"GHOST"
Screenplay by
Bruce Joel Rubin
SHOOTING DRAFT
INT. TRIBECA LOFT - DAY
The CAMERA TRACKS slowly through clouds of moving dust. Shafts
of muted light pierce the dense atmosphere. An eerie
netherworld envelops us. Strange ghostly forms appear and
disappear in the distance. They seem like apparitions.
Broken timbers and dangling cables emerge from the smoky
light. We see hints of a huge demolished space.
An old white plaster wall FILLS THE SCREEN. Momentary blips
of light flash across it. SOUNDS of street traffic are heard
dimly in the distance.
With startling impact, the SOUND of a sledgehammer explodes
out of nowhere. The wall shudders.
HAMMER BLOWS assault the audience. They are loud and jarring.
The wall buckles.
Chunks of plaster CRASH to the floor. The air fills with new
swirls of white dust. The SLEDGEHAMMER smashes INTO VIEW.
Beams of sunlight cut through the cracks, piercing the
atmosphere like searchlights in a fog. A huge section of
wall falls toward camera as more plaster billows into the
air. We hear voices talking.
MOLLY (O.S.)
What a mess!
SAM (O.S.)
I told you!
Through jagged holes we can make out three dim figures on
the other side of the wall, all wielding SLEDGEHAMMERS.
SAM
I can't breathe.
MOLLY
Use your mask, dummy.
One of the figures adjusts something over his face. Isolated
rays of sunlight dance around him casting long shadows in
the air.
SAM
(singing)
"Volga boat..., man." Whoomph!
His hammer pounds the wall. Molly laughs.
ANGLE
The CAMERA MOVES IN and for the first time we see them. MOLLY
JENSEN, in her late 20's, has a bandanna around her hair and
a workman's mask over her nose, but we can tell from her
eyes and cheekbones that she is beautiful. SAM WHEAT, in his
late 30's, is also hidden behind a mask, but he has a strong
forehead and handsome features. Sweat is dripping down his
brow, leaving streaks in the dust. CARL BRUNER, early 30's,
removes his mask revealing a good looking young man with a
fashionable two-day stubble. Both men have their shirts off.
CUT TO:
ANGLE
BLACKNESS AND A LOUD THUD. Suddenly a shaft of light
penetrates the darkness. Another thud and more light. We see
a hole. The hook of a crowbar enters it, grappling with
something around the edges. Then, with a tug and a loud yank,
a huge section of tin ceiling crashes to the floor. Huge
clouds of dust fly into the air. Molly looks up, astonished.
MOLLY
Sam, look, there's a whole eight
feet up there.
SAM
And about eighty years of dust.
MOLLY
We have all this height, Sam. We
could add a second floor and put our
bedroom upstairs. That would leave
all this space.
SAM
(eyeing her curiously)
For what?
MOLLY
For space. Just space.
SAM
Be great for bumper cars.
Carl laughs as he looks at Sam. Their bodies, covered with
white powder, appear as strange, ghostly figures.
CARL
Sam, this may be none of my business,
but I'm concerned you're doing too
much coke.
Sam glances down at his white body. They all laugh.
MOLLY
Hey, Sam, turn around.
Sam obeys. Molly doodles on his chest, drawing a bow tie and
the outline of a tuxedo jacket. Her lines are quick,
accomplished, and subtly erotic.
CARL
(offering his body)
How 'bout me?
Molly nods. She reaches out and superimposes an armless female
torso over his. His stomach jumps sensually as she touches
it. Molly pulls back to admire her work. He looks like a
Greek statue.
CARL
I'll never wash again.
Molly laughs.
ANGLE
Sam, Molly, and Carl are holding their sledgehammers. Molly
begins to count.
MOLLY
All together now. One,
(they strike the wall
with their hammers.
The wall shakes)
two,
(they pound again.
The wall begins to
give)
three.
In unison, they hit it once more. A massive section of plaster
and metal topples to the ground. New clouds of dust fill the
air. Suddenly, Sam spies an old jar lying on the floor.
Something rattles inside it, a penny.
SAM
Hey, look what I found. There's a
penny inside.
(he hands it to Molly)
For luck in our new loft. It's a
good omen.
MOLLY
(shaking her head,
disagreeing)
You're the good omen.
She glances at him lovingly. Carl looks at the two of them
and grins.
As the dust settles we see, for the first time, the outlines
of the space they are working in. It is a huge loft over
four thousand square feet. Banks of windows run east and
west. Molly steps back and admires the room.
MOLLY
It's gorgeous.
CARL
You guys lucked out. Hell, I bet you
could sell it tomorrow and double
your investment.
MOLLY
Sell it? Carl, we just bought it.
CARL
What I wouldn't do for a place like
this.
SAM
It's gonna be great.
OMITTED
EXT. MARKET SECURITY BANK & TRUST - HEADQUARTERS - DAY
It is morning rush hour. Sam and Carl, both wearing suits
and ties, exit the Wall Street subway station and approach
the Headquarters of Market Security Bank & Trust.
CARL
Oh, by the way, Sam, I had to move
your 3:00 with Bob Kahan to 4:00 so
you could squeeze in Gary Alan. He
called yesterday and said he has to
see you today about the Danway stuff.
Three o'clock was the only time he
could make it. Also, the board meeting
in L.A. has been confirmed for the
12th. I got you on a 9:00 a.m. flight.
Sam seems preoccupied.
CARL
(continuing)
Hey, Sam, relax. This isn't brain
surgery you're going into.
SAM
I hate pitching to these Japanese
guys. They make me nervous. I mean,
what am I supposed to say, "Who do
you think'll win that big Sumo
championship"?
CARL
Sam, you'll be fine. You're great
with people.
Sam's jacket flares open. He is wearing yellow suspenders.
Carl notices.
CARL
(continuing)
Hey, nice. I like those.
Sam, not completely comfortable wearing them, buttons his
jacket.
SAM
...Molly.
Carl smiles and then turns to admire a car going by.
CARL
Jesus, look at that, a Testerossa.
That's the car I'm gonna drive when
I'm making two hundred grand.
SAM
Better pay off your Mustang first.
INT. BANK HEADQUARTERS, ELEVATOR - DAY
Sam and Carl are standing on a crowded elevator. It is deadly
quiet. Suddenly Carl elbows Sam and winks. There is something
he wants him to do. Sam hesitates a moment, annoyed, and
then relents. He clears his throat.
SAM
So Carl, what did the doctor say?
CARL
He said it was contagious. Very
contagious. I shouldn't be going
into work today.
(he coughs loudly)
But what could I do?
He sneezes. People on the elevator freeze.
SAM
And what about the rash?
CARL
Not good. It's spreading everywhere.
SAM
On your genitals again?
CARL
Everywhere. He said be sure not to
touch anyone.
We see people trying to inch away. Carl coughs again. They
hold their breath. The elevator stops at the next floor. All
the passengers get off.
INT. BANK HEADQUARTERS, EXECUTIVE OFFICES - DAY
Sam and Carl, laughing, walk through a large office area
bustling with activity. Employees, in various cubicles, are
talking on telephones and punching information into computers.
Sam heads into his executive office. Carl steps into a cubicle
across the aisle. ROSE, Sam's secretary, approaches him.
ROSE
Morning, Mr. Wheat.
SAM
Morning Rose. Listen, when the
Kobiashi people arrive, have Elenore
take them right to the...
ROSE
They're already here.
She points to a windowed conference room. Sam turns around
and sees a large group of JAPANESE MEN standing inside.
SAM
They're early!
ROSE
I know. And Andy Dillon called. He
said they need $900,000 transferred
to Albany by noon.
SAM
Noon? Damn!
He hurries over to Carl's cubicle. He is on the phone. Carl
cups the mouthpiece.
CARL
Hold on.
SAM
Listen, Dillon needs $900,000 in
Albany by noon. Can you transfer it
to his payroll account?
CARL
Sure. Just let me have your MAC code.
Sam pulls out his wallet and extracts a small address book.
He jots the code numbers on a piece of paper and hands it to
Carl.
SAM
Discretion, huh?
CARL
You bet. I'll do it right away.
INT. WELL-APPOINTED EXECUTIVE BOARDROOM - DAY
Sam and a group of fifteen somber Japanese businessmen are
sitting around a large granite conference table. Sam stands
up and speaks a simple greeting to them.
SAM
(in Japanese)
Good morning, Gentlemen. On behalf
of Market Security Bank & Trust, I
welcome you to our city.
The men smile happily and nod their heads in unison.
MEN
Arigato.
They look to Sam, expecting more. Uncomfortable, he clears
his throat.
SAM
I'm afraid that's the only Japanese
I know. But I realize it's not our
language fluency, or lack of it,
that brings you to Market Security.
Rather, I'm sure, it is our banking
expertise, our ability to represent
and anticipate all of your banking
needs. As you know, we are not the
largest banking establishment in New
York.
(his throat goes dry
and he takes a sip
of water)
But, with combined assets of over
200 billion dollars, we have a firm
commitment to the international
marketplace.
A SECRETARY enters the room and hands Sam a piece of paper.
It reads "MOLLY ON LINE 2. URGENT." She hands him a phone.
Sam looks surprised. He nods apologetically to his guests.
SAM
Excuse me.
(he picks up the
receiver)
Hello?
CUT TO:
MOLLY
dressed in a long, clay covered smock. She is in a potters
studio. SEVERAL OTHER POTTERS are in the background working
at their wheels. A five-foot high ceramic vase stands beside
Molly. It is still wet. She toys with it as she speaks into
the phone.
MOLLY
A man and a woman are lying in bed
when the woman's husband suddenly
comes home. Frightened, she tells
the man he has to leave instantly
through the window. He has no time
to dress.
CUT BACK TO:
SAM
straight-faced, listening and trying to look as if it is
important.
SAM
Uh hmm.
MOLLY (V.O.)
It's raining outside. The man, running
naked along the street, sees some
joggers approaching.
The entire contingent of Japanese men is staring at Sam.
MOLLY (V.O.)
(continuing)
One of the joggers calls out. "Hey,
do you always go jogging naked?" And
the man says, "Yes, always."
SAM
Okay.
MOLLY (V.O.)
And then the other jogger says, "And
do you always wear a condom?" The
man looks down, embarrassed, and
replies, "Only when it's raining."
Sam squelches a smile.
SAM
Well, that's just fine.
MOLLY (V.O.)
Now just relax and have fun, okay?
It's not the end of the world if you
lose this account. You've always got
me.
SAM
Thank you. I'll remember that.
MOLLY (V.O.)
See ya.
He hangs up and stares at the Japanese men. A short smile
crosses his face.
CUT TO:
A CARVED WOODEN ANGEL
eight feet tall, ascending into an afternoon sky. As the
CAMERA PULLS BACK we see that we are inside a building and
that the angel is dangling outside an open doorway high above
the street.
A group of workmen grab for the angel, but have difficulty
bringing it in. Suddenly Molly steps INTO the FRAME.
MOLLY
Where you guys from, the New York
City Ballet?
With a gutsy maneuver, Molly leans out over the sidewalk and
tries to grab hold of the ropes. She can't reach them.
Suddenly a pair of hands grabs her around the waist. She
screams.
SAM
Saved your life.
Sam laughs as he pulls her back into the loft. She does not
think it is funny.
MOLLY
You bastard. Don't do that to me.
You scared me half to death.
SAM
Better than seeing this gorgeous
body splattered all over the street.
Here, look out.
Sam jumps up, grabs hold of the door's top molding, and swings
out over the sidewalk. Molly gasps. Sam's feet push at the
angel and send it swinging away and then back toward the
loft. Quickly he jumps back, grabs hold of it, and brings it
in. The workmen applaud. Molly eyes him with admiration.
Suddenly we hear a voice call out.
CARL (O.S.)
Sam? Molly? Anybody home?
Molly looks to Sam.
MOLLY
Carl? Did you invite him?
SAM
(under his breath)
I couldn't keep him away.
Carl enters, shakes Molly's hand, and pats Sam on the back.
CARL
Hi, Moll. Hi, Sam. So, how's it goin?
Before they can answer, a WORKMAN turns to Molly.
WORKMAN (V.O.)
Where do you want this?
MOLLY
In the bedroom.
INT. LOFT - DAY
As the angel pulls away from camera, we see the newly
decorated loft for the first time. It is painted now in lovely
pastels. The floor, a huge gymnasium-like expanse, is
lacquered with polyurethane. Furniture and boxes are piling
up along the walls. Dominating the space, with a kind of
surreal presence, are a large number of Molly's sculptures
and ceramics. There is also a vintage jukebox. Carl is
impressed.
CARL
Wow! The place looks great. Really
great.
MOLLY
You like it, huh?
CARL
"Like" is hardly the word. I never
imagined it would be this beautiful.
This is incredible.
A mover lugs in a heavy old chair. Molly sees it.
MOLLY
Sam, you kept that chair?
SAM
What do you mean? It's comfortable.
For T.V. I love that chair.
MOLLY
But it doesn't go with anything.
SAM
It goes with me.
MOLLY
It's okay, I'll paint it.
Sam pinches her ass. Molly smiles.
INT. KITCHEN - DAY - LATER
Sam, Molly, and Carl are sprawled out on the floor, eating
from Cartons of Chinese food. Frank, a gray cat, eats beside
them. Unpacked boxes are scattered everywhere.
SAM
It was the middle of December. I was
sitting in my old office, the one
Charlie's in. Suddenly, I heard this
woman screaming. I thought someone'd
been shot or something.
MOLLY
They took away my MasterCard. It was
Christmas, for godssake.
SAM
She was four thousand dollars over
her limit.
MOLLY
It wasn't four thousand. And I'd
already sent in the payment! You're
the ones that lost it.
SAM
She's still angry.
MOLLY
No I'm not.
The cat begins nibbling Sam's food.
SAM
Get outta here, Frank!
(the cat scampers
away)
You should have seen her. All pink
and flushed. Her skin was gorgeous,
like a rose. And she's screaming,
demanding to see the president. So
Wilton brought her to me.
CARL
You? You weren't even a VP yet.
SAM
She didn't know that.
Carl smiles.
MOLLY
Can you believe it? And the next
thing I know, he's telling me his
life story. I couldn't believe it.
Everything. About his divorce, how
he'd just arrived in New York, how
he didn't know any women. And all
with this Montana accent.
SAM
What's a Montana accent?
MOLLY
The one you always slip into it when
you get nervous. "Yes, Ma'am. Thank
you, Ma'am. Can I fondle your breasts,
Ma'am?"
SAM
(laughing)
I wasn't nervous.
MOLLY
Admit it. You liked me. You were
interested.
SAM
(matter of factly)
I thought you were cute.
MOLLY
Cute?
(looking at Carl)
Do you believe this? I should have
been Picasso's mistress. I should
have been living in Barcelona or
Paris. But no, I'm moving in with a
New York banker who thinks I'm cute.
She looks at Sam and grins. Carl is staring at Molly,
obviously turned on by her. He is embarrassed when she catches
his gaze and quickly looks away.
OMITTED
INT. MOLLY'S STUDIO - NIGHT
Molly, dressed only in a T-shirt, is sitting at her potters
wheel throwing a series of pots. Sam enters the studio. He
is barefoot, shirtless, wearing jeans.
SAM
What are you doing?
MOLLY
I felt inspired.
SAM
At 2:00 am?
She nods and presses her hands into a pot that is forming in
front of her. Sam watches the sensual movement of her fingers,
molding and forming the clay. She is forceful, assured,
gifted. The clay responds to her slightest effort. Slowly,
almost unconsciously, Sam reaches for her shoulders and begins
kissing them.
SAM
(continuing)
You notice Carl's eyes today? They
were all over you.
MOLLY
What? Are you jealous? Sam, let me
tell you something. He's not even
looking at me. It's you he idolizes.
He doesn't see me at all... Anyway,
he's not my type.
Sam reaches over her and gently adds his fingers to the clay.
Molly looks up at him.
MOLLY
(continuing)
What are you doing?
SAM
I feel inspired.
His hands dig into the clay. Molly smiles. Their fingers
seem to dance together. After a moment, she reaches up to
him, her clay-covered fingers streaking his face and curving
down to his chest. Sam grins and reaches down to her.
MATCH CUT TO:
SAM'S FINGER
as it presses two buttons on his jukebox. We watch as the
mechanical arm selects a record and slowly, sensuously, lowers
it to the turntable. The arm hovers over the record and then
descends. It begins to play. The song is "Unchained Melody"
by the Righteous Brothers.
SAM AND MOLLY
are dancing in the middle of the dark loft. Moonlight pours
through the windows and shines off the floor. Wads of packing
paper swirl sensuously around their feet.
Molly runs her fingers down Sam's naked back. The moment is
sweet and erotic. We watch as Sam slowly draws his fingers
down over Molly's face, gently caressing her forehead, her
eyes, her lips.
Sam slides his hands under Molly's T-shirt, slowly moving
them toward her breasts. Her breathing slows. They dance
silently, her hair swaying in the soft light.
We hear the sounds of their bare feet on the highly polished
floor.
Sensuously, Molly's shirt lifts above her navel as Sam presses
into her. Their stomachs touch and part and touch again. She
bites her lip. Sam eyes her moonlit form as she strokes his
chest, slowly moving her fingers down his torso, around the
curve of his hips, and then digging into the back of his
jeans.
Sam leans into Molly and nips at her neck. She stops dancing.
Her eyes close. She stands absolutely still. Sam's hands
move to her backside. He pulls her closer.
DISSOLVE:
LIVINGROOM - NIGHT
SAM AND MOLLY, making love on the livingroom carpet. Paper
and packing materials crumble beneath them and scatter across
the floor. For all their sensuality, it is their hands and
eyes that are most expressive, revealing a tenderness that
is deeply moving. Their lovemaking is full of love.
JUKEBOX
The song ends. The jukebox arm retracts and gently slides
the record back into its slot.
DISSOLVE:
OMITTED
BEDROOM - NIGHT
Sam and Molly are lying together silently. Molly gazes at
him.
MOLLY
What's the matter?
SAM
The matter?
MOLLY
I can tell.
SAM
Nothing... really.
MOLLY
You're worried, aren't you? About
moving in together?
SAM
No. Not really.
MOLLY
Then what? The promotion?
SAM
I don't know. A lot of things. I
just don't want the bubble to burst...
Whenever something good happens to
me I'm just afraid I'm going to lose
it.
Molly gently strokes his head.
MOLLY
You know what?
SAM
What?
MOLLY
I love you. I really love you.
He smiles and strokes her cheek.
SAM
Ditto.
Suddenly the T.V. blares into the room. Sam jumps up, grabbing
the remote control unit from under his buttocks. Molly laughs
as he turns the SOUND DOWN. The news is on and they are
showing the remains of an airline disaster. Sam stares at
the tube.
SAM
Oh Jesus. Another one.
MOLLY
Don't watch that stuff.
He motions to wait. Dead bodies litter the screen.
CORRESPONDENT
...It is estimated that 34 people
died in the crash, the second in
less than two weeks.
The T.V. goes OFF. Sam, confused, spins around. Molly is
holding the remote control. She nods for him to lie down.
SAM
I should cancel my L.A. trip... These
things always happen in threes.
MOLLY
Threes? Sam, get serious. Besides,
you lead a charmed life.
SAM
Yeah. So did they.
Sam looks at her and then back at the screen.
SAM
(continuing)
Amazing, huh?
(he snaps his fingers)
Just like that. Blackout.
EXT. WALL STREET ESTABLISHING SHOT - DAY
OMITTED
INT. SAM'S OFFICE - DAY
Sam is sitting at his computer. His address book with his
access codes is sitting open beside him. He seems perplexed
by something happening on the screen. After pushing a series
of buttons and getting the same response, he whacks the
computer on the side. Carl, walking in the door, sees him.
Sam looks up sheepishly.
SAM
A glitch. What's up?
CARL
The Mark Greenberg and Larry White
accounts. I can't get in. Your MAC
code doesn't work.
SAM
I changed it.
CARL
Why? What's up?
SAM
Nothing. I just want to nose around
a bit... Can you keep your mouth
shut?
CARL
Yeah, sure. Tell me, what's going
on.
SAM
I think I've stumbled onto something.
There's too much money in these
accounts.
CARL
Too much money. That's ridiculous.
How could there be too much money?
SAM
That's what I keep asking myself.
CARL
It must be the computer.
SAM
I've been checking.
CARL
Yeah, Mr. Fixit.
(he hits the computer
like Sam did and
laughs)
Come on, move over. Let me see what
I can do.
SAM
Not yet. I'm gonna dig around a bit.
CARL
Okay, okay. Just call me when you're
ready for help.
(he heads for the
door)
So, what are you and Moll doing
tonight?
SAM
We're going to the theatre. She wants
to see "Macbeth" at the Spring Street
Repertory.
Carl winces. Sam smiles.
INT. SPRING STREET REPERTORY - NIGHT
Sam and Molly are sitting in the fifth row of a crowded
auditorium. He is sound asleep.
ANGLE STAGE
A scene from "Macbeth".
Sam begins to snore. Molly grabs his nose. He jerks awake.
Molly grins.
EXT. SPRING STREET REPERTORY - NIGHT
Bright marquee lights sparkle overhead as Sam and Molly exit
the theatre. It is a beautiful brisk night.
SAM
I loved it.
MOLLY
I could tell.
She smiles and squeezes his arm. They walk silently down a
dark street, heading toward their loft. The pavement is full
of shadows.
MOLLY
(continuing)
Did I tell you what Marcia said?
SAM
Six times.
MOLLY
Six? No I didn't. Sam, don't be so
blasé. I'll have two major pieces in
the show. The New York Times reviews
her gallery all the time. This could
be huge.
SAM
Molly, the "New York Times" is some
frustrated little critic with pimples
on his ass who flunked out of art
school. Who cares what The New York
Times thinks?
MOLLY
Eight million readers, that's who.
SAM
Your work's beautiful. That's a fact,
Moll. It doesn't matter what anyone
thinks.
We can tell from the expression on Molly's face that it does.
Sam puts his arm around her. She nestles close to him. Then,
suddenly, she stops and looks up. There is an unexpected
seriousness in her voice.
MOLLY
(continuing)
I want to marry you, Sam.
SAM
(taken aback)
What?
MOLLY
I've been thinking about it for days.
More than thinking. I want to do it.
I want to jump in whole hog...
(she pauses)
What is that look for?
SAM
(staring at her)
It's just been so long since... I
mean, you never wanted to talk about
it.
There is a long pause.
MOLLY
Do you love me, Sam?
SAM
What do you think, Moll?
MOLLY
How come you never say it?
SAM
What are you talking about?
MOLLY
You say "ditto". It's not the same.
SAM
People say "I love you" all the time.
It doesn't mean anything.
MOLLY
Sometimes you need to hear it.
Sam stops and stares at Molly. He pauses quietly. He is about
to speak when A MAN'S FACE emerges from the shadows behind
him. Molly gasps. Sam spins around.
AN INTENSE LOOKING MAN
is standing in the darkness between two buildings. He stares
at the couple for a moment and then steps onto the sidewalk.
Sam and Molly stand motionless. The man hesitates and then
begins walking the other way. Molly exhales a deep breath.
Sam takes Molly's arm and they continue briskly down the
street. Suddenly they hear FOOTSTEPS coming after them.
MOLLY
What should we do?
SAM
Let me handle this.
Sam stops abruptly and turns around. A gun is staring him in
the face. Molly screams.
WILLIE
Your wallet!
Sam waits a beat.
MOLLY
Give it to him!
Sam reaches for his jacket. The Mugger grabs his wrist and
then carefully pulls the wallet out himself.
SAM
Take the money. Just leave the wallet
and my...
He swipes Sam across the head. Molly screams. The Mugger
whacks her across the face. Sam explodes, plowing into the
mugger with all his might.
MOLLY
Sam, No!
There is a wild, all out brawl. Sam fights like a mad man.
Suddenly the GUN goes off. The Mugger panics and takes off
running. Sam charges after him.
MOLLY
Sam!!!!!
The two men run down the dark street, but the Mugger is
already a full block ahead and disappears into the shadows.
Sam gives up. Slowly he turns and begins walking back toward
Molly.
We can see Molly dimly at the end of the block as Sam
approaches. She is screaming for help. Frightened, Sam calls
out.
SAM
Molly!
She doesn't answer. Sam tenses and starts running toward
her. He is just three feet away when suddenly he stops. An
expression of pure terror overwhelms his face.
CUT TO:
CLOSEUP - MOLLY
drenched in blood. Her eyes are glazed, on the verge of shock.
Panting, she stoops down to the curb as THE CAMERA TRAVELS
WITH HER. She grabs hold of something lying in the shadows
and pulls it toward her.
It is Sam's dead body she is holding in her arms.
Sam's ghostly form, still solid to all appearances, stands
beside Molly. His eyes are awash in horror and confusion. He
seems unable to move. THE CAMERA HOLDS on his face as the
full impact of his situation dawns in his eyes.
Suddenly he lets out a blood-curdling scream.
SAM
No!!!!!!
He jumps down toward his body and reaches out to grab hold
of his motionless form. His hands make a strange SOUND as
they pass right though it. It is terrifying. Sam jumps up,
crazed, frenzied, and begins circling Molly. It is as though
he is trying to undo what has been done.
SAM
(continuing)
This isn't happening. It's not
happening.
He reaches out to Molly for help. His hand cuts through her
shoulder. He screams.
FOOTSTEPS. People are running down the street. The sound of
SIRENS can be heard in the distance. Two MEN run toward Sam.
He yells out at them.
SAM
(continuing)
Help me!
They run right through him. He gasps in stunned terror.
Sam watches helplessly as they reach his body. Molly looks
up and begins screaming hysterically. One of the Men grabs
her as the other goes for Sam's wrist. There is no sign of
life.
The first Man holds Molly back as his friend stoops down and
begins some form of cardio-pulmonary resuscitation. There is
no response. Sam bends down, trying desperately to help. It
is a futile gesture.
SAM
Do it! Do it!
The Man bangs on Sam's chest. Blood gushes from the wound.
Molly recoils. He bangs again.
CUT ABRUPTLY TO:
INT. LOFT - NIGHT
Sam shoots up in bed, panting. It is dark. He stares around
the loft in sudden confusion. With a lurch he flicks on the
night light. Molly is lying beside him, her head buried
beneath a pillow. Sam seems stunned.
SAM
Molly? Molly!
Tears stream down his face. Molly stirs.
MOLLY
Sam? What's the matter? Is something
wrong?
SAM
Molly!
Sam is so relieved to hear her voice that he can hardly
breathe.
MOLLY
What is it, honey?
Molly, groggy, tries to sit up. Sam reaches out for her.
As she turns around, we see A SKELETEL VERSION OF HER HEAD
staring at the camera. It speaks.
MOLLY
(mocking him)
What is it, honey?
Sam bolts upright, screaming. It is a scream so consumed by
terror that one fears it will never stop.
CUT UNEXPECTEDLY TO:
CLOSE-UP OF SAM
asleep in bed. He is thrashing at his pillow and moaning.
Suddenly, a hand reaches out and touches his shoulder. Sam
jumps straight up in bed and kicks wildly at the sheets.
CUT TO:
SAM'S P.O.V.
Molly is sitting on the bed looking at him, afraid.
Sam stares down at her. He is breathing heavily, not trusting
his own senses. His hands clutch at the wall.
SAM
What's happening to me?!
ANGLE
Suddenly, a brilliant white light shoots into the room as a
host of glowing forms, radiating an intense inner light,
float before us. A blinding tunnel spirals in an infinite
vortex behind them. Sam is awed and confused. We sense that
the light is enchanting him. The entire room begins to
disappear in the light.
Molly screams.
MOLLY
Don't leave me. I need you, Sam.
ANGLE
Sam turns and sees Molly, only she is not in the bed. She is
back on the street. To his amazement, he is on the street,
too, still bathed in the soothing light. Frightened, he calls
out to her.
SAM
Molly!
She does not hear him. He calls again.
SAM
(continuing)
Molly.
There is no response. Sam, deeply troubled, hesitates for a
moment. He is torn between Molly and the light. Then, in a
painful, but conscious gesture, he turns from the light and
walks toward Molly. At that instant, the light behind him
disappears with the sound of a pneumatic door closing. There
is a sense of terrible finality as the tunnel evaporates
into the void. Sam is left on the dark pavement. He stands
there a moment, as if in shock, and then begins running toward
Molly. An AMBULANCE is rounding the corner.
CUT TO:
OMITTED
EXT. NEW YORK STREETS - NIGHT
Swirls of light speed toward the ambulance as car headlights
and streetlamps merge in a wild dizzying rush. The SIREN
wails into the night.
INT. AMBULANCE - NIGHT
Sam's body is lying in the back of the ambulance as a
PARAMEDIC applies electric paddles to his chest in an effort
to save him. After a moment, he looks up at Molly. We can
tell from the expression in his eyes that it is hopeless.
Sam yells.
SAM
Don't stop! I'm not dead!
Molly, kneeling over Sam's body, grabs him and begins to cry
in long terrible sobs.
INT. HOSPITAL EMERGENCY ROOM - NIGHT
A DOCTOR, comforting Molly, accompanies her from one of the
emergency operating rooms and leads her through a pair of
swinging doors into a separate waiting area. We see TWO
POLICEMEN and TWO DETECTIVES stand up and approach her.
Sam doesn't want Molly to go and begins to follow her, but
then seems torn, afraid to leave his body. He turns back
just as his corpse, covered in a green sheet, is wheeled
into the corridor and parked alongside the wall. Sam seems
stunned and inconsolable as he sits down beside it.
A wrinkled OLD MAN approaches Sam and joins him on the bench.
He begins talking.
MAN
So, what happened to you?
Sam is startled, amazed that the man can see him.
SAM
What?
MAN
You're new, huh? I can tell.
SAM
Are you talking to me?
MAN
Relax. It ain't like before, you
know. It's a whole new ball-a-wax.
SAM
Who are you?
MAN
I'm waiting for my wife. She's in
4C. Cardiac wing. She's fighting it.
The man sticks his head into the green sheet covering Sam's
body. His head disappears. Sam is terrified.
MAN
(continuing)
Shot, huh? That'll do it every time.
Poor bastard. Well, get used to it.
You could be here a long time.
(leaning in close)
I'll tell you a secret. Doors ain't
as bad as you think. Zip zap. They
ain't nothin' at all. You'll see.
You'll catch on.
Suddenly there is a loud COMMOTION and we see several
PHYSICIANS operating furiously on an Old Man lying on the
table beside them. It is a life threatening situation and
they seem to be failing.
MAN
(continuing)
He ain't gonna make it. I've seen it
a million times. He's a goner. See?
Here they come. Lucky bastard. Could
have been the other ones. You never
know.
ANGLE
Before Sam can understand what is happening the entire room
fills with a strange preternatural light. Suddenly he looks
up and freezes.
The amorphous forms he saw right after he died are floating
down through the ceiling and reaching for the body on the
operating table. They are emitting a powerful light.
DOCTOR
Hurry, we're losing him.
MAN
What'd I tell you? Bingo!
The glowing forms take hold of the man's spirit and help
extract it from his body. His physical form changes instantly
from a solid object into an ethereal substance.
Sam stares in amazement as the strange beings carry the spirit
upward. They evaporate through the ceiling.
DOCTOR
He's gone.
ANGLE
The light in the room grows dull instantly. Nurses cover the
dead man with a dark sheet as the doctors step away. Sam
turns to the Old Man.
SAM
Who are you? What's happening...?
The Man isn't there. An Orderly approaches the gurney with
Sam's body and begins pushing it toward the elevator. Sam
jumps in front of him.
SAM
(continuing)
No!
CUT TO:
SAM'S P.O.V.
as the stretcher begins to roll right through him. The
penetration of his physical space is horrifying to Sam. He
stands, almost paralyzed, as the body of the Orderly
intersects with his. It is a stunning moment of extraordinary
strangeness as we witness the atoms and molecules of the
Orderly's body passing through his. It is like a glimpse of
ultimate chaos, the universe within.
Then, in a flash, the Orderly has passed through, but Sam is
still shaking. He stares up at the ceiling.
SAM
Oh God, help me.
CUT TO:
SAM'S P.O.V.
as the ceiling lights and acoustical tiles begin to blur.
The hallway grows dark. It is as though Sam is blacking out.
EXT. CEMETERY - DAY
Slowly, images begin to emerge out of the blackness. It takes
a moment to realize that they are scenes from Sam's funeral.
The CAMERA TRACKS along rows of mourners as seen from SAM'S
P.O.V. He seems to be floating among them. We hear snippets
of conversations. It all seems strangely odd and disjointed.
Time seems unfixed, malleable.
We see a MINISTER standing beside the grave.
MINISTER
As we say farewell to our friend Sam
Wheat, we are reminded of his
kindness, his generosity, his buoyancy
of spirit...
The CAMERA KEEPS MOVING. Sam's associates from the bank are
among the mourners.
MINISTER
(continuing)
All that we treasure, our friends,
our loved ones, our body, our mind,
are but on loan to us. We must
surrender them all. We are all
travelers on the same road which
leads to the same end.
Sam notices a WOMAN in a fancy print dress comforting one of
the mourners. The woman looks up at him, smiles, and waves.
Sam is surprised. He looks behind him, but no one is there.
As he turns back, the woman is walking away. She appears
just like any normal person until she approaches a large
gravestone and passes right through it. Sam is shocked.
MINISTER
As our loved one enters eternal life,
let us remember that love, too, is
eternal, that although we will miss
him, our love will light the void
and dispel the darkness.
Suddenly, Molly ENTERS THE FRAME. Sam spots her. The CAMERA
STOPS.
SAM
Molly.
She does not respond. RUTH, her sister, leans over to her.
Tears form in Molly's eyes. A hand reaches out to give her a
tissue. Molly looks up. It is Carl. She gives him her hand.
He squeezes it with affection.
MINISTER
...and into Your hands we commend
his spirit. May he rest in peace. In
the name of the Father, the Son, and
the Holy Ghost. Amen.
The casket is lowered into the ground. Molly approaches the
grave. She us a little unsteady. Carl takes her elbow. A
shovel is placed in her hands. With great emotional effort
she lifts a shovelful of dirt and tosses it onto the casket.
It lands with a REVERBERATING finality. Sam shudders.
DISSOLVE:
LONG SHOT - PEOPLE
leaving the cemetery. We hear them talking.
VOICES
What time you going back to work?...
What's the buzz on Digital? It's
sad. He was so young... How's your
new Honda?... Going away this weekend?
CUT BACK TO:
CLOSEUP - SAM
desperately alone. Down the hill, people are getting back
into their cars. Sam can see Molly being let into a limousine.
He stands there staring at his own casket, grieving. Then,
after a moment, he turns away. Separating from his body,
from his own grave site, he runs after her.
DISSOLVE:
INT. LOFT - DAY
Molly is sitting on the couch in the middle of the loft
surrounded by FRIENDS and WELL WISHERS. A young GIRL, her
niece, cuddles in her lap. People are eating and milling
around. Slowly THE CAMERA BEGINS TO PAN. It ends on Sam,
standing alone in a corner. In the midst of all the activity
he is lost and alone.
FADE TO BLACK:
ANGLE
Raw clay on a potter's wheel spins hypnotically, sensuously.
Molly's wet hands press in, shaping it, molding it. A bowl
begins to appear. The camera pulls back and reveals Sam. He
is sitting on the floor behind her, knees pressed to his
chest, rocking aimlessly.
Molly looks away from the bowl she is forming. It distorts
and bends. Angry, she digs her finger into it. The bowl
disintegrates. Tears form in her eyes.
Frank jumps up on the bench beside her. Molly stares sadly
around the room. Quietly, she begins talking to herself, to
the air.
MOLLY
Oh God, Sam...
Sam looks up.
MOLLY
(continuing)
I picked up your shirts this morning.
I don't know why. Mr. Reynolds said
to tell you hello. I broke into tears.
It's so hard...
Sam walks over to Molly. Desperate for contact, he reaches
out to touch her cheek, but then hesitates and pulls back.
MOLLY
(continuing)
I think about you every minute. It's
like you're still here, like I can
feel you, Sam.
He stares at her, hoping, wondering.
SAM
I am here, Moll. I am.
ANGLE
Suddenly, as if hearing Sam's voice, the cat begins to hiss.
Molly spins around. The cat scans the room. Unexpectedly,
Sam's and the cat's eyes meet... With a wild SCREECH, the
cat jumps from the bench and takes off running. Sam recoils.
Molly stands up.
MOLLY
Frank, what's wrong? Frank?
The cat is nowhere to be seen. All of a sudden, Molly freezes.
Sam is standing right beside her. It is almost as though she
senses his presence.
MOLLY
(continuing; whispering)
Sam?
She holds very still for a moment. Sam watches breathlessly,
loving her, wanting her. Then quietly, hopefully, he reaches
out. It is a useless gesture. In a moment of great poignancy,
Molly shakes her head and walks right through him. He remains
IN THE FRAME, alone.
INT. BEDROOM - DAY
Sam, stands in the corner of a large, walk-in closet, watching
as Molly goes through his effects. Boxes, scattered underfoot,
are filling up with his life's possessions. Molly reaches
for a shirt.
SAM
Wait, Moll. Not that one. That's my
favorite...
She tosses it into a box and then takes down a sweater. It
is obviously handmade, about four sizes too big. Sam
recognizes it.
Molly holds the sweater tenderly and presses it to her cheek.
After a moment she puts it back. Then, in a surprising
outburst, she cries out and begins flailing at the shelves.
Everything comes flying off. Sam reaches out to console her.
SAM
(continuing)
Molly, don't.
Unexpectedly, Carl comes rushing into the room. He takes
hold of Molly and sits her on the bed.
SAM
(continuing)
Say something. Help her, Carl.
CARL
It's hard. It's very hard.
SAM
(sarcastic)
Oh good. That's really good.
CUT TO:
OMITTED
INT. KITCHEN - DAY
Molly and Carl are standing over the kitchen table folding
piles of Sam's clothes and placing them into boxes. As Molly
lifts one of Sam's jackets, something falls from a side
pocket. It is his small black leather address book. Sam stares
at it with recognition. Carl sees the book fall and stoops
to pick it up but Molly gets it first.
MOLLY
Sam's address book.
She skims through it a moment, but the memories it evokes
are too powerful for her. She places it carefully into a box
labeled "Sam's Things -- Valuable" and continues packing.
She finds the old jar with the penny in it. It's marked "For
Luck". She holds it tenderly for a moment and then places it
on the nightstand beside the bed.
Carl discovers some old ticket stubs in another of Sam's
jackets. He examines them.
CARL
Dave Brubeck. Newport '86. Should I
toss 'em?
MOLLY
No!
SAM
Molly, we hated that concert.
She takes the stubs and lovingly puts them in the box. Sam
groans.
Carl finds a half used package of Rolaids. Molly takes them
from his hand and puts them in the box, too.
CARL
Oh, you want to save those?
SAM
Rolaids? What are you doin' Moll?
Molly just stares for a moment.
MOLLY
I miss him, Carl.
Carl comes over and takes her hand.
CARL
We all do.
Molly buries her head on his shoulder. Carl strokes her hair.
CUT TO:
ANGLE
Carl lifting a pile of boxes and carrying them to the door.
Suddenly Molly yells out.
MOLLY
Wait. Wait. Not that one.
She hurries over and pulls the "Valuable" box from the stack
in his arms. He looks at it with surprise.
CARL
Oh, shit. I'm sorry. I don't know
how that got in there.
He turns to the door and then back to Molly.
CARL
(continuing)
Hey, Moll. Why don't you come? It's
like summer outside.
MOLLY
No.
CARL
Just for a stroll. It'd be good to
get out.
Molly shakes her head and turns away.
MOLLY
I can't do it Carl.
Carl, annoyed, walks over to her.
CARL
Molly... you're not the one who died!
Molly stops and looks at him. He has struck home. After a
moment she nods her head.
MOLLY
Okay. Just a short walk.
He gently squeezes her shoulders.
CARL
Thata girl.
Before Sam even understands what is happening, they are
exiting the loft. Sam jumps up and runs after them.
SAM
Hey, Molly! Wait!
ANGLE
The door slams shut. Sam is locked inside. Frightened and
desperate, he rushes for the door knob. His hand sinks through
it. There is a strange sound, like ELECTRICAL STATIC, as it
penetrates the metal and wood. Frightened, he yanks it back.
Sam circles the space several times and then returns to the
door. Clenching his teeth, he reaches out again. As his hand
pushes up against it, we sense that he experiences a subtle
resistance. The hairs on the back of his hand vibrate as his
ghostly form presses into it. We sense Sam's fear as his
entire arm DISAPPEARS FROM VIEW. The grating ELECTRICAL SOUND
shudders up his spine.
The sight of his amputated limb is unsettling but Sam does
not pull back. Slowly he edges in and presses his face into
the molecules of the wood.
CUT TO:
SAM'S P.O.V.
as atoms and electrons spin past him at frightening speed.
There is a sense of a universe in total chaos. Terrifying
SOUNDS charge through his body.
CUT TO:
SAM
pulling back from the door. He is trembling.
INT. LOFT - AN HOUR LATER
THE CAMERA MOVES SLOWLY THROUGH THE LOFT AND GRADUALLY
DISCOVERS SAM. He is sitting in a corner singing quietly to
himself.
SAM
"Singing bye bye, Miss American Pie.
Drove my Chevy to the levy, but the
levy was dry. Them good ol' boys
were drinkin' whiskey and rye, and
singing this'll be the day that I..."
He stops, realizing the last word of the song. He sits
silently, staring at the wall.
Suddenly, there is a SOUND at the door. Sam's eyes shoot up.
The door begins to open.
Sam stands up. His face begins to tighten. We know instantly
that something is wrong. His eyes fill with a fury we have
not seen before.
The Mugger, the man who killed Sam, is entering the loft. He
has a key in his hand and puts it in his pocket. Sam is
stunned. The Mugger locks the door.
ANGLE
Sam goes wild. He shoots at the man with all his might,
attacking him unceasingly, but with no effect. His hands and
feet pass right through him.
SAM
You motherfucking bastard! What the
hell are you doing here? What are
you doing?
The Mugger, unaware that anything is going on, glances around
nervously as he moves through the vast space.
ANGLE
Entering the bedroom, the Mugger goes to the dresser and
quickly examines the drawers. He is very neat, careful to
leave no sign that he was there. He seems to be looking for
something but cannot find it.
ANOTHER ANGLE
Suddenly we hear a KEY TURNING in the front door. The Mugger
seems startled. He dashes from the bedroom and hides quickly
behind one of the large sculptures. We hear the door OPEN.
Molly is standing there.
Sam goes crazy.
SAM
Molly, no! Get out!
Molly closes the door and locks it shut. Sam freezes as she
heads for the bedroom. She walks right past the Mugger. To
Sam's horror she stops and turns to look around. There is a
curious expression on her face. Seeing nothing she continues
through the loft.
The Mugger pulls out his gun. Sam looks on in absolute terror.
Molly's purple blouse hits the floor as she begins to remove
her clothes. She turns on the radio.
Sam doesn't know what to do. The Mugger seems excited by
Molly's semi-nudity. He begins skirting the edges of the
loft, moving toward the bedroom. Sam is crazed.
Suddenly, out of nowhere, Frank appears at the Mugger's feet.
Sam's eyes light up. He drops to his knees, crawls over to
him, glares into his eyes, and screams.
ANGLE - THE CAT
SCREECHES and jumps straight up. His claws shoot out at the
mugger's face, ripping into the flesh near his eye.
Blood appears. The mugger sees it dripping through his
fingers. The sight of it upsets him. He grabs the cat angrily
by the neck. It SQUEALS. Molly in her bra, peers from the
bedroom.
MOLLY
Frank, what's wrong?
The Mugger holds the cat's mouth shut. Seeing and hearing
nothing, Molly steps back into the bedroom.
The Mugger takes the cat and throws it across the floor.
Holding his eye, he gets up and rushes for the exit. Sam
runs after him, but the door closes before he can get through.
He is left inside.
ANGLE - SAM
stares at the closed door in a wild panic. He doesn't know
what to do. Then, summoning all of his courage, he takes a
blind, running slow motion leap and charges through it.
SAM'S P.O.V.
There is a brief sense of passing through a molecular force
field, a miniature universe inside the door.
ANGLE - SAM
as he emerges from the door and lands on the other side. He
seems excited to have survived and is very pleased with
himself.
EXT. NEW YORK STREET - DAY
The Mugger steps out onto the sidewalk and hurries toward
the subway. A patch of sleeve soaks up the blood from his
eye.
Sam starts after the man but instantly freezes. Hordes of
people crowd the sidewalk. The crush of humanity is
frightening. Two lovers, holding hands, are coming right at
him. Before Sam is able to move, we hear the sound of their
arms cutting through his ghostly form.
Sam tries instinctively to dodge the crowds but people
approach him from all angles.
We hear a BABY CARRIAGE roll through Sam's feet and he nearly
falls over trying to avoid it. His instincts will not let
go.
A barrage of images and SOUNDS assaults Sam. It is more than
he can handle. Still, he refuses to give up. He stays close
to the Mugger.
EXT. NEW YORK SUBWAY STATION - DAY
The Mugger heads down a flight of steps into the IRT.
INT. SUBWAY TRAIN - DAY
The Mugger gets onto a crowded subway car. Sam stands near a
corner of the train watching him.
Suddenly, Sam notices that something odd is happening. One
of the riders at the other end of the car is walking toward
him. As he approaches the Mugger, he does not stop, but passes
right through him. It takes Sam a moment to realize what is
happening, but then it is too late.
ANGLE - THE OTHER GHOST
With unholy fury the New Ghost charges into Sam. The attack
is so unexpected and ferocious that Sam has no sense of how
to defend himself. With unexpected power, the Ghost grabs
hold of him and slams him into the subway door. Sam's head
plows right through it.
ANGLE
on Sam's head sticking outside of the car as the subway tunnel
rushes past him. There is a panicked look on his face. The
look intensifies as he turns and sees another train barreling
down on him.
ANGLE
on Sam's body inside the car still struggling with the Ghost
as the other train shoots by the window. With a huge gasp,
Sam shoots back into the car, and wrests himself free of the
Ghost's hold. The Ghost flies after him, screeching.
Sam surges through the door at the end of the train and finds
himself on the bridge between the subway cars. The subway
Ghost stares at him through the window with a wild, insane
look.
GHOST
Stay off! This is mine!
ANGLE FAVORING WINDOW
With shocking impact, the Ghost's fist goes flying into the
window. To Sam's terror and amazement, the window SHATTERS.
The Ghost smiles. Passengers scream and Sam dives for cover.
Sam stares at the broken glass with fascination and confusion.
Suddenly, the train moves from the darkness of the tunnel
into broad daylight.
EXT. ELEVATED SUBWAY STATION - DAY
The train stops at an elevated subway platform in Brooklyn.
OMITTED
SAM'S P.O.V.
Sam sees the Mugger exiting the train and frantically rushes
after him.
EXT. BROOKLYN STREETS - DAY
Sam follows the Mugger down a long covered staircase to the
street.
EXT. 321 PROSPECT PLACE - DAY
The Mugger heads toward 321 Prospect Place. The streets are
lined with old apartment buildings. Many windows are boarded
up. TWO MEN, standing on the corner, are slamming a piece of
heavy machinery onto the pavement.
Sam hears GOSPEL MUSIC coming from a storefront church and
notices a sign, "SISTER ODA MAE BROWN, MEDIUM, SPIRIT READER,
ADVISOR." He looks up to a third story window and sees a
similar sign with day-glo arrows pointing to the entrance on
the street. He seems curious, but then realizes that the
Mugger is nearly halfway down the block. He turns and rushes
after him.
EXT. 321 PROSPECT PLACE - DAY
Sam and the mugger approach a tenement building at 321
Prospect Place.
INT. TENEMENT HALLWAY - DAY
Sam follows the Mugger into the building and watches as he
opens the mail box for APT. 4D. The name scribbled across it
is WILLIE LOPEZ. There's no mail.
INT. WILLIE'S APARTMENT - DAY
Sam enters Willie's apartment. It is a squalid affair. Peeled
paint chips litter the floor. The bed is unmade.
Willie pulls open a drawer in a small nightstand and drops
in the keys to Molly's loft. Sam sees his wallet. His driver's
license, bank ID, and a photo of Molly are there, too.
Furious, Sam lunges for Willie but then holds his punch,
knowing it will have no effect. He turns instead to a window
and, like the Ghost on the subway, smashes it with his fist.
Nothing happens.
SAM
Damn!
Willie dials the phone. Someone comes on the line.
WILLIE
She came home. I couldn't get it.
Give me a couple of days. I'll go
back.
He hangs up. Sam stares at him in wild confusion.
SAM
Get what? Who the hell are you? What
were you doing at Molly's? What the
hell's going on?
Willie grabs a bottle of wine from the nightstand and lies
down. After a moment he reaches over and takes Molly's photo
from the drawer. He studies it slowly.
Sam stands by the door in a state of motionless rage. There
is nothing he can do.
SAM
(continuing)
Stay away from her!
EXT. BROOKLYN STREETS - DAY
Sam storms down the street. His movements seem undirected,
utterly aimless. He is seething inside.
Suddenly Sam looks up. An old BAG LADY is walking down the
street talking loudly to a SHORT WOMAN tagging along beside
her. As they approach a street pole, the Bag Lady swerves to
the side. The Short Woman, however, walks right through it.
Passersby laugh at the Old Lady talking to herself. Sam,
unsettled, rushes away.
As Sam rounds a corner, a sudden blast of MUSIC explodes out
of nowhere. Sam jumps into the street, gasping. A phonograph
needle SCRATCHES across a record and the MUSIC STOPS. A
woman's voice booms out:
WOMAN'S VOICE
Sorry 'bout that.
PANNING SHOT
to a pair of loudspeakers in a storefront window. The MUSIC
blares out once more and SOUNDS of gospel fill the street.
Sam looks up. He is back in front of the storefront church
with the sign for SISTER ODA MAE BROWN, MEDIUM, SPIRIT READER,
ADVISOR, hanging overhead. Below it is another sign. "Contact
the dearly departed.
0.00".
Sam stares at the sign with curiosity. The MUSIC is
compelling. After a moment's hesitation, he goes in the open
door.
INT. STOREFRONT - DAY
A record player is sitting near the storefront window, a
makeshift microphone placed in front of it.
Several rows of folding chairs face a raised platform with
nothing on it. A number of people are sitting there, mostly
women. One gets the sense that this is a cross between a
waiting room and a meeting hall. A black WOMAN steps up on
the platform and calls out:
WOMAN
Rosa Santiago.
MRS. SANTIAGO tucks a Spanish paperback romance into her
purse and heads to a door at the rear of the hall. Sam follows
after her.
INT. SEANCE ROOM - DAY
Mrs. Santiago enters a dark room with a window and door
leading to a side street. A paisley bedspread is tacked over
the window.
In the center of the room is a round seance table. Two
heavyset sisters, CLARA (39), and LOUISE (36), are standing
beside an open closet. It is empty.
WOMAN
Please be seated.
Mrs. Santiago sits at the table. She seems apprehensive.
Clara steps into the closet and taps on each of the walls as
though demonstrating that they are solid.
CLARA
My sister will be with us soon.
She steps back out and closes the door. Louise inserts a
tape into a boom box and then steps forward.
LOUISE
Sister Oda Mae. Grant us the gift of
your all-seeing presence. Appear for
us now.
ANGLE FAVORING CLOSET
She turns back to the closet and opens the door. Like magic,
ODA MAE BROWN, 41, appears standing inside. She is a black
woman in a white tunic. The whiteness of her garment makes
it look as if she is glowing in the dark. Mrs. Santiago is
wide-eyed. Sam smiles as Oda Mae steps into the room.
ODA MAE
Mrs. Santiago.
MRS. SANTIAGO
Buenos dias.
She takes a twenty dollar bill from her purse and hands it
to Oda Mae. Clara graciously intercepts the money.
ODA MAE
I understand you are hoping to contact
your husband.
MRS. SANTIAGO
Si. Si.
ODA MAE
Well, I believe he's gonna be with
us today.
MRS. SANTIAGO
Oh, tsank you, tsank you.
Tears well up in her eyes. She crosses herself several times.
ODA MAE
But there's no telling about the
other world. You gotta cast out all
doubt. You gotta believe. Do you
believe?
MRS. SANTIAGO
(nodding her head
vigorously)
Si. Si. I believe. I believe.
ODA MAE
And remember, we don't make no
promises. I can phone up there till
I'm blue in the face,
(she points to the
ceiling)
...but it don't necessarily mean
he's gonna be home. Them folks go
shopping, they play bingo. It's just
like here. You can't always get 'em.
Mrs. Santiago, utterly fascinated, nods understandingly.
SAM
Sure lady!
Oda Mae's eyes glance up curiously for a second, as though
she heard something, and then she continues.
ODA MAE
Okay, let's get ready then.
Sam steps back as the sisters get up and position themselves
behind Oda Mae. The moment feels rehearsed, theatrical. Oda
Mae raises her hands into the air and closes her eyes. There
is a hush in the room. Her body begins to tremble. Mrs.
Santiago clutches her chair. Suddenly Oda Mae breaks out of
her trance.
ODA MAE
We got a problem here. I don't think
he's in. Wait. I feel something. Did
he know someone who's passed over,
someone named Anna... Mary...
Consuela... Maria?
MRS. SANTIAGO
Si, si! His mama. She's Maria.
ODA MAE
Ah! I knew it. He's with his mama.
SAM
(sarcastic)
Oh my God...
Oda Mae's eyes dart uncomfortably around the room.
ODA MAE
I'm afraid this is gonna be too hard.
Now I got two souls I gotta contact.
I don't know about that. It's
difficult, you know. The pain. The
effort.
MRS. SANTIAGO
I pay more. How much? How much?
ODA MAE
Twenty dollars.
SAM
Way to go. Milk her for every penny.
Oda Mae jumps up and stares at her sisters. They look back
at her curiously. They can't figure out what's wrong. Neither
can Oda Mae.
Mrs. Santiago reaches into her purse. A twenty dollar bill
changes hands. Sam watches, amazed at it all. Oda Mae sits
down and goes back into her trance. Her eyeballs roll up
into their sockets.
CLARA/LOUISE
Praise the Lord. Thank you, Jesus.
Oda Mae is beginning to shake again. The two women grab her
shoulders to keep her from falling out of the chair. Suddenly
her whole body stiffens.
CLARA/LOUISE
(continuing)
Have mercy! Have mercy!
Mrs. Santiago stares on in amazement. After a moment Oda
Mae's body collapses in a heap. Then, like a phoenix rising
from the ashes, she pulls herself up in her chair and assumes
a normal pose.
After several seconds to get her bearings, Oda Mae begins to
speak. Only now she has an entirely new voice. It sounds
deep and hoarse, like an old man's. For all its put on
theatricality, it is strangely convincing.
ODA MAE
Welcome, Rosa Santiago. You are
fortunate today. The channel is clear.
Many spirits are gathering.
SAM
(scanning the room)
Yeah? Where?
Oda Mae jerks. Her eyes dart nervously around the room.
MRS. SANTIAGO
My husband?
ODA MAE
(a bit uneasy)
I can feel his vibration. Yes, yes,
he is drawing toward us now. I can
see him coming.
MRS. SANTIAGO
Julio! Julio! How is he? How does he
look?
ODA MAE
Oh, he is a very handsome man.
MRS. SANTIAGO
(surprised)
Handsome?
ODA MAE
In our Father's Kingdom we are all
handsome.
MRS. SANTIAGO
(understanding)
Julio!
Sam looks on dismayed.
ODA MAE
He is standing before me. He is
wearing a black suit.
MRS. SANTIAGO
A black suit? Oh yes, yes. He was
buried in that.
Mrs. Santiago begins to cry. Sam looks around the room with
growing disgust. Then he leans over to Oda Mae and yells
into her ear.
SAM
What a crock of shit!
Oda Mae nearly falls off her chair. She spins around.
ODA MAE
Who's there?
Sam is stunned. Clara and Louise look at one another in total
confusion. This is obviously not part of the act. Mrs.
Santiago seems frightened.
ODA MAE
(continuing)
Where are you?
SAM
(looking around)
Who?
Oda Mae screams and jumps up thrashing at the air. Her knee
kicks the table and sends it toppling. Mrs. Santiago is
terrified.
MRS. SANTIAGO
Julio! Julio!
SAM
What's going on?
ODA MAE
Get out of here! Leave me alone!
Mrs. Santiago doesn't know what to do. She begins to cry.
SAM
Who are you talking to?
Clara runs up to Oda Mae.
ODA MAE
Keep him away!
Louise looks at the empty room.
SAM
Are you talking to me?
ODA MAE
Do something. Help me.
Clara just stares at her sister. Sam is excited and amazed.
SAM
I don't believe this. Hey you. My
name is Sam Wheat. Can you hear me?
Sam Wheat!
ODA MAE
Stop it!
SAM
Say my name! Sam Wheat! Say it!
CLARA
Talk to me, Oda Mae. Say something.
ODA MAE
Sam Wheat!
Sam nearly falls on his face. Clara's eyes widen. She is
more confused than ever.
SAM
Jesus!
CLARA
Samweet?
Oda Mae runs into the closet.
It has a false panel leadin
