of the lock and whirls, staring into the hallway. (CONTINUED) Chi Id sPlay 10/20/87 32. 58 CONTINUED: MAGGIE Andy, is that you? No answer. She puts down her book, rising and moving toward the doorway. 59 I NT* HALLWAY - NIGHT She steps into the hallway, looking toward the door to Andy’s roam. It is open a bit. She turns, looking the other way, gasping at what she sees. The chair from the phone table has been moved to underneath the door. She walks down the hall, stopping by it, trying to figure out what is going on. She tries the door. It opens. The lock has been turned. She reaches up to relock it when she suddenly hears something crash to the floor behind her. She spins, staring through the doorway into the kitchen, the unlocked door forgotten for the moment. 60 I NT. KITCHEN - NIGHT She steps into the room, flipping on the light. A sugar bowl lies broken on the floor, the white powder spread across the linoleim. Sne looks at it, mumbling to herself. MAGGIE Now how did that happen? The wall phone suddenly rings behind her, making her start. She whirls, grabbing it. MAGGIE (Cont.) Hello, 61 INT. DEPARTMENT STORE - KITCHEN SECTION - NIGHT Karen stands by the cash register, talking into the phone. KAREN How’s Andy? MAGGIE'S VOICE (OVER) Karen? KAREN Sure. Who else would it be? Is Andy okay? 62 INT. KITCHEN - NIGHT Maggie stares down at the broken sugar bowl. MAGGIE Yes, fine. (CONTINUED) ChildsPlay 10/20/87 33 62 CONTINUED: KAREN'S VOICE (OVER) Is something wrong? MAGGIE No, I guess not. 63 INT. BROKERAGE HOUSE - NIGHT KAREN You don't sound too sure. You all right? MAGGIE'S VOICE (OVER) Fine. Something strange just happened, that's all. I'll tell you about it when you get heme. See you then. The phone goes dead in her ear as Maggie hangs up. 64 INT. KITCHEN - BARCLAY APARTMENT - NIGHT Maggie bends down, starting to clean the sugar up. 65 INT. KITCHEN - NIGHT Something moves behind the garbage can in the corner. Maggie freezes, then slowly rises, looking at it. It's a large can, almost big enough to hide a small boy Andy's size. MAGGIE Andy, if that's you behind there, I'm going to paddle your behind red — She suddenly leaps forward, grabbing the can and pulling it away from the corner. She finds herself staring at a small mouse. It's as terrified as she, scurrying away while she watches. She laughs at herself, shaking her head. MAGGIE What's wrong with me? I'm scaring myself half to death — She turns toward the kitchen counter, suddenly freezing, all the color draining from her face as her expression turns to one of the deepest horror. She screams. MAGGIE (Cont.) No! A heavy glass rolling pin smashes her across the face, blood flying as she stumbles backward toward the window, her arms windmilling wildly as she tries to keep her balance. She hits the glass, going through it with a scream. ChildsPlay 10/20/87 34 66 EXT. APARTMENT BUILDING - NIGHT She come s flying out the window in an explosion of breaking glass, screaming as she falls the six stories to the ground below, her body slamming into the top of a car with such force that it blows the front windshield and all four side ones out. A moment passes and then the murder weapon, the rolling pin, cones flying out of the window smashing to smithereens across a hop scotch court laid out so carefully in nice white chalk on the s idea walk. A few moments pass and then Andy appears in the window, Chucky in his arms, staring down at Maggie’s body below. ANDY Aunt Maggie — DISSOLVE TO: 67 EXT. STREET - NIGHT A Honda drives down the street. 68 I NT. HONDA - NIGHT Karen peers out her front windshields. The front of her building has turned into a circus. Cops and plain clothes detectives stand around, squad cars parked at odd angles, their bubble gum machines going like crazy. An ambulance disappears down the street with its siren blaring. Karen pulls to a halt before the building. 69 EXT. STREET - NICOT She hops out of her car, racing for the lobby. 70 I NT. SIXTH FLOOR HALLWAY - NIGHT The elevator opens and she hurries down the hall. The front door to her apartment is open, the doorway choked with police officers, some in uniform, some in plain clothes, moving in and out. She pushes her way past them. KAREN Pardon me — Jack Santos blocks her way. JACK I'm sorry, ma'am, you can't go in there — KAREN I live here! She shoves him out of her way, disappearing into her apartment Chi Ids PI ay 10/20/87 35* 71 I NT* HALLWAY - NIGHT She moves down the hallway, looking into the kitchen. It's crowded with men taking pictures of the shattered window and dusting the room for prints. She continues down the hall r looking into the living roam. Several cops are sprawled on the couch, taking their ease, a couple in the corner discussing their martial problems. They all look up at her. She continues down the hall, growing increasingly desperate. Andy, where's Andy? Panicked, she calls out for him. KAREN Andy? She looks in her roam. Empty. No one there, not even a cop. She suddenly hears him call her. ANDY (o.s.) Hammy! Karen whirls, staring down the hall. His bedroom. Of course, where else would he be? She runs in that direction. 72 INT. BEDROOM - NIGHT Andy looks up from the bed as she bursts into the room, Chucky seated beside him, Mike Norris on the far side. He watches as Andy leaps off the bed, flying into his mother's arms. KAREN (hugging him tightly) Oh, Andy, Andy — (breaking, looking at him) Are you all right? He nods. She hugs him even more tightly. KAREN (cont.) I'm so glad. I was so scared when I saw all those policeman. Where's Maggie? ANDY She had an accident, mcrrmy. KAREN An accident. What kind of an accident? Mike rises from the bed, stepping forward to introduce himself. MIKE Mike Norris, Mrs. Barclay. Homicide. Could we talk in the hall? (CONTINUED) ChildsPlay 10/20/87 36 72 CONTINUED: KAREN Why? what happened to Maggie? MIKE Please. He leads her into the hall, Andy watching them frcm the bed, holding Chucky in his lap. 73 I NT* HALL - NIGHT Mike stops, glancing at the boy through the doorway. Ha lowers his voice. MIKE Miss Paterson’s dead, Mrs. Barclay. She fell fran your kitchen window. KAREN (stunned) Oh, my God — She weaves on her feet. Mike grabs her, steadying her. MIKE You all right? KAREN (nodding nimbly) Yes. I just can't believe it, that's all. MIKE Accidents happen, Mrs. Barclay. (pause) Unless she had some reason to do it herself — KAREN You mean suicide? (he nods; she shakes her head) No, never. Maggie loved life too much. MIKE Yeah. I got that Impression from Andy. KAREN You've been questioning Andy? (CONTINUED) Chi Ids Play 10/20/87 37 73 CONTINUED: MIKE Just talking to him a little, that 3 s all. KAREN You shouldn't be asking a six-year old questions about something like this. MIKE I had to, Mrs. Barclay. He was the only other person in the apartment when it happened. Besides there are loose ends. KAREN What loose ends? MIKE Come on, 1*11 show you. He leads her down the hallway. Andy rises from his bed, caning out of the bedroan, following then down the hall with Chucky in his arms. Mike stops before the front door. He nods at it. MIKE The door was open when we arrived. Andy says he doesn't know how it got that way. KAREN Maybe Maggie opened it. MIKE And left it that way? That's an odd thing to do at this hour, don't you think? Especially in New York City. KAREN (shrugging helpessly) I don't know. I guess so. MIKE Did you talk to her at all tonight? KAREN About an hour ago. She said something strange had happened, but she didn't say what? MIKE Too bad. He steps into the kitchen. Karen and Andy follow. ChildsPlay 10/20/87 38 74 INT. KITCHEN - NIGHT The forensic people are just leaving as the three of them enter. Mike stops next to the counter , pointing at small red scuff marks on the white tile. They have a distinctive crisscross pattern to them. MIKE Any idea what these are? Karen looks at them, shaking her head. KAREN No. MIKE Odd, aren't they? They almost look like very small footprints. He looks down at Andy’s bare feet. They are very small. Karen clutches her son to her. KAREN What are you implying? MIKE Nothing. I've already looked in his closet. He doesn't own a pair of red sneakers. KAREN (to Andy) Andy, go to bed. I'll be there in a few minutes to tuck you in. Andy looks up at his mother, tugging at her sleeve. ANDY Moamy, is Aunt Maggie going to heaven? KAREN (tearing up) Of course, she is, Andy. Now go to bed. I'll be right along — She gently pushes him out the door, watching him down the hall toward his roam. Wiping at her eyes, she turns back to Mike angrily. KAREN Look, Mister whatever Your Name Is — (CONTINUED) Chi Ids Play 10/20/87 39 74 CONTINUED: MIKE (pleasantly) Lieutenant Norris. But you can call me Mike. KAREN (pointedly) Look, Lieutenant Norris, my son had nothing to do with Maggie* s death. He loved her. Whatever happened to Maggie was an accident. A terrible accident. Understand? MIKE Yes, ma'am. KAREN And I'll thank you not to accuse my son to his face. Do you realize the affect that can have on a small boy? MIKE I didn't accuse him of anything. I told you that those footprints couldn't have been his. (a beat) Unless he has a pair of red sneakers we didn't find. He doesn't, does he, Mrs. Barclay? KAREN (stiffening) I’ll thank you to leave, Lieutenant. Right now. MIKE Yes, ma'am — He heads for the door to the hallway, Karen right behind him. 75 I NT. ANDY'S BEDROOM - NIGHT Andy pads into his room, closing the door behind him, and setting Chucky down on a high wing backed chair. He crawls into bed, and turns off the table lamp. He talks to the doll as he slides under the covers. ANDY You think Aunt Maggie put those red marks there? He lays his head on his pillow with a big yawn. (CONTINUED) ChildsPlay 10/20/87 CONTINUED: ANDY (Cont.) I guess so. She's the only one who could* ve — He starts to yawn again only to suddenly freeze, staring at Chucky in the chair across frcm him. The doll is awash in a spill of moonlight from the window, the soles of his little red sneakers staring Andy right in the face. A crisscross pattern is cut in the bottoms. Andy sits bolt upright in bed, looking at the doll. He throws the covers back and gets out of bed, slowly walking over to Chucky and staring first at him, then at the bottom of his sneakers. They are badly scuffed, the crisscross pattern on their bottoms exactly like that on the kitchen counter. Andy whirls, tearing for the door. ANDY Manny! He snacks into his tricycle, falling to the floor with a crash. At the same moment a voice comes out of the darkness behind him mingling with the crash of the bicycle, maybe in Andy's mind, maybe not. CHUCKY (o.s.) No! Andy whirls, looking up from the floor at the back of the winged chair where he left Chucky, his eyes as big as saucers. He slowly rises, staring at the back of the chair. ANDY Chucky, was that you? Did you say something? No answer. Just silence. He slowly walks around to the front of the chair, staring down at his doll. Then he breaks into a huge loving smile filled with wonder. ANDY (Cont.) Chucky! I NT. SIXTH FLOOR HALLWAY - NIGHT Mike steps out into the hallway. Jack Santos waiting near the elevator, watching him and Karen. Mike turns back to her. MIKE I*m sorry if I've been any trouble, Mrs. Barclay. I didn't mean to upset you. (CONTINUED) Chi Ids Play 10/20/87 41 76 CONTINUED: KAREN Oh, of course not. My best friend's dead, my child's upset, it's almost midnight — MIKE I'm just trying to find out vriiat happened here tonight, that's all. KAREN I told you what happened. An accident. Now I don't mean to be rude, but good night. She begins to close the door on him. MIKE If you find out what made those scuff marks, will you let me know, please. KAREN Of course, I will. Now good night. She closes the door on him. He stares at it for a moment, grinning, then turns, joining his partner at the elevator. MIKE Spirited lady. JACK The mother lioness protecting her cub. You want the autopsy report on your desk first thing tomorrow? MIKE You better know it. That and anything you can find out about Mrs. Barclay and her son. The elevator doors open. They step inside, the doors closing behind them. 77 I NT. BATHROOM - NIGHT Karen walks into the bathroom, snapping on the light, and dousing her face with cold water. She suddenly raises her head, listening hard. She hears the soft murmur of voices coming from somewhere. She turns off the taps. The voices are clearer now. They seen to be coming from the hallway. Chi Ids Play 10/20/87 42. 78 I NT* HALL - NIGHT She steps out into the hall, staring down the corridor at Andy's bedroan. The voices are coming frcm behind his door. She's sure of it. Someone is in Andy's bedroom with him. She pads to the door, placing her ear against it, catching the muffled buzz of conversation, one voice clearly that of her son, the other indistinct and unrecognizable, but definitely not Andy's. Suddenly there's a high-pitched distinctive laugh that she's heard before. CHUCKY (o.S.) Hidey ho, ha-ha-ha! She throws the door open. 79 I NT. ANDY'S BEDROOM - NIGHT She steps into the room, snapping on the light. Andy looks up at her frcm the floor, blinking in the sudden glare. He's facing his high backed chair, the chair turned away from Karen so she can't see who's sitting in it. She looks at her son. KAREN Who are you talking to, Andy? ANDY (happily) Chucky. KAREN Chucky? ANDY Sure, Chucky. He's sitting right there. He points at the chair. Karen slowly walks around to stand by her son's side, staring at the front of the chair. Sure enough, Chucky sits there, totally inanimate and doll like. Karen smiles, looking down at her son. KAREN So Chucky' s been talking to you, has he? (Andy nods) What's he saying? ANDY All kinds of things. His real name is [real name removed] and he's been sent down from heaven by daddy to play with me. (CONTINUED) Chi Id sPlay 10/20/87 43 CONTINUED: KAREN He has, has he? Anything else? ANDY (suddenly sad) Yes. He said Aunt Maggie was a real bitch and got what she deserved. KAREN (shocked) Andy, how can you say something so horrible? ANDY I didn't say it. Chucky did. KAREN Andy, stop it. You know perfectly well you're making this up. She scoops him up in her arms, carrying him to his bed, and putting him under the covers, fussirg with them as he talks. ANDY But I'm not. Chucky 's alive. Really he is. KAREN Chucky is a doll. A thing of cloth and thread. Look at him. Does he look like anything more? She rises, picks the doll up off the chair, and shakes it in his face. Andy snatches the doll away from her. ANDY Don't. You'll hurt him! She stands there looking at her son. He's obviously concerned for the doll. She nods at Chucky. KAREN Look at him, Andy. You don't really think he's alive, do you? (nothing fran Andy; she takes a deep breath) Look, Andy, you were talking to yourself in Chucky 's voice and you know it. Now admit it. ANDY But I wasn't — (CONTINUED) ChildsPlay 10/20/87 CONTINUED: (2) KAREN Andy, please. You're upset about Aunt Maggie. So am I, but it's no reason to start thinking Chucky 's al i ve . ANDY But he is — KAREN Andy, stop it, please! She starts to cry, trying to cover it by turning away and reaching for a Kleenex. Andy sees the wetness around her eyes. He reaches out, taking her hand in his. ANDY It's cause of Aunt Maggie, isn't it? That's why you're yelling at me. KAREN (nodding slowly) I guess so. A moment as he studies her face. Then he hugs her. ANDY I'm sorry. I'll stop making up stor ies. She looks at him, smiling in relief. KAREN Thanks. (she tousles his hair kisses him) Good night, champ. You're wonderful* She rises, turning out the light, and softly shutting the door behind her. Andy rolls over, staring at Chucky in the darkness next to him. ANDY You're right, Chucky. She didn't believe me. The doll's eyes snap open, his head turning to look toward the closed bedroom door. He spends a moment studying it, then turns back to Andy, speaking in his high-pitched singsong. CHUCKY I love to be hugged. (CONTINUED) Chi Ids Play 10/20/87 45 CONTINUED 2 (3) ANDY Good. I love to hug you, too. He gives him a great big hug, yawning and turning over to go to sleep. I NT. HALLWAY ~ NIGiT Karen sniles, turning away from the door v^iere she's been listening and padding down the hallway into her roam. INT. ANDY'S BEDROOM - NIGHT Andy is already asleep, Chucky laying beside him on the bed, his eyes open, staring at nothing. They suddenly slam shut. DISSOLVE TO: EXT. KENNEDY ELEMENTARY - DAY Karen pulls up to the school in her car, dropping her child off along with all the other mothers in the area. INT. KAREN'S CAR - DAY She turns to Andy, straightening his collar as she talks to him. He holds Chucky in his arms. KAREN You're sure you're all right now? the nods) No bad dreams last night about Aunt Magg ie? (he shakes his head) Good. And Chucky' s only a doll, right? He nods. She sr.iles and giving him a kiss, leans over and opens the door for him. KAREN (Cont.) Off to school with you then. Have fun. He leaps out of the car, running for the school. Karen watches him slip inside, then puts the car in gear, pulling away from the curb. EXT. STREET - DAY The car disappears around the corner. A moment passes and Andy steps out of the school, looking after her. Once he's sure she's really gone, he turns in the opposite direction, Chucky in his arms, and hurries down the street. ChildsPlay 10/20/87 85 INT. SUBi JAY - DAY Andy rides the subway all alone, Chucky clasped in his afrns. A few passengers throw him curious looks, obviously wondering what a kid his age is doing alone in there, but no one makes a move to question him. The subway comes to a halt at the Hundred and Twentieth Street exit. He gets up and trundles out of the doors. 86 EXT. 120TH STREET - DAY Andy emerges from the subway into the street, looking around. This is a neighborhood an adult wouldn't want to go into. A vermin infested slun full of hookers, addicts, thieves, and bums. Andy puts his ear close to Chucky* s lips as though listening to something the doll is saying, then starts down the street. All kinds of seedy adults give him the once over as he passes, none of them making a move to stop him or talk to him once their eyes tell them he has nothing of value on him besides the stupid doll. 87 EXT. DUMP - DAY Andy moves through a chainlink fence into a huge dump almost directly beneath the George Washington Bridge. He walks past enormous mounds of garbage, broken furniture and tossed appliances, Chucky in his arms. He finally stops, looking at a windowless, abandoned two-story ruin of a house directly ahead. His gaze shifts to Chucky. ANDY Is that it? Nothing from the doll. Andy looks around some more, spotting seme tall weeds nearby. ANDY (Cont.) Look, you stay here. I have to go tinkle. He sets the doll down on the remains of a busted chair and trundles into the weeds. He stops there, unzipping his pants and relieving himself. A moment later he reemerges from the weeds to discover Chucky gone. He stands there, looking this way and that, calling to the doll. ANDY Chucky, where are you? No answer. He starts searching among the mounds of garbage for his doll. ChildsPlay 10/20/87 88 I NT* ABANDONED HOUSE - KITCHEN - DAY The back door is slowly pushed open and someone enters. The room is a rat infested mess, the rodents knawing at garbage and half-eaten food left strewn about on the counter and floor. Whoever he is crosses the floor and looks behind the stove at the gas hookup. A snail hand reaces in and slowly begins to unscrew the connection. 89 INT. UPSTAIRS BEDROOM - DAY Eddie Captuo lays on a mattress in the half light of the bedroom, what's left of the water stained shades pulled tight over the paneless windows. He's unshaven, still wearing his prison clothes, pulling at a liquor bottle as he stares at nothing. He hears something creak in the house on the floor below and sits bolt upright, every nerve in his body suddenly taut. He reaches for the .45 at his side. 90 INT. KITCHEN - DAY The little hand pulls the gas line free, the colorless gas escaping into the small roam with a loud hiss. He turns, leaving the room, but making sure to close the door tightly behind him. 91 INT. STAIRWAY - DAY Eddie appears at the top of the rickety stairs, staring down into the portico below. There's nothing there. He starts slowly down the stairs, the gun held ready. Suddenly a voice hisses at him out of the shadows below. It is Chucky' s voice, but now it has a familiar hissing quality to it, the quality heard in Charles Lee Ray's voice that night he was dying. CHUCKY (o.s.) Hello, Eddie. Eddie freezes, looking over the railing at the shadows of the hallway below, all the color draining out of his face. EDDIE Chucky, is that you? CHUCKY (o.s.) Who else would it be? After all, this is our hideout, isn't it? Eddie wipes at his forehead nervously, the sweat already beginning to pour off his face. EDDIE Sure. I thought you were dead. CHUCKY (o.s.) Naw. I wouldn't do that. Not and leave you alive anyway. (CONTINUED) ChildsPlay 10/20/87 91 CONTINUED: Eddie starts down the stairs, the gun held ready, looking at the portico and hallway below, trying to figure out where that voice is ccming from. EDDIE What are you talking about. Chuck? CHUCK* You left me, Eddie. You chickened out and left me. You think I'm going to let you live after that? Eddie reaches the bottom of the stairs, whirling and firing into the shadows of the hallway, blasting away with his gun. 92 EXT. DUMP - DAY Andy whirls, staring at the abandoned house where the gunshots are caning from. That's where Chucky must be! He starts running for the house. 93 XHT. FIRST FLOOR HALLWAY - DAY Eddie moves down the hallway, searching the shadows, his gun ready. Suddenly that voice canes from behind him. CHUCK* (o.s.) Not in there, Eddie. In here. Eddie whirls, staring down the hallway into the living room. Clutching the gun tightly, he starts for that room. 94 INT. LIVING ROOM - DAY He steps into the refuse strewn room, the gun ready, looking around. Suddenly Andy is heard outside, yelling for his doll . ANDY (o.s.) Chucky!' Edcie whirls, aiming out the window just as Andy trundles by, almost blowing him away. He catches himself just in time, moving to the window, staring out at the small boy. Andy is stumbling about the yard, looking for his doll. Suddenly that voice hisses at Eddie again from behind him. CHUCKY (o.s.) Forget the boy, Eddie. It's me you want. Eddie whirls, staring at the closed door into the kitchen. Ihe voice reaches his ears again. It seems to be caning fran that direction. (CONTINUED) Chi Ids Play 10/20/87 49 94 CONTINUED: CHUCKY (Cont.) (o.S.) That's right? Eddie® In here® I'm waiting for you. Gripping the gun even more tightly? Eddie starts toward the closed kitchen door. 95 I NT. KITCHEN - DAY The gas hisses out of the broken main? choking the snail room with its fetid odor. 96 EXT. HOUSE - DAY Andy wanders along the side of the house, directly outside the kitchen? totally unaware of the broken gas main within or the danger he's in? looking around, yelling for his doll. ANDY Chucky! 57 INT. LIVING ROOM - DAY Eddie canes to a halt before the door to the kitchen? cocking the gun and reaching for the door. 98 INT. KITCHEN - DAY The broken main continues to fill the roar, with gas. 99 EXT. HOUSE - DAY At the last second Andy trundles over a rise in back of the house, dipping out of sight. 100 INT. LIVING ROOM - DAY Eddie whips open the door? stepping into the kitchen. 101 INT. KITCHEN - DAY He fires his gun blindly into the darkness. EDDIE Got you* The room explodes in a blinding flash of white light. 102 EXT. HOUSE - DAY The kitchen blows apart? the walls dissolving in an explosion of flying wood and shattering glass, the side of the house going up in a ball of fire, the entire immediate area covered in a rain of flying wood? glass? lathing? and plaster. (CONTINUED) ChildsPlay 10/20/87 50 102 CONTINUED: A few seconds pass and Andy raises his head above the dip in the ground, staring at the house in amazement. What's left of it is turning into a fireball, flames greedily consuming the wood structure. He looks around, tears springing into his eyes. ANDY Chucky! He starts running around, looking desperately for his doll. Sirens can be heard approaching in the distance. DISSOLVE TO: 103 INT. POLICE STATION - FIRST FLOOR CORRIDOR - DAY Karen comes walking down the corridor, her high heel shoes sounding hollow and lonely in the deserted corridor. She sees an OFFICER approaching and stops him. KAREN Pardon me, I'm looking for Lieutenant Norris — Before he can answer Mike steps out of the roan farther down the corridor. She hurries toward him. KAREN (Cont.) Lieutenant Norris — He turns to her as she comes to a stop before him. MIKE Thank you for coming, Mrs. Barclay. KAREN What's wrong? I came as soon as I got your message. MIKE Have you been hone yet? KAREN No, I cane directly frcm work. Why? MIKE We have your son here. KAREN Andy here? Vhy? MIKE Let's step into my office — He opens the door for her. They step through it. ChildsPlay 10/20/87 51 104 INT. ****'S OFFICE - DAY He closes the door, turning to her., HIKE I don't know how to tell you this, Mrs. Barclay. KAREN Tell me what? Nothing from him. It only makes him more nervous. KAREN (Cont.) What's wrong? MIKE I've had to arrest Andy. KAREN You've had to what? She stands there stunned. He helps her into a chair. MIKE Can I get you some water or something — &ie recovers, looking up at him. KAREN What did you arrest him for? MIKE (quietly) Murder . KAREN What? Who did he kill? MIKE Your friend Maggie Peterson for one — KAREN (exploding) That's crazy. Andy loved her. She was like an aunt to him! MIKE The coroner's report said she was hit on the forehead before she went out that window. A stunned moment. Then Karen comes alive, groping. (CONTINUED) Chi Ids Play 10/20/87 52 104 CONTINUED: KAREN That doesn’t prove anything. Maybe she stumbled and hit her head before she fell. MIKE Mrs. Barclay, remember those red marks on your kitchen counter? (Karen nods) If your son had stood on that counter where those marks were, he would have been at the exact heigth to have hit Mrs. Peterson in the forehead. KAREN But that's Impossible. Andy would never do a thing like that — MIKE (cutting her off) And then Eddie Caputo died this afternoon. Karen looks at him blankly. KAREN Who? MIKE Haven't you heard about him on the news? (she shakes her head) He was partner's with the Bayside Strangler. They'd pick up women and torture them together before they killed them. KAREN All right. A psychopath died this afternoon. What's it got to do with Andy? MIKE Caputo escaped from jail. Someone blew up his hideout today with him inside of it. Your son was sitting outside clutching his doll when we arrived. KAREN Oh, my God — (rising from the chair) Where's Andy? I've got to see him. (CONTINUED) ChildsPlay 10/20/87 53. 104 CONTINUED: (2) MIKE He's fine. He’s in the next room being questioned. KAREN Let me see him — She starts for the door. He grabs her arm, gently restraining her. MIKE Are you sure you’re in the shape for this right now, Mrs. Barclay? Maybe you’d like a few minutes to calm down. She takes a deep breath, getting control of herself. KAREN I ’m perfectly calm. Lieutenant Norris. And I very much want to see my son. A moment as he stares into her eyes and sees the truth of what she says. MIKE Of course, Mrs. Barclay. He releases her arm, opening the door for her. She steps into the hallway, Mike behind her, closing the door after them. 105 I NT. HALLWAY - NIGHT They cross from his office into another room. 106 I NT. OBSERVATION ROOM - DAY Karen finds herself in a small room with a two-way glass mirror. Mike closes the door behind them, watching her carefully. There are several people in the roam, none of whom she knows. She walks to the glass, staring into the interrogation roam on the other side. Andy sits there talking with Jack Santos, Chucky perched on the table between them. Their conversation is piped into the observation room through a set of overhead speakers. JACK (over the speakers) So what happened then, Andy? ANDY (over the speakers) I went looking for Chucky and the whole house just blew up. (CONTINUED) Chi Ids Pi ay 10/20/87 106 CONTINUED: JACK (over the speakers) Any idea why? (Andy shakes his head) What were you doing there anyway, Andy? ANDY (over the speakers) Chucky wanted me to see Eddie. JACK (over the speakers) Eddie Caputo? (Andy nods) Why did Chucky want you to see him? ANDY (over the speakers) He said he'd take me to heaven to visit my father. KAREN (startled) Oh, my God — MIKE What? KAREN (recovering) Andy lost his father recently, that's all. MIKE I know. I got a report on it. The car went off the road and Andy was thrown clear. (pause) I *d think something like that could give anybody emotional problems. Especially a small child. KAREN (looking at him) Did your report also tell you that the car caught fire? Did it tell you that Andy ran back into the burning car and tried to pull his father out? Did it tell you that the police had to pull him out kicking and screaming? Did it tell you that? (CONTINUED) Chi Ids Pi ay 10/20/87 55 106 CONTINUED: (2) **** No, no, it didn’t. KAREN Well, he did. Bob was dead, but Andy didn't realize that. When I finally made him understand he felt terrible because he hadn't had a chance to say goodbye to him. Ihat's why I reacted the way I did just now. MIKE (softly) I'm sorry, Mrs. Barclay. KAREN So am I. His father was a wonderful man. She turns back to the two-way glass. Mike does the same thing. Within the other roan Jack continues with his questioning. JACK (through the speakers) What about Aunt Maggie, Andy? Do you have any idea why she fell out that window? ANDY (through the speakers) Yes. Everybody in the room moves closer to the glass, their attention snagged. JACK (through the speakers) Why? ANDY (through the speakers) She saw Chucky and it scared her so much she fell out. KAREN (softly) Oh, no — MIKE (turning to her) What's ’wrong? (CONTINUED) Chi Ids Play 10/20/87 56. 106 CONTINUED: (3) KAREN Ever since I got him that damn doll, he's been insisting it was alive. MIKE Yeah, I know. That's all he keeps talking about. KAREN (looking at him) Let me talk to him. Maybe I can find out what's going on. (Mike hesitates) Please. He looks at a stocky older man in the corner, DR. ARDMORE, who's been listening to the questions and answers in the other roar, the entire time. MIKE Doc, what do you say? He looks over at them. DR. ARDMORE I think it would be very good idea. Eoy's don't like to tell fibs to their mothers. MIKE (to Karen, nodding at the doctor) Dr. Ardmore, the state appointed child psychiatrist. She smiles at him gratefully as Mike holds the door open behind her. KAREN Thank you. DR. ARDMORE Good luck. She steps through the door, Mike closing it behind her. 107 INT. CORRIDOR - DAY They go one door down and disappear through it. 108 INT. INTERROGATION ROOM - DAY Andy leaps out of his seat, running into his mother's arms as Mike and Karen came through the door. (CONTINUED) Chi Ids Play 10/20/87 57 108 CONTINUED: m Manny! ANDY Andy. KAREN They hug each other as Mike cop nods and exits, closing a corner, watching Andy and peering down at her son. throws a look at Jack. The younger the door behind him. Mike steps into Karen. She sits him on the chair, KAREN (Cont.) Andy, now listen to me. You've got to stop telling these wild stories. Too much depends on it. ANDY (looking up at her wide-eyed) I haven't been telling stories. KAREN Andy, Chucky is not alive. Remember, we agreed on that last night. ANDY (hanging his head) I was lying. KAREN You were? Why? ANDY I didn't want you mad at me anymore. KAREN You mean Chucky was really talking to you last night? (he nods) About what? ANDY Aunt Maggie. KAREN What about her? ANDY He told me how she saw him when he was trying to get out the front door. Mike steps forward. (CONTINUED) ChildsPlay 10/20/8? 58 108 CONTINUED: (2) HIKE Why was he trying to get out, Andy? ANDY To go see his friend Eddie. MIKE Why did he want to see him? ANDY I dun no, but he wanted me to take him there today and I told him I couldn't because I'd miss school. That's when he told me Eddie vrould take me up to visit daddy. (turning to Karen) You don’t mind that I left school for that, do you mcrnr.y? KAREN No, of course not, darling. Mike kneels before Andy. MIKE Look, Andy, Chucky was lying to you. ANDY (wide-eyed) He was? MIKE (nodding) Yes. Nobody can take you to heaven. You have to get there all on your own. And Aunt Maggie didn't fall out that window. ANDY She didn't? MIKE No, she didn't. Somebody hit her over the head first. Somebody wanted to hurt her, Andy. Do you have any idea who that could be? ANDY Who would want to hurt Aunt Maggie? MIKE I don't know, Andy. Who do you think? (CONTINUED) Chi Ids Pi ay 10/20/87 59 108 CONTINUED: (3) Mike nods* Andy slowly turns and looks at Chucky sitting so innocuously on the table. His eyes begin to water. ANDY (Cont.) Chucky, it had to be Chucky. MIKE Why would Chucky want to kill Aunt Maggie? ANDY I don't know, but he's lied to me. (to the doll) Why'd you lie to me, Chucky? Why? 109 I NT. OBSERVATION ROOM - DAY Jack looks over at Dr. Ardmore. JACK What do you think, doc? DR. ARDMORE The boy is obviously projecting what he saw saneone do onto the doll. (pause) Or what he did himself.. 110 INT. INTERROGATION ROOM - DAY A.ndy turns to Mike. hWY He won't talk to me with you here. Mike gives up on Andy, rising and turning to Karen. MIKE Has he said anything else about this doll I should know? KAREN No, nothing — (she pauses, thinking) Wait, yes. He said Chucky *s real name was Charles Lee Ray. MIKE (startled) What? ChildsPlay 10/20/87 60. 111 I NT. OBSERVATION ROCK - DAY Jack Santos is about to light a cigarette. He almost drops it when he hears this, staring through the glass at Karen. JACK Holy shit. 112 INT. INTERROGATION ROOM - DAY Karen stares at Mike's suddenly pale face. KAREN What's wrong? Does it mean something? MIKE Only if you believe in reincarnation. KAREN What are you talking about? MIKE Charles Lee Ray was the Bayside Strangler. KAREN The man who was Eddie Caputo's partner . MIKE (nodding) You got it. KAREN Would this Charles Lee Ray have wanted Caputo dead? MIKE You'd better believe it. When he was wounded and running from the police, Caputo ditched him. KAREN My God — She turns slowly and looks at Chucky sitting on the table. KAREN (Cont.) Then if Chucky were Charles Lae Ray it would make perfect sense why he'd want Andy to take him to that place today. (CONTINUED) Chi Ids Play 10/20/87 61 112 CONTINUED: MIKE Perfect sense. Only one problem. He turns to Karan. She is staring at the doll with something between dawning suspicion and horrid fascination. KAREN What? MIKE (nodding at Chucky) That's a doll, not Charles Lee Ray. Kren stares at the doll, unable to take her eyes off it. KAREN (softly) Is it? Mike stabs a finger at the doll. MIKE Look at it, Mrs. Barclay. Does it look alive to you? Let's take a break, okay — He starts for the door. She ignores him, dropping to her knees before Andy again, staring at him intently. KAREN Andy, you say Cnucky talks to you? (Andy nods) Can you make him talk to you right now? Andy turns, staring at Chucky fearfully. ANDY He won't do it. KAREN Why not? ANDY He's already mad at me. He told me if I ever told another grown up about him, he'd kill me. And now I've told all of you. Karen kneels in front of him. (CONTINUED) Chi Ids Play 10/20/87 62. 112 CONTINUED: (2) KAREN Andy, this is terribly important. Lieutenant Norris and I are here to protect you. You have to make Chucky talk. You have to. ANDY But it won't work — KAREN (desperately) Andy, please. Just try! ANDY (hesitantly) All right. If you really want me to. KAREN I really want you to. He turns his gaze from her to Chucky. ANDY (Cont.) Chucky, why'd you lie to me about Aunt Maggie? Nothing from the doll. Mike and Karen watch Andy, hardly daring to breathe, the web her desperation has woven so strong it has even ensnared him. Andy talks to the doll again, raising his voice this time, almost shouting. ANDY (Cont.) Come on, Chucky, tell me why! Chucky suddenly whirs to life, his eyes snapping open, his head turning in Andy direction. CHUCKY My name's Chucky. Let's play, hidey he, ha-ha-ha! Andy turns hopeful eyes on his mother and Mike. ANDY See, he can talk. Mike turns away, the spell broken. Karen looks at her son with despairing eyes. Andy bursts into tears. ANDY (Cont.) I'm sorry, mommy. I tried, I really did. (CONTINUED) Chi Ids Play 10 / 20/87 63. 112 CONTINUED: (3) KAREN I know you did, darling. I know you did. She falls to her knees, taking him in her arms and holding him tight. DISSOLVE TO: 113 I NT. KAREN'S APARTMENT - HALLWAY ~ NIGHT The key is heard turning in the lock. The door opens and Karen enters, exhausted. She relocks the door behind her and heads down the hallway. She carries Chucky in Andy's backpack. 114 INT. LIVING ROCM - NIGHT She drops Chucky on the table, and sits on the couch, staring at the doll. The seconds tick past. Finally: KAREN Well, say something, you little bastard. Nothing from the doll. She raises her voice, almost yelling at it in frustration. KAREN (Cont.) Say something, Dammit I The doll suddenly ccmes to life, seemingly initiated by her voice. Its eyes snap open, its head turning to look at her. CHUCKY I love to be hugged. The mouth clamps shut, the eyelids slam down, and the doll whirs to a halt. Total silence. Karen stares at the doll hopelessly. KAREN Christ, what am I doing? She rises, going into the kitchen. 115 INT. KITCHEN - NIGHT She stops at the sink, getting herself a glass of water. As she drinks she glances to her left. There stuck in a corner of the counter is the gaily colored box that Chucky came in. She picks it up, reading the label aloud in disgust. (CONTINUED) Chi Ids PI ay 10/20/87 64. 115 CONTINUED: KAREN "A Play Pal doll, a kid's best friend." (snorting to herself) Yeah, sure — She goes to drop the box in the trash, inadvertently turning it upside down. Something metallic falls out, hitting the kitchen counter with a heavy thunk. She looks down. She is staring at four Double A plastic encased batteries. She looks back at the box in her hand. "Batteries Included" is clearly written on the side. She whirls, staring through the door into the living roam where Chucky is. 116 INT. LIVING ROOM - NIGHT She comes into the room, stopping above the table where Chucky sits, staring down at the doll. He sits there totally inert. She picks him qo, slowly turning him over on his back. She shoves up his rainbow colored shirt revealing a little plastic door labeled "Batteries Go Here." She pushes down, releasing the catch. The little plastic door snaps open with a hollow thunk to reveal an empty battery case. The doll has been talking ana moving without any batteries in it I Chucky' s head suddenly swivels a complete hundred and eighty degrees in her hand so he is staring up at her from between his shoulder blades. His eyes snap open and his mouth moves. CHUCKY Hi, I'm Chucky. Wanna play? With a scream she drops the doll. Chucky hits the floor and rolls under the couch. She stands there, one hand pressed to her heart, the other to her mouth, breathing hard and staring at the couch. It talked, the goddamn thing talked. Without batteries! She gathers her frayed nerves and leans down, sticking her hand into the blackness beneath the couch. She feels around blindly for the doll, talking to herself as she searches. KAREN Come on, you've got to be under there — She suddenly stops. She's got hold of something. She withdraws the doll fran under the couch, staring down at him. KAREN (Cent.) Talk, cane on, talk to me. (nothing from the doll; she raises her voice) I said talk to me, dammit! (CONTINUED) Chi Ids Play 10/20/87 65. 116 CONTINUED: Still nothing fran the doll. She stares at it angrily. KAREN (Cont.) You're doing the sane thing to me you did to Andy, aren't you? (she shakes the doll) Well, it's not going to work. Came on, if you're alive, say something* She shakes the doll. Nothing. She looks around desperately. What's she going to do? Her gaze falls on the fire place. KARIM (Cont.) Won't talk to me, will you? Well, I'll make you! She leaps to the fire place, pulling back the fire screen, and turning on the gas. She strikes a match she keeps on the hearth, tossing it into the fireplace. It leaps to life, flames licking up the flue. She reaches back, grabbing Chucky, lifting him up, about to throw him in the fire place. She looks up at the doll. KAREN (Cont.) Last chance, dammit. Talk to me! ttothing frar, the doll. She starts to heave him into the roaring fire when with a sudden snarl, Chucky leaps to life in her hand, fighting to be free, twisting around like a handful of snakes. She* grabs the doll with the other hand, holding it tight, crying out almost in joy. KAREN (Cont.) Got you, I got you — Chucky suddenly whips his head around, opens his mouth barring a set of teeth like king size Chiclets, and sinks than as deep as he can into the tender flesh on the inside of her forearm. Karen screams, dropping him as she grabs her arm. The doll hits the floor on his' feet, grinning up at her as he yells at her in a voice suddenly deep with sick masculinity, dancing around her and enjoying her pain. CHUCKY You stupid bitch. You dumb f**king bitch. Think you can f**k with me, do you? Well, no one can. No one! He suddenly launches himself across the floor, leaping into the air and wrapping himself around her leg. He sinks his huge teeth, suddenly incredibly sharp, into her calf. With a scream Karen topples back onto the floor, flailing helplessly at the doll. Chucky releases her, dancing away, watching her writhe in pain, laughing at her. (CONTINUED) Chi Ids Pi ay 10/20/87 66 . 116 CONTINUED: (2) CHUCKY (Cont.) See, I'm the Giver of Pain,. Don't f**k with me or you die. You can't stop me. No one can — She suddenly whips the poker off the fireplace and swipes at the doll, catching him square in the chest. Chucky goes flying across the roan, hitting the floor only to bounce right back up and continue his dance as he mocks her. CHUCKY (Cont.) Didn't you know, bitch? I'm indestructible. Do you hear me? Indestructible. Nothing can kill me. Nothing! (a really evil glint coming into his but tony eyes) Which is more than I can say for your bra tty little kid. He's going to fry for what I did. Do you hear me? Fry! Karen stares at him from the floor, suddenly really terrified. KAREN No — CHUCKY Yes! With a gleeful laugh he suddenly whirls and dashes out of the roam, disappearing down the hallway. She struggles to her feet, limping after him as quickly as she can. 117 I NT. HALLWAY - NIGHT She steps out into the hallway to find the front door open, the chair to the telephone table in front of the door. Chucky obviously used it to stand on fcfoile opening the lock. She hurries toward the door. 118 INT. SIXTH FLOOR HALLWAY - NIGHT She bursts out the front door and skids to a halt, peering over the balustrade, staring down the stairwell. She doesn't see anything, but she hears little feet pitter pattering down the stairs, and then a maniacal laugh floats back up to her. CHUCKY (o.s.) Hidey ho, ha-ha-ha! She screams down the stairwell. (CONTINUED) Chi Ids Play 10/20/87 67. 118 CONTINUED: KAREN Come back, do you hear me, cane back! All she gets for an answer is the front door far below slamming shut and a moment later other tenants cane out of their apartment on the floors below, staring up at her. She looks at them. KAREN (Cont.) He escaped. My son's doll escaped They just stare at her like she's crazy. She suddenly realizes how she sounds and turns, limping back into her apartment. She slams the door behind her. CUT TO: 119 EXT. PRECINCT - STREET - NIGHT Mike walks out the front of the precinct, headed dowa the sidewalk for his car after a hard day. Karen sudden^Sjpulls up in her Honda, double-parking, and hopping out to chase jafter him. KAREN Lieutenant Norris — He stops, looking back. MIKE Hi, Mrs. Barclay. What are you doing back here? She skids to a halt in front of him. KAREN Andy was telling the truth. Chucky is alive. MIKE (staring at her) What? KAREN (in a rush) I took him back to my apartment and was about to throw away the box he cane in away when the batteries fell out. He looks at her blankly. (CONTINUED)
FADE IN: 1 EXT. STREET - BAR - NIGHT A lone WOMAN steps out of the bar. The neighborhood isn't too good. She's obviously a little drunk. Her features are hidden by her scarf and the darkness. She starts to walk down the street. A black van turns the corner behind her and slows as it approaches, cruising along behind for several moments as though the occupants are checking her out. The van stops. A man gets out behind her. His name is CHARLES LEE RAY. He's late thirties, cadaverous with deep sunken, mad eyes. He falls into step behind the woman. The van speeds up and passes her, turning the corner. The woman becomes aware that she is being followed. She picks up her pace. Grinning, Ray picks up his. He enjoys this. She passes aan alley. He suddenly leaps forward, grabbing her and dragging her into it. 2 I NT. ALLEY - NIGHT He whips out a knife, holding it up to her throat, grinning at her. He has a speech defect that causes him to hiss like a snake, spit flecking the corners of his mouth. RAY Okay, bitch, show me what you look like. The woman suddenly rips away her scarf revealing the hardened features of a man in his mia-thirties, MIKE NCRRIS, New York City cop. He grins back at Ray. MIKE What do you think? Am I pretty enough for you? Before the killer can react, Mike knees him. Ray drops to the ground, holding his nuts and groaning. Mike strips off the dress, shucking the high heels as he reaches into his purse for a pair of sneakers. He sighs in pleasure as he slips them on. MIKE (Cont.) God, that feels good — Ray suddenly erupts to life, rising and slamming a garbage can into Mike. The cop goes down as the killer tears out of the alley. ChildsPlay 10/20/87 2 3 I NT, STREET - NIGHT Ray races down the street and around the corner. Mike is right behind him, yelling into the Police Wire he wears. MIKE I*ve got him. Corner of Thirty-First and Third* 4 I NT., COP CAR - NIGHT JACK SANTOS, late twenties, Mike's partner, a New York City Italian, starts the car as he hears the words coming over the receiver on the seat. 5 EXT. THAT STREET - NIGIT The cop car squeals away from the curb and tears down the street. 6 EXT. ANOTHER STREET - NIGHT Mike races around the corner after Ray, pulling out his gun and yelling at the escaping felon. MIKE Stop! Ray. whirls on the run and snaps off a shot at him. Mike fires back, the bullet catching Pay in the leg. The killer goes down, scrambling back to his feet as Mike races down the street after him. Ray screams at the black van up ahead idling at the curb RAY Eddie, help me! 7 INT. BLACK VAN - NIGHT EDDIE CAPUTO, thirty, a smaller washed out version of Ray, sticks his head out the window, glancing back at his partner. Ray is limping madly down the street, Mike racing up behind him. 8 EXT. STREET - NIGHT Jack screeches around the corner in his police car, roaring down the street toward the black van, his bubble machine going, the siren wailing. 9 INT. BLACK VAN - NIGHT Eddie sees the cop car coming and forgets about his partner, laying rubber to get out of there. 10 EXT. STREET - NIGHT Ray picks up his pace, running after the black van as it squeals away from the curb and tears down the street. (CONTINUED) ChildsPlay 10/20/87 3. 10 CONTINUED: FAY Eddie, don't leave me! But it's useless. The van has already disappeared around the corner, the cop car in hot pursuit. Ray looks back at the cop behind him. Mike is gaining fast. He fires a shot at him, forcing him to take cover behind a parked car. Ray ducks into a doorway. Mike looks up from behind the car, yelling to the killer. MIKE Give it up, Ray. It's all over I In the doorway Ray ignores him, shooting the lock off the door and pushing his way inside. Mike leaps up from behind the car, diving after him. 11 IUT. PLAY LAND TOY STORE - NIGHT Ray limps down an aisle, Mike bursting through the door behind him. Ray turns and fires. Mike fires back, the bullet catching the killer squarely in the chest, a mortal wound. Ray spins, somehow manages to keep his balance, and staggers down another aisle. Mike goes after him, skidding to a halt to find himself at an intersection of four aisles, all equally empty. Ray has eluded him. He begins to stalk him through the silent aisles, gun ready, toys staring down at him from everywhere. Ray staggers down another aisle, holding his chest, monbling to himself in growing desperation. RAY Got to find someone, got to find someone — He stops, staring down at the spreading blood stain across his chest in horrified disbelief. FAY (cont.) He killed me. He lifts his head, screaming into the darkness of the store. RAY (Cont.) You hear me, you asshole. You killed me. But I'm going to get you for it! Mike stops in his aisle, whirling about, trying to figure out where the voice is coming fran. (CONTINUED) ChildsPlay 10/20/87 4 11 CONTINUED: RAY (Cont.) (o.s.) I'm going to get you and Eddie no matter what! The voice dies off into silence. Trying to ignore what he’s just heard, trying to repress the shiver running up his spine, Mike starts down the aisle again. Ray staggers down another aisle, stumbling and falling. He pulls down a rack on top of him. He finds himself surrounded by dolls. "Play Pal Dolls, A Boy’s Best Friend.” the boxes read. Happy plastic freckled faces grin out at the killer from under cellophane coverings. Ray slowly grins back. He fumbles one of the boxes open, clamping his sweatey palm to the forehead of the doll, raising his voice in a ritualistic chant. RAY (Cont.) Oh, Damballa, Sateria, Shango, Macumba — In another aisle, Mike pauses and listens, the chant building in power . 0 RAY (Cont.) (o.s.) Give me your power so I can avenge myself on my enemies. Mike grips his gun tighter and moves down the aisle, searching for the source of the chant while Ray lies on the floor in his aisle, his life blood slowly seeping av;ay, his chant continuing to build. RAY (Cont.) Leveau mercier au bois chaloitte secoise entienne mais pois de morte! 12 EXT. STREET - TOY STORE - NIGHT Huge black clouds suddenly start roiling in the sky, thunder booming and lightening crackling. It seems to be centered directly above the toy store. 13 INT. TOY STORE - NIGHT Mike pauses, staring out the window. Rain is beginning to pour down, a terrible wind whipping down the street, lightening flashes turning night into day. He tries to ignore it, following the sound of that terrible chant. Ray lies in his aisle, his chant still building, his palm pressed hard against the forehead of the doll. (CONTINUED) Chi ids Pi ay 10/20/87 13 CONTINUED: RAY Morteisma lieu ae vocuier de meiu vochette — **** stops in his aisle, turning toward the windows as the thunder outside reaches a deafening crescendo, almost as though it's keeping time to the chant he is hearing. In his aisle, Ray continues his chant, screaming it out. RAY Edenlieu pour du boisette Damballai He finishes in a gurgle of blood. 14 EXT. STREET - TOY STORE - NIGHT A huge bolt of lightening snakes down from the storm clouds, striking the toy store in an explosion of electricity and light. 15 I NT. TOY STORE - NIGHT Mike throws his hands over his head and dives for the floor as the windows iT.plode, a million shards of glass flying directly toward him. A huge wind howls through the store, overturning racks and scattering toys up and down the aisles, burying Mike beneath flying debris. It's as though a storm from hell is suddenly inside the store. Ihen as suddenly as it came, it dies away, dropping off to nothing, the store alarm ringing, the fire sprinklers going off, and the emergency lights snapping on covering Mike in a harsh white glow. He struggles to his feet and runs down the aisle, jurping over the debris, trying to find Charles Lee Ray. He turns a corner and skids to a halt. Ray lays on the floor dead, surrounded by piles of dolls. There is something horribly disconcerting about the killer even in death. Mike stares at him, trying to figure it out. Then he realizes what it is. Ray wears a big shit eating death mask grin. CUT TO: 16 EXT. NEW YORK CITY - DAY (AND CREDITS ROLL) The City is in the grip of a gray Wintry day. All is still at this hour. The tinny sound of an early morning tv cartoon show is heard. LITTLE BILLY'S VOICE (OVER) I've got no friends. No one will p]ay with me. ChildsPlay 10/20/87 6 . 17 EXT. WEST EIGHTY- SEVENTH STREET - DAY It's a a nice, quiet street of modest rent-controlled five and six-story apartment buildings. The tv show is coming frcm a front apartment on the uppermost floor of one of the buildings. PLAY PAL'S VOICE (OVER) Hey, cheer up I LITTLE BILLY'S VOICE (OVER) Who are you? 18 INT. BARCLAY APARTMEOT - LIVING ROOM - DAY It's the top sixth floor apartment in the building, messy in a nice lived in way. A handwritten "Happy Birthday, Andy!" banner is strung across the ceiling and on the coffee table there are two gift-wrapped presents, one large, the other small. There is a fireplace in the corner and a tv against the back wall. On the tv a very poor, B quality animated Play Pal show is in progress. The Play Pal animated doll on the screen wears a rainbow colored shirt, blue overalls, and red sneekers. He also has a huge, permanent, freckled grin on his face. We have seen this doll before. It is the same doll Charles Lee Ray chanted over as he died. He stands before an animated little boy who has been crying. The Play Pal gives him his big grin. PLAY PAL I'm your Play Pal. I've came frcm the Play Pal Clubhouse. I'll be your friend to the end! LITTLE BILLY You will? ANDY BARCLAY, six-years old today, pops his head out the doorway to the kitchen, watching the tv. He's an average looking kid with unruly hair and eyes as big as saucers. He also wears worn Play Pal Pjs that have the same colors as the Play Pal's outfit. Andy's face sags in disappointment. ANDY Oh, I saw this one. He disappears back inside the kitchen as the Play Pal and Little Billy skip down the cartoon street together, the Play Pal jingle playing, child's voice singing "When you're down and feeling blue. Plat Pal will always be there for you!" 19 INT. KITCHEN - DAY Andy is dividing his attention between making breakfast and trying to watch the Play Pal show on the tube. (CONTINUED) Chi Ids Play 10/20/87 7. 19 CONTINUED: He pops some bread in the toaster and dunps brightly colored Play Play Sugar Loops cereal into a bowl, A picture of a Play Pal is on front of the box. The cereal goes spilling all over the counter. Andy places the bowl on a tray and pours milk into it, sloshing it over the sides, hardly aware of the mess he is making as he listens to the show in the other roam. ANNOUNCER (o.s.) That's right, boys and girls, always remember, your Play Pal will be your friend to the end. Now stay tuned for a very important message. Andy dives for the door to see what the announcer is talking about. Behind him the bread begins to burn in the toaster. 20 INT. LIVING ROOM - DAY As Andy sticks his head out the door, the cartoon segues into a live action commercial, a brightly painted tree-house appearing on the screen. Birds cirp loudly. A sign on the tree reads "Play Pal Clubhouse? Members Only!" Inside the tree house is a dream world for little boys. Baseball gloves, model airplanes, pirate ships, toys of all kinds abound. Sitting in the middle of this magical clubhouse is a Little Person dressed just like a Play Pal doll. Beside him sits a thirty inch tall Play Pal doll that looks just like him. PLAY PAL Hi, Play Pals. Boy, have I got Play Pal news for you. Now you can have your very own Play Pal doll. That's right, you can have all the adventures we have on tv in your very own home. He picks up the Play Pal doll. PLAY PAL (Cbnt.) Play Pals say three different sentences. We even turn our heads and blink our eyes when you talk to us. He shoves a soft spot on the back of the doll's head, turning to it with a question. PLAY PAL (Cont.) Isn't that right, friend? The doll in his hands suddenly comes alive, his eyes snapping open, his head turning to look at the live action Play Pal. (CONTINUED) ChildsPlay 10/20/87 20 CONTINUED: PLAY PAL DOLL Hi, I'm Oscar, and I love you. Andy stares at the doll, his eyes widening in wonder. ANDY Wow! Behind his head, smoke drifts through the door from the kitchen. He shells it and dives back inside the kitchen. 21 INT. KITCHEN - DAY He grabs the toaster, shaking it. The toast pops out. It’s burnt to a crisp, still smoking. It doesn't bother Andy. He slathers it with butter, the tv still going in the other room. PLAY PAL (o.s.) Every Flay Pal has a name all his own so he can be your very own special friend. So remember to tell Mom and Dad you want a Play Pal. Perfect for birthdays or just any old time! Andy's ears prick up. He hurriedly plops the toast on the tray, picks it up, and heads for the living rocm. 22 INT. LIVING ROOM - DAY Andy whips into the living room, stopping above the coffee table, looking at the big gift wrapped box sitting on it. His eyes snap from the box to the tv, the PJay Pal and the doll still on the air, the little boy mentally comparing the size of the doll on the tube to the size of the box on the table in front of him. PLAY PAL Think what fun we'll have cause you and me will be friends to the end. He and the doll both break up laughing, the commercial disappearing to be replaced by a newscaster. TV NEWS ANNOUNCER Now for the seven o'clock news break. Andy whirls, dashing for the hall v/ith the tray in his hand, calling out to his mother. ANDY Hey, mammy! ChildsPlay 10/20/87 23 I NT. HALL WAY - DAY Andy hurries down the hall the tray bouncing in his hands, the milk fran the cereal bowl sloshing over the sides onto the burnt toast and soaking it. The announcer* s voice follows him down the hall. TV NEWS ANNOUNCER (O.S.)) Charles Lee Ray, the Bayside Strangler, was shot and killed shortly before three A.M. this morning — Andy never hears it, calling out again to his mother. ANDY Hey, maimy, wake up! He disappears through the door into his mother's room. 24 I NT. KAREN'S BEDROOM - DAY He plops the tray down on the night table before a bundle of sheets in the bed. Andy leans over, hitting the clock radio. Easy listening F.M. comes on. The bundle stirs and a hand flops out, but that's all. Andy shakes it. (AND CREDITS END) AIOY Mommy, wake up. Slowly the other hand lifts the sheet and KAREN BARCLAY, Andy's mother, peers out. She's a nice looking woman around thirty. She cracks a sleep-filled eye at the clock. KAREN Andy, it's six-fifteen in the morning. ANDY It's a beautiful day outside. He pulls the curtains. Wintery sunshine spills into the rocm. Karen blinks, shielding her eyes with her hand, looking at him. KAREN I'm sure it's lovely. How long have you been up, birthday boy? He looks at her, hopping back and forth from one foot to the other, hardly able to contain his excitement. ANDY Since forever. Here, I made you breakfast in bed. (CONTINUED) ChildsPlay 10/20/87 10 CONTINUED: He pushes the tray across the bed toward her, sloshing even more milk and cereal out of the bowl. KAREN You did? Well, thank you — She looks down at the tray, her sentence trailing off. Cereal and milk swim all over it. She picks up a piece of the soggy toast. It crumples in her hand. She turns to Andy, keeping a straight face. KAREN (Cont.) That's very sweet of you. Tell you what, 1*11 eat it later. She suddenly comes to life, grabbing him, hugging him tight and tickling him. He squirms in her arm, laughing happily as she gives him a big kiss. KAREN (Cont.) Happy birthday, putpkin. ANDY Thanks. Can we open my presents now, morrmy, can we, can we? Sne smiles, letting him go as she sits up, putting the tray on the bed stand and searching for her slippers. KAREN Sure, just let me find my slippers ANDY Whoopee ! He's gone before she even has a chance to slip the first one on. I NT. LIVING ROOM- - DAY He races into the room, skidding to a halt before the biggest present, staring down at it, his mouth almost watering. Karen enters a moment later, tying her robe. ANDY Can I open this first, can I, can I? The tv is still going with the newscaster talking away. NEWSCASTER Eddie Caputo, Ray's accomplice, was captured by the police six blocks from — (CONTINUED) ChildsPlay 10/20/87 11 25 CONTINUED: She turns the sound completely off, leaving the newscaster to mouth the words silently on the screen. She doesn't give the tv a glance as she turns to Andy. KAREN Don't you want to start with the smaller present first? He looks up at her, shaking his head emphatically. She can't help but smile. KAREN (Cont.) Okay, go ahead and open it. He tears into it with a vengence, his face filled with expectation. It suddenly falls as he pulls back the top and finds himself staring at three pairs of sturdy blue jeans. Karen doesn't notice at first. KAREN (Cont.) I couldn't find another box to put them in, but they should fit you She pulls a pair out, holding them up to his waist, measuring the inseam with her eye. That's when she notices his face. KAREN (Cont.) What's wrong, Andy? He turns away, trying to hide his real feelings. ANDY Nothing. They're great. KAREN (smiling) Ah, you wanted toys, didn't you? Not boring old clothes, right? He turns back to her, his face lighting up with renewed hope. KAREN (Cont.) Well, here, open this. She hands him the smaller package. He looks at it skeptically. No way a Play Pal doll would ever fit in this. He tears it open anyway. Inside is a Play Pal lunchbox with the doll's smiling face grinning up at him. Karen looks at him expectently. KAREN Well, what do you think? (CONTINUED) ChildsPlay 10/20/87 12 CONTINUED; (2) Andy turns to her, trying to anile, but not quite making it. He can't really hide his true feelings frcm her. ANDY It's really neat, mammy. Thanks. He gives her a hug and a kiss. When he pulls back, she's studying his face. KAREN Neat? Is that all it is? Just neat? ANDY No. It's super duper neat. KAREN That's better. She returns his kiss only to see his little face has turned grave. KAREN (Cont.) What's wrong, Andy? ANDY (studying his shoes) No thing. KAREN Came on, tell me. ANDY This is my first birthday without him, isn't it? That freezes her. She stops, looking at him. Than she nods sadly. KAREN Yes, it- is. ANDY Why can't he be here? KAREN (gently) I told you, he's up in heaven. ANDY I don't want daddy up in heaven. I want him here! He suddenly whirls, running out of the room and down the hallway. She rises, hurrying after him. Chi Id sPlay 10/20/87 13 INT. ANDY’S ROOM - DAY He races into his roan and throws himself on his bed, burying his face in his pillow. Karen enters a moment later, sitting on the bed and stroking his head. KAREN I'm sorry, sweetheart. I miss him, too. Andy looks up fran underneath his pillow toward a framed picture on his bureau. Karen's gaze follows his. The picture is of Andy, Karen, and Andy's father, BOB, all three smiling at the camera and waving, obviously very happy together. He was a pleasant looking sandy-haired man. Karen suddenly canes alive, trying to break the mood. KAREN Tell you what, Andy. How would you like a Play Pal for Christmas? He turns to her, brightening. ANDY I'd love it. KAREN Then that's what you'll have. Your very own Play Pal for Christmas. I pr anise. ANDY Oh, thanks, mairny! He gives her a great big kiss, suddenly pulling back, looking at her gravely. ANDY How long away is Christmas? Karen grins in spite of herself, giving him a great big hug. KAREN It'll be here before you know it, Andy. It'll be here before you know it. DISSOLVE TO: EXT. NEW YORK - DAY It's midday, the City jammed with tourists and workers, everybody hurriedly going about their business. ChildsPlay 10/20/87 14 28 I NT. DEPARTMENT STORE - KITCHEN WARE SECTION - DAY Karen is busily checking stock as her best friend, MAGGIE PETERSON, russhes up to her. Maggie is a bit older, mid-thirties, with a raspy voice and a sharp sense of humor. MAGGIE Karen, you know that doll you wanted for Andy, the one that cost over a hundred bucks? KAREN A Play Pal? MAGGIE Yeah, whatever you call it. There's a peddler in the alley behind the store selling stuff and I think he's got one. KAREN What would a peddler be doing with a doll? MAGGIE Who cares? Grab your purse and come on. We can get a deal on it. KAREN But I can't leave the cash register MAGGIE Do you want the damn thing for Andy or don't you? KAREN Of course, I do — MAGGIE Then came on — She grabs her arm, dragging her toward the service stairs leaving Karen just enough time to to grab her purse and shout to a fellow worker . KAREN Dave, would you take over for me for a few minutes? The too well dressed clerk nods as Karen and Maggie disappear down the service stairs. ChildsPlay 10/20/37 15 29 EXT. ALLEY IN BACK OF THE DEPARTMENT STORE ~ DAY The two women emerge from the back service entrance into the alley and stop before a PEDDLER just as a couple of other female employees turn away, costume jewelry in their hands. The Peddler is of indeterminate age, toothless with the ruined face of a dedicated alcoholic. He has a duffle bag full of stuff thrown over his shoulder. Maggie looks at him. MAGGIE Go ahead, show her. He pulls out a Play Pal doll. It grins up at her from its cellophane covered box, its freckled face and buttony blue eyes just dripping good cheer. Although Karen doesn't know it yet, this is CHDCKY. The box is crinkled and out of shape, stained with water damgage. Maggie turns to Karen. MAGGIE (Cont.) Well, is it a Play Pal or not? KAREN (nodding) Yes. Yes, it is. MAGGIE See, I told you. (back to the Peddler) How much? The Peddler measures Karen's excited face with a mixture of shrewdness and greed. PEDDLER Thirty dollars. MAGGIE (snapping right back) Ten and not a penny more. PEDDLER Twenty. MAGGIE Are you kidding me. That thing's not worth twenty — Karen digs in her purse. KAREN That’s all right, Maggie. I'll pay it. (CONTINUED) ChildsPlay 10/20/87 16 29 CONTINUED: MAGGIE Hold on. How do we know the damn thing works? PEDDLER Do you want it or not? If not. I'll find someone else to buy it. KAREN Here She offers him the money. He snatches it out of her hand, thrusting the Play Pal into it. PEDDLER Done. May it bring you and your kid a lot of joy. He throws his duffle bag over his shoulder and starts down the alley for the street. Maggie stares after him. MAGGIE Hold on. How do we know the damn thing isn't stolen? The Peddler flips her the bird without breaking stride. PEDDLER Up yours, lady — Maggie looks after him, making a face. MAGGIE I think I dated him. Karen grabs her arm, dragging her back inside the store. KAREN Oh, Maggie, Andy's going to be so happy — 30 INT. DEPARTMENT STORE - KITCHEN WARE SECTION - DAY Karen and Maggie emerge frcm the service stairs into the Specialty Kitchen Ware Department to find the floor manager, MR. CRISWELL, waiting for them. He is a small fat man with very clean fingernails. He's tapping them on the counter as the ladies approach . MR. CRISWELL Mrs. Barclay, so nice of you to drop by. Have a nice break? (CONTINUED) ChildsPXay 10/20/87 17 30 CONTINUED: KAREN I'm sorry, Mr. Criswell. I was only gone for a minute — Maggie steps forward. MAGGIE Have a heart, Criswell. We were just downstairs buying her little boy a birthday present. MR. CRISWELL We have specified break times for activities like that, Miss Peterson, (back to Karen) Mrs. Howe has taken sick and we’re short handed tonight. You'll have to fill in for her. She glances at her watch. KAREN I can't. I have to pick Andy up at the day care center in an hour. MR. CRISWELL I’m sorry, but this is an emergency. MAGGIE I'll take over for her. MR. CRISWELL Miss Peterson, you work in shoes, not kitchen supplies. (back to Karen) You'll just simply have to do it, Mrs. Barclay. You can take off at five, but you have to be back at seven. KAREN (glancing at her watch) But I'll never get a baby sitter at this hour — MAGGIE Don't worry. I'll watch Andy for you. KAREN Oh, would you, Maggie. (CONTINUED) Chi Id sPlay 10/20/87 18 CONTINUED: (2) MAGGIE Sure. Why not? It’s the hottest date I’ve had in months. MR. CRISWELL (dryly) I can't imagine why. (to Karen) Thank you, Mrs. Barclay. Both I and the store appreciate it. He turns and waddles off. Maggie watches him go, muttering under her breath. MAGGIE Asshole. DISSOLVE TO: EXT. ELEMENTARY SCHOOL PLAYGROUND - DAY Karen steps through the gate into the playground, stopping to watch several children playing tag under the supervision of their young teacher, MRS. WATERS. Andy sits alone against a fence, staring out at nothing. Karen walks over to the teacher. KAREN Hello, Mrs. Waters. How’s Andy been * today? MRS. WATERS Just fine. Karen turns to look at her son sitting all alone. The sight obviously troubles her. Mrs. Waters turns kind eyes on her. MRS. WATERS (Cont.) It takes time to recover from the death of a parent, Mrs. Barclay. But that’s all he needs, time. Karen sniles at her gratefully. KAREN Thanks, Mrs. Waters. I need a little reassurance every now and then. She walks over to where Andy sits, stopping above him. KAREN (Cont.) Well, hello, champ. Ready to go hone? (CONTINUED) ChildsPlay 10/20/87 19 CONTINUED: ANDY Sure. He dispiritedly climbs to his feet, puts his hand in hers, and starts to walk across the playground toward the street. KAREN How was your day? ANDY Okay. KAREN You have your new lunch pail? He lifts his birthday present, the Play Pal lunch pail. ANDY Un-huh. They exit the play ground into the street. EXT. STREET - DAY They walk down the street toward her not very new Honda. Karen glances down at him mischievously. KAREN I may have something to go with it? Andy looks up at her with sudden interest. What? ANDY KAREN You'll have to wait till we get heme to find out. ANDY Where is it? KAREN In the tunk of the car. She opens the front door for him, but he makes no move to get in. He's too busy staring at the trunk, wondering what's under it. ANDY Is it a Play Pal, mom? Is it, huh, is it? (CONTINUED) ChildsPlay 10/20/87 20 32 CONTINUED: KAREN You’ll have to wait till we get hone to find out. ANDY Aw, man — KAREN The faster we get home the faster you'll find out. He leaps inside the car, scooting across the front seat to make roam for her. She climbs in after him and takes off down the street at a good clip. CUT TO: 33 I NT. BARCLAY APARTMENT - HALLWAY - DUSK A key turns in the lock and Andy bursts through the door. He turns to Karen expectantly as she enters. ANDY We're hone, mom* KAREN I know, darling. She turns to him with a smile and a kiss, pulling an oblong gift-wrapped package from the brown paper bag. KAREN (Cont.) Happy Birthday again, Andy. ANDY Wow — He whirls, racing down the hallway into the living roan with the gift. Karen smiles, taking off her coat before following him. 34 INT. LIVING ROOM - DAY She enters, sitting beside him on the couch as he finishes tearing off the last of the paper, revealing Chucky's face smiling up at them through the cellophane top of the box. Andy's face lights up. ANDY A Play Pal. I knew it, I knew you'd get me onel He pulls the doll out of the box, holding him up for Karen to see. (CONTINUED) ChildsPlay 10/20/87 21 34 CONTINUED: ANDY (Cont.) Look at him, mcm, just look at him, KAREN Well, show me how he works. Andy pushes the soft spot on the back of his head. Gears whir and Chucky' s baby blue but tony eyes snap open. Andy looks at the doll, talking to him. ANDY Hi, I'm Andy. What's your name? Chucky's head swivels toward Andy, obviously mechanically drawn by the sound of his voice. Ihe doll replies in his high-pitched little voice, his lips badly out of sync with his words. CHUCKY Hi, I'm Chucky, and I'm your friend to the end. Hidey ho, ha-ha-ha. Karen looks at the doll, a bit startled. KAREN Well, isn't he something. Andy looks at the doll adoringly, doing a perfect imitation of his voice. ANDY Yeah, I'm your friend, too. Hidey ho, ha-ha-ha. Karen looks at her son in some surprise. KAREN Where did you learn to do that? ANDY From Play Pals. Oh, mom^ thanks! He throws himself into her arms, giving her a big kiss. She kisses him back, the two of them laughing happily. There is a sudden knocking at the door. She disentangles herself. KAREN Here, you play with Chucky. I'll be right back. She rises, heading for the hallway. Chi Ids PI ay 10/20/87 22 35 I NT. HALLWAY - DUSK Dusk is turning to night as she stops before the door. She turns on the light, unlocking it to find Maggie standing there. KAREN Maggie, ccme on in. Maggie steps inside. She has a gift wrapped package under her arm. Karen glances at it as she closes and locks the front door. KAREN Is that for Andy? (Maggie nods) You shouldn’t have, Maggie. MAGGIE Nonsense. What else am I going to do with my money. How did the doll go over? KAREN Just great — Andy bursts out of his room, running down the hallway, and skidding to a halt before Maggie. He holds up his doll. ANDY Aunt Maggie, look what mom gave me. She leans down, looking at Chucky, pretending she's seeing him for the first time. MAGGIE Look at him. He's big, isn't he? ANDY (nodding) He talks and everything. MAGGIE He does? KAREN (to Maggie) You're not going to believe this doll. Andy turns to Chucky. ANDY Say something to Aunt Maggie, Chucky. Chucky turns and he looks at Maggie. (CONTINUED) ChildsPlay 10/20/87 23 35 CONTINUED: CHUCKY Hi, I like to be hugged. They all laugh. MAGGIE Well, he certainly does talk, doesn't he? Look, another birthday present for you. She hands her gift to Andy. ANDY Thanks, Aunt Maggie. He gives her a great big hug and tears into his present. Maggie throws a look at Karen. MAGGIE Why can't all men be that nice? ANDY Oh, man, look! He pulls out an automatic battery powered squirt gun that looks just like a real AK-47 scaled down to a child's size. Karen turns to Maggie. KAREN Oh, Maggie, why did you have to give him a gun of all things. MAGGIE Hey, it's a cold cruel world out there. He'd better start learning how to defend himself now. (to Andy) Right, Tiger? ANDY Right! Bang, bang, bang — He starts playing make-believe, like he's shooting Maggie. She throws up her arms and staggers back against the wall like she's been hit. MAGGIE Oh, no, you got me! (CONTINUED) ChildsPlay 10/20/87 24 35 CONTINUED: (2) KAREN Maggie* would you stop it * — (she glances down at her watch) Oh, no, quarter to seven. I'm going to be late for work. She grabs her coat, talking as she puts it on. KAREN (Cont.) There's left over stew on the stove. I've made same salad. It’s in the fridge. MAGGIE We'll be fine. You just sell those kitchen wares and make Criswell happy. KAREN (smiling at Maggie) You're a real friend, you know that, Magg ie. MAGGIE Yeah, I know. Even if I do like Rambo better than Mr. Rodgers. Karen bends over and gives Andy a goodbye kiss. KAREN Now you be good and do what Aunt Maggie tells you. I'll be home as early as I can. She steps for the door when Andy suddenly holds Chucky up. ANDY What about Chucky? Don't you want to kiss him goodnight, too. KAREN (smiling) Sure. Goodnight, Chucky. She gives the doll a kiss and slips out the door. Maggie locks it behind her. She turns to Andy. MAGGIE Well , what do you say? How about sane Irish stew? (CONTINUED) ChildsPlay 10/20/87 25 35 CONTINUED: (3) CHUCKY (suddenly piping up) Hey, wanna play? ANDY Yeah, let's play! He runs down the hall with Chucky and the squirt gun, making shooting noises as he goes. ANDY (Cont.) Bang, bang, bang — He disappears into the living room, Maggie staring after him wistfully. MAGGIE Ah, to be young again. She disappears into the kitchen. DISSOLVE TO: 36 I NT. KITCHEN - NIGHT Dinner is finished, Maggie at the sink doing the last of the dishes. Over her shoulder through the doorway into the living roan Andy can be seen sitting on the floor in front of the tv, playing with Chucky and his squirt gun. He wears his worn Play Pal PJs. 37 I NT. LIVING ROOM - NIGHT Andy drops the gun, picking up his Slinky, and entertaining his doll with it. ANDY Wanna see how my Slinky works, Chucky? You just do like this — He runs it from hand to hand, ignoring the tv as suddenly the show is interrupted by a news break. NEWSCASTER Eddie Caputo, reputed accomplice of Charles Lee Ray, the Bayside Strangler, has just escaped from the Thirty-Fourth Precinct jail. More details on the eight o'clock news next. Chucky* s head suddenly turns and stares at the tv. Andy looks at him, running the slinky frati hand-to-hand. (CONTINUED) Chi Ids Play 10/20/87 37 CONTINUED: ANDY Hey, Chucky, you're not watching me. Chucky' s eyes stay glued to the tv for an instant too long, almost as though he's watching it, and then he turns to Andy. CHUCKY Hi, I love you. 38 I NT. KITCHEN - NIGHT Maggie is just finishing drying the dishes when she glances at her watch. She yells over her shoulder. MAGGIE Time for bed, scout. Through the doorway, Andy can be seen turning to Chucky. ANDY Cane on, Chucky, we got to get ready for bed. Maybe the doll says something, maybe it doesn't. The tv in the next roam drowns it out, but Andy can be seen stopping as though the doll's said something to him and then leaning over to listen to him. Then he straightens, looking through the doorway at Maggie in the kitchen. ANDY Chucky wants to watch the nine o'clock news. 39 INT. KITCHEN - NIGHT MAGGIE (smiling to herself) Sure he does. She finishes off the last dish, drops the towel, and goes into the living room. 40 INT. LIVING ROOM - NIGHT She snaps off the tv, scooping Andy up in her arms, and heading for the hallway. MAGGIE Off we go, little man. He suddenly comes alive in her arms, squirming and kicking, reaching back for Chucky left on the floor. (CONTINUED) ChildsPlay 10/20/87 27 40 CONTINUED: ANDY Chucky! MAGGIE Oh, yes, Chucky — She does a one-eighty, grabs the doll off the floor, deposits him in Andy's arms, and carries both of them into the hallway. 41 I NT. HALLWAY - NIGHT She carries the whole kit and caboodle down the hall toward Andy's bedroom. MAGGIE And now, young man, it's brush your teeth, and under the covers with you. 42 INT. ANDY'S BEDROOM - NIGHT She drops him on the floor, Andy clutching Chucky. She looks down at him gravely. MAGGIE Agreed? Andy nods, equally grave. Maggie sr.iles, tousling his head. MAGGIE (Cont.) Good. Yell when you’re ready for me to tuck you in. She turns and leaves. Andy stares around the room, Chucky in his arms. He looks down at the doll. ANDY This is my room. He walks the roam, pointing his things out to the doll as he goes. ANDY (Cont.) That's my train set and this is my electric car. And this is my baseball bat and jar of marbles and there's my bicycle. Those are trainer wheels. He stops by the framed photograph of himself, his mother, and father on the bureau. (CONTINUED) ChildsPlay 10/20/87 42 CONTINUED: ANDY (Cont.) This is mam and my dad. Bob, He died in a car wreck, but man and I loved him very much. He walks over to a fish bowl where a lone goldfish swims. ANDY (Cont.) And this is Ralph. He likes to swim. He sets Chuck y down on a chair, and heads for the door. ANDY (Cont.) Okay, you stay here while I brush my teeth and change. 43 I NT. HALLWAY - NIGHT Andy canes out of his bedroom, down the hall, and into the bathroom. 44 I NT. KITCHEN - NIGHT Maggie looks up from stacking the dishes, yelling over her shoulder. MAGGIE You brushing your teeth, young man? 45 I NT. BATHROOM - NIGHT Andy yells back, his mouth full of toothpaste.
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