Never Can Say Good-bye--a love story, a mystery, a tale of horror
by
Theresa Chaze



INT: HALLWAY: MID-AFTERNOON
Michael tapes the wall with a hammer, marking with an "X" where he hears a hollow sound. He is a middle-aged man, who looks more like he should be swinging an ax cutting down forest than a scholar teaching college history. His brown hair is held back in a ponytail. His brown eyes are determined. Using a crowbar, he pries the panels from the wall, exposing a door. He drops the crowbar and turns the doorknob. The door slowly creaks open. The room is dark and musty. The door hits the wall behind it. Michael stands in the entrance, framed in the hallway light. He takes the flashlight from his back pocket and shines it around the room, revealing part of the four poster bed. A slight breeze blows past. He doesn't notice.

INT: BEDROOM: MID-AFTERNOON
Stepping further into the room, the beam hit the dusty glass of a dressing table mirror; it is cracked. The light reflects on a rocker, which is moving as if someone has just gotten out of it. Michael stops its motion, scanning the light around the room. He is alone. Narrow bands of sunlight shine through the shutters. Directing the beam toward the window, he sets down the flashlight. He opens the shutters. Sunlight filters through the dust and overgrown ivy on the outside. He tries to open the window; it's nailed shut. He turns and surveys the room. Shane is standing in the doorway, her hands on her hips. Long auburn hair and delicate featured, Shane gives off the aura of being a much larger, stronger woman, yet she is very sensuous in her movements. She is in her late twenties-early thirties.

MICHAEL
Shit!

SHANE
(Angrily)
What did you do?

MICHAEL
I told you it was here.
(Trying to pull her into the room)
Come help me explore!

SHANE
Mike this isn't our house. We said wallpaper, paint!

MICHAEL
She'll be happy we found it.

SHANE
It was boarded up for a reason.

MICHAEL
Ghosts, maybe?
(Bouncing on the bed)
Let's have an adventure.

INT: HALLWAY: MID-AFTERNOON
SHANE
(Running down the hallway)
No!

MICHAEL
(Following)
Shane!

He catches up to her at the top of the stairs.

What's the matter?

SHANE
I hate this house!

MICHAEL
It's perfect for us.

SHANE
It's too big. It's too far out. It's too old.

MICHAEL
You have your own studio. The acoustics of the ballroom are fabulous for your band. Not only is it a great place to rehearse, but with a few modifications it could be a recording studio.

SHANE
It gives me the creeps!

MICHAEL
That'll change once we make it ours. Besides what ghost would stay after one of my student-faculty parties?

SHANE
(Pouting)
Is that supposed to make me feel better?

MICHAEL
No. This is.

He kisses her, gently pulling her back down the hall.
SHANE
(Resists)
Not in that bed.

MICHAEL
Our bed.

She kisses him and they go to their bedroom.

EXT: COLLEGE CAMPUS: MID-AFTERNOON
Judy Olson is showing Elizabeth Downing around the Bellow's University Campus. It is a medium size college in a rural setting. Most of the buildings are from the forties and fifties. However the football stadium and the Ramsdell Building stand out; not only are they the newest, but the do not conform to the rest of the structures. A woman in her mid to late sixties, Judy is a determined woman. Perfectly dressed in the latest designer fashion, she is very used to getting what she wants and is willing to bulldoze any opposition. Casually and comfortable dressed, Elizabeth is secure in her own self. A woman in her mid-forties, she no longer has to prove herself. She is clearly disinterested in anything Judy has to say. Instead her attention is absorbed by her surroundings.
JUDY
The fall term starts in two weeks. We have staff meetings
in my office every week. Your department meets on Thursday.
ELIZABETH
Fine.

JUDY
Tomorrow at nine am is the first general staff meeting. Mitchell Hall. Room 102.

They walk past an elaborate fountain. Elizabeth stops.

I'll introduce you then.
ELIZABETH
It's beautiful. Sara Jane Bellows Memorial?

JUDY
(Irritated)
My father's first wife. When he created the university, he insisted on the ugly thing.

ELIZABETH
He must have loved her very much.
JUDY
(Walking toward the Ramsdell building)
Saturday is the Annual Bellows Ball. It's a fundraiser.

Elizabeth lingers at the fountain. She walks around it, stopping to stare at the mother and child in the center. She notices the inscription that runs around the edge that reads "Love that is not forgotten never dies. You remain a part of me as I remain a part of you. Each moment we shared shall remain in my heart until we are again reunited."

(Annoyed)
Ms Downing! Your office is this way.

ELIZABETH
How can you call it ugly? How can you call a symbol of love ugle?

JUDY
As I was saying. The Bellows Ball is on Saturday. This year we're doing a period theme. The logging era. It'll be great fun.

INT: OFFICE BUILDING HALLWAY: MID-AFTERNOON
Judy and Elizabeth walk in.
ELIZABETH
I'll try to be there.

JUDY
The staff is required to come.
(Unlocking the first door on the left)
I made sure it was in your contract. The Theatre Department has costumes that are suitable.

ELIZABETH
You are very thorough.

JUDY
(Opening the door)
This is your office.

ELIZABETH
Computer. Fax. Refrigerator. Bit much for a temp.

JUDY
I'll convince you to stay.

ELIZABETH
That won't happen.

JUDY
A writer of your caliber--

ELIZABETH
You mean fame.

JUDY
Would be very good for our students. Coyote Springs is a wonderful place to settle down.

ELIZABETH
If you're into that sort of thing.

JUDY
Skiing winter and summer. Swimming. Clean air. Good, wholesome family people.

ELIZABETH
Do you have a copy of my teaching schedule?

JUDY
It's on your desk. You were in such a demand we had to add a few classes and one more workshop.

ELIZABETH
I'm only contracted for three classes and two workshops. With a limit of fifteen students per workshop.

JUDY
We just assumed you wouldn't mind. You'll have an assistant.

ELIZABETH
Why would you assume that?

JUDY
You wouldn't want to disappoint your fans.

ELIZABETH
I'm here to teach writing skills. I sign autographs at bookstores.

JUDY
Would you consider the extra classes?

ELIZABETH
Let's understand each other right off. I never wanted to be a teacher nor will I be here longer than the one term. I'm here doing a friend a favor. Nothing more. Your brother took a chance on me twenty years ago by publishing my first novel. He asked me to help boost enrollment by teaching a term and I never forget a kindness.

JUDY
I arranged for you to see a few houses that are available tomorrow afternoon.

ELIZABETH
I'll be staying at the hotel

JUDY
Don't forget the staff meeting tomorrow. Nine am sharp.

Judy leaves. Elizabeth leans against the door, her forehead bumping on it. Lynne slides in the partially open door. She is in her mid-thirties long black curls intermixed with tiny braids and intensely brown eyes, which sparkle with humor and old time wisdom.

LYNNE
Beating up on yourself won't help.

Elizabeth backs away from the door. Lynne opens it further.

Lynne Mason. Psychologist. Parapsychologist. Neighbor extraordinaire.

ELIZABETH
How nice.

LYNNE
So you know. Bathrooms are around the corner on the left. Break room slash conference room further down on the right. Hum. You have your own frig. That's one way to suck up. My office and lab is 104 and 105. Michael Scott, famous historian is in 106. Need anything. Just ask.

Lynne turns to walk out the door.

ELIZABETH
That's it?

LYNNE
Darlin' you just spend most of the day with Madam Judy, you can't handle any else.

ELIZABETH
Persistent bitch isn't she.

LYNNE
With selective hearing. If you're smart you'll run now. She wants "the famous" writer to stay. Madam Judy always gets what she wants.

ELIZABETH
This will be a learning experience for her.

LYNNE
It'll be fun to watch. From a safe distance. Later.

Lynne returns to her office. Elizabeth closes the door. She walks to the window and stares at the fountain.

INT: SHANE AND MICHAEL'S BEDROOM: LATE AFTERNOON
The sun shines through the curtains, making a pattern on the foot of the bed. Both Michael and Shane are asleep. Michael is dreaming.

INT: MICHAEL AND SHANE'S BEDROOM: DREAMTIME
Michael hears a small boy giggling and a woman laughing. He gets out of bed and follows the sound out of the room.

INT: HALLWAY: DREAMTIME
Michael follows the sounds to the hidden room; he stops at the door. The hidden room is fresh and clean, filled with fresh flowers and bright sunshine. A toddler is being rocked by a woman in her late teens. She is dressed in the style of the late 1920's. Her hair worn long and free, she is a shapely young woman with laughing eyes and an easy smile. The woman physically resembles Shane. Yet there is a joy and incense in her that is lacking in Shane.
MICHAEL
Sara Jane.

They notice him for the first time. The toddler calls him Daddy. Sara Jane turns and smiles at him. He runs to her, embracing them both.

Why did you leave me?

INT: HALLWAY: LATE AFTERNOON

SHANE
Michael? Michael, where are you?

INT: HIDDEN BEDROOM: DREAMTIME
Michael looks toward the door as Shane walks into the doorway. The image of an older woman superimposes itself on the younger. The image's otherwise beautiful features are distorted by rage and hatred. She is taller and more shapely than Shane, yet their posture and body language are the same. He stands up to face her.
SHANE/IMAGE
What are you doing?

Michael snaps awake.

INT: HIDDEN BEDROOM: REAL TIME-LATE AFTERNOON
Michael snaps awake. He is standing beside the rocker.
SHANE
(Angry)
What are you doing in here?

MICHAEL
I don't know. I must have been sleep walking

SHANE
You never did that before.

MICHAEL
There was woman and a little boy. He called me daddy.

SHANE
Aunt Judy has friends who can find us a nice house in town.

MICHAEL
(Looking at his watch)
Ohmygod! The office closes in fifteen minutes. I forgot my schedule.

He pushes past her.

INT: MICHAEL AND SHANE'S BEDROOM: LATE AFTERNOON
Michael runs in and starts dressing. Shane follows more slowly and sits on the bed. I'll call. You can pick it up tomorrow.

MICHAEL
And break one of Madam Judy's precious rules.

SHANE
I wish you wouldn't call her that. She's my aunt.

MICHAEL
She may be your aunt but I'm no longer the star on campus. I haven't written a new book in five years.

SHANE
Come back to bed and I'll write you a note.

MICHAEL
Be back so fast you won't have a chance to miss me.

SHANE
Too late.

Michael quickly kisses her and runs out of the room.

INT: RAMSDELL BUILDING HALLWAY: LATE AFTERNOON
Elizabeth knocks on Lynne's office doorway.

LYNNE
(From inside)
Come in.

Elizabeth opens the door.

ELIZABETH
(Holding up two fingers)
Peace.

LYNNE
Were we at war?

ELIZABETH
I'm usually not such a bitch.

LYNNE
I understand. Have a seat.

Elizabeth walks in

INT: LYNNE'S OFFICE: LATE AFTERNOON
Elizabeth sits in the chair opposite Lynne's.
LYNNE
Have you had a chance to see much of our little hamlet?

ELIZABETH
Nice old houses. Lots of history. Reminds me of a town I created in one of my novels. A woman killed all the people who hurt her son.

LYNNE
Did she get away with it?

ELIZABETH
Not really. When all was said and done, none of their deaths took away any of her pain. Have you found many ghosts?
LYNNE
Some. Hauntings aren't always entities. Usually it's just pent up memories working themselves out.

ELIZABETH
Most of my friends believe in ghosts.

LYNNE
Don't you?

ELIZABETH
I don't know. I believe once it's over, it's over and time to move on.

LYNNE
Sounds like a story.

ELIZABETH
The shortened version. I was married to the man of my dreams. We planned to explore the world--to never set down roots or gather baggage. But then he changed. He wanted the house, kids, and the stuff. I never wanted kids. He put down roots. I got claustrophobic.

LYNNE
Everyone needs a home base.

ELIZABETH
(Shrugs)
I bought a house. My mother and two nieces live in it. I visit and rest up. Usually after a couple of weeks the walls start closing in.

LYNNE
So what are you doing in a place where the grass yawns as it comes up?

ELIZABETH
I promised a friend.

LYNNE
Must be some friend.

ELIZABETH
Couldn't have done it without him. So what's your story. How did a Parapsychologist end up in back water USA?

LYNNE
I was born here. The nerd that everyone picked on. I escaped to college. Graduate top ten of my class, thank you very much. Dual majored in Psychology and Parapsychology, with a minor in Electronics.

ELIZABETH
That's some combination.

Lynne shrugs.

So how did you end up back here?

LYNNE
I was working at the Parapsychology Research Institute. Amanda Ramsdell had a problem. She called. The Institute sent Dave and me.

ELIZABETH
Dave?

LYNNE
A highly evolved soul with cute buns who makes my heart goes pitter-pat. We solved Amanda's problem. I fell in love with Dave. Dave falls in love with the area. Amanda is impressed with our work and wants to help. The two of them convince the Institute that this would be a wonderful place for an annex. They agree. We set up a lab and classes. For a while we both investigated hauntings. But I had a problem a few months ago and lost my nerve. So now Dave goes on his own. It's a way of doing research and giving back for our many blessings. He travels. I stay here and compile the data from him and others like us.

(Pointing around the room at the equipment)

Between Amanda and the Institute, this building and the program are fully funded. It's totally independent. It drives Madam Judy crazed.

ELIZABETH
That must be fun to watch.

LYNNE
(Checking her watch)
I have to do a favor for a friend. Do you want to have dinner?

ELIZABETH
Where do you want me to meet you?

LYNNE
My house. I love to cook and with Dave away I've been living on take out.
(Rapidly writing down her address)
Here. Give me a couple of hours.

ELIZABETH
(Taking the piece of paper)
Do you want me to bring anything?

LYNNE
Just your appetite.

INT: HIDDEN BEDROOM: LATE AFTERNOON
Shane nervously takes a few steps into the room. She looks around. It's quiet. She walks to the closet and opens it. Clothes from the 1920's are still hanging in it. She touches them. Taking one out, she holds it up and looks at herself in the mirror. The crack distorts her image. Tossing the dress on the bed, she smugly picks up the silver hairbrush and brushes her hair. The rocker slowly starts moving. She sees the image in the mirror. Setting the brush down, she slowly turns to look at it. The window slams open. Shane screams and runs to the door. It slams shut before she can reach it. She pulls on the knob. It moves easily but the door won't open. She screams. The curtains blow into the room. The rocker creaks. Shane turns around.

INT: OFFICE BUILDING HALLWAY: LATE AFTERNOON
Lynne is picking up her mail. Michael runs in. The office door is locked.
MICHAEL
(Punching the door)
DAMN!

LYNNE
Hey, Cute One. Looking for this?
(Holding up a folder)
Didn't want Madam Judy to spank.

MICHAEL
Thanks.

They walk toward each other. Lynne gives Michael the folder

I need to talk to you.

LYNNE
I know that tone. What did Shane do now?

MICHAEL
Please don't.

LYNNE
That tone usually means you need my help cleaning up after her.

MICHAEL
That room I told you about. The one that was part of the original house, not the additions from the second marriage.

LYNNE
I haven't had a chance to ask Amanda about it.

MICHAEL
I found it. I-I couldn't wait.

LYNNE
Michael you didn't!

MICHAEL
That's what Shane said.

LYNNE
If you're going to get nasty, I'm leaving.

MICHAEL
You would think it'd be all dusty. Full of cobwebs. It isn't. The bed's made. The dressers are neat. It's like it was closed up last week. Could you bring your equipment and check it out for me?

LYNNE
I'd gotten better readings if I had been there.

MICHAEL
How about tomorrow? After the meeting?

LYNNE
What's the rush now? Something jump out at you?

MICHAEL
No, but--

LYNNE
Shane will have a fit.

MICHAEL
She's spending the day with her mother.

LYNNE
So I won't have to deal with a jealous tirade?

MICHAEL
Swear.

LYNNE
(Walking toward the exit)
We'll work out the details tomorrow. I'm having dinner with the new star on campus.

MICHAEL
What's she like?

LYNNE
Skittish. See you later Cute One.

INT: HIDDEN BEDROOM: LATE AFTERNOON
Shane is curled up in the corner; her back pressed against the door. She is watching the rocker sway back and forth. A male apparition dressed in 1920's lumberjack clothing, walks through the closed door. He is in his early twenties. He is unshaven and more than a little drunk. Sadly he walks around the room humming the same tune over and over. Terrified, Shane watches unable to move.
RANDOLPH
Sara Jane. Where are you? I need you.
(Slumping in the rocker)
I've betrayed you.

Sara Jane's ghost appears in the mirror.

SARA JANE
You mustn't cry.

RANDOLPH
I was going to take Randy to your sister. Amanda's young, but she loves him. She'll be marrying Leonard soon. He would be safe and happy with them.

SARA JANE
Our son needs his father.

RANDOLPH
Audrey's pregnant. I only married her so she would care for him. I couldn't loose you both. I tried to love her. But I can't! She knows I only love you. She so jealous. I was going to join you...but now...Audrey doesn't have any family. No one to care for her.

SARA JANE
Or your child. It's all right to want to love him or her. It's natural to love your children. It's one reason I stay close. Audrey loves you. It hurt her to know you don't love her back. Maybe I should leave.

RANDOLPH
No! I forbid it! If you love me, you'll wait for me.

AUDREY
(Screaming from the doorway)
Blasphemy!

The apparition of a stern woman in her late twenties stands at Shane's feet. She is tall and voluptuous.

RANDOLPH
Audrey don't.

AUDREY
(Making the sign of the cross)
A devil.

RANDOLPH
Sara Jane's my wife.

AUDREY
I'm your wife!

SARA JANE
I've only stayed to protect my son. You don't sing to him enough.

AUDREY
I won't listen to you. You're dead.
(To Randolph)
I'll get the priest to exorcise this house.

RANDOLPH
No!

AUDREY
We'll never be happy while she's here. I love you. Please darling think of our child.

RANDOLPH
I am. I don't love you. I love her. If you do anything to make her spirit leave his house, child or no, I'll cut you out of my will, give my son to his Aunt Amanda and put a bullet in my head. You will have nothing.

AUDREY
Love or not, I am still the mother of your child. No matter where you go or what you do, I will always own you. Nothing you can do will change that.

The angle of the sun reaches the point where it floods the room with light. The apparitions disappear. Shane is alone. She reaches up and turns the knob. The door opens easily. She runs out of the room.

INT: HALLWAY: LATE AFTERNOON
Shane runs down the hall. She stops at the top of the stairs. Looking back, a smile appears on her lips. Slowly she walks to her bedroom.

EXT: SMALL TOWN SIDE STREET: EARLY EVENING
Elizabeth walks up to the gate of an old house. It is the largest and oldest on the street. It's very elaborate in every detail. A younger woman pushes an elderly woman in a wheel chair through the gardens. The younger woman leans forward to listen then walks toward the gate. Elizabeth turns to leave.
ELAINE
May I help you?

ELIZABETH
I just stopped to admire your house. It's very old.

ELAINE
One of the oldest in town.
ELIZABETH
Could you tell me where Tower Drive is?

ELAINE
It's two blocks up on your left. It dead-ends at the old gatehouse. Are you new in town?

ELIZABETH
Only visiting. Thank you for the directions

Elizabeth continues down the street. Elaine returns to the Amanda's side. Amanda is in her late eighties/early nineties. A stroke left her with unable to walk and a slight lisp. But her eyes reveal her sharp mind and equally sharp tongue.

AMANDA
What did she want?

ELAINE
Directions.

AMANDA
To where?

ELAINE
Tower Drive. She must be one of Lynne's friends.

Amanda stares after Elizabeth until she is out of sight.

Do you know her?

AMANDA
Take me inside.

ELAINE
What's wrong? Don't pull that with me. We've been together to long. It doesn't scare me. I know you're upset. I just don't know why. Was it that woman? Amanda talk to me.

AMANDA
She reminded me of my sister.

ELAINE
Sara Jane?
(Looking down the street)
She's gone.

AMANDA
It wasn't her. Take me inside. I'm tired.

INT: SHANE AND MICHAEL'S FRONT ENTRANCE WAY: EARLY EVENING.
Several suitcases have been carelessly stacked by the front door. Shane watches out the window. When she sees Michael drive up, she returns to the small waist high table to continue writing. Michael walks in and sees the suitcases.
MICHAEL
Shane?

SHANE
I was going to leave you a note. I'm not spending another night in this house. After the gig tonight, I'm going to my mother's.

MICHAEL
Why? What happened?
SHANE
You never listen.

MICHAEL
I am. Tell me.

SHANE
I didn't want to live here, but guess what you moved us in anyway. I wanted a child. You said wait. We've been married for two years and I'm still childless.

MICHAEL
Is that what's this is about? A child? What about your music?

SHANE
I can do both.

MICHAEL
Why now?

SHANE
If not now, when. Mike, you are 44 years old.

MICHAEL
Thanks. I know how old I am.
SHANE
Don't you want to be able to participate in your child's growing up?

MICHAEL
I'm not that old!

SHANE
Do you want to be a geezer father?
(Kissing his neck)
Think about. How could I push your wheel chair and the baby stroller? I don't think they make that combination.

MICHAEL
You're not playing fair.

SHANE
(Unbuttoning his shirt)
Will it get me what I want?

MICHAEL
We'll talk about.
SHANE
That's not how you make babies.
(Pulling him toward the stairs)
But I'll show you what does.

INT: LYNNE'S SCREENED IN BACK PORCH: EVENING
Lynne and Elizabeth are drinking wine and watching the sun set.
LYNNE
This is my favorite spot.

ELIZABETH
It's comfy. Dinner was great. It's the only thing I really miss about my lifestyle. No home cooking.

LYNNE
I love to cook. But it's not as much fun without someone to share it with. Dave comes home on the weekends and I really cook.

ELIZABETH
I'm sure some of it's even done in the kitchen.

Lynne smiles.

All the other houses seem newer.

LYNNE
They are. Amanda sold off most of the estate so she could buy the Bellow's house. All she has left is the main house and this cottage.
(Pointing around the room)
This was the old Gatehouse.

ELIZABETH
Why?

LYNNE
Randolph's children from his second marriage were going to tear it down. Amanda always said her sister Sara Jane would come back and she wanted the house to be waiting for her.

ELIZABETH
Like a ghost?

LYNNE
Amanda believes Sara Jane will incarnate here. That she has unfinished business. Something to do with the death of her son. Anyway, she is going to give her the house.

ELIZABETH
How will she know?

LYNNE
She says she'll know. But she better make it fast. Amanda is ninety-five. Last year we nearly lost her to a stroke. She's confined to a wheel chair now.

ELIZABETH
I think I saw her on the way here. She gave me the shivers.

LYNNE
She's a strong lady. Would you like more wine?

ELIZABETH
Please.

Setting her glass on the table, Lynne returns to the kitchen. Elizabeth walks around the room, looking at the back yard. She imagines what the grounds originally looked like--being able to see all the way to the main house. There would be a fountain, with ducks and swans swimming and milling about. A vine covered, white gazebo with chairs to sit and read in. And a woman, her long hair up in a bun, longer dress, and a smile that revealed unconditional love.
LYNNE
(Carrying the bottle)
What's so interesting?

ELIZABETH
Huh?

LYNNE
I was wondering what was so interesting.

ELIZABETH
I was imagining what the estate would have looked like.

LYNNE
There is a portrait in the main hallway. It was beautiful.
(Refilling both glasses)
Dead soldier.

ELIZABETH
Good thing I walked. Would it be unethical for you to tell me what kind of problem she had.

LYNNE
(Shrugs)
We originally thought Sara Jane had returned. She had been seen for years before. Then she just vanished.

ELIZABETH
Who was it?

LYNNE
There were two. Amanda's father, James Ramsdell and Leonard Durkman. Leonard and Amanda were going to get married. James shot him to stop it.

ELIZABETH
In cold blood?

LYNNE
So the story goes. He got away with it too. At least until Leonard's body was dug up. The charm that kept his spirit attached to his body was moved. His spirit was freed. James spirit was still in the house. The two of them started a war that spilled over to this side. Got a little bloody. Very destructive.

ELIZABETH
What did you do?

LYNNE
At first ducked. We were finally able to isolate them. James would only listen to me. It drove Dave a little nuts. But eventually we got them both to cross over. But not without a lot of bitching.

ELIZABETH
(Holding up her glass)
To success stories.

LYNNE
Here. Here.

INT: HIDDEN BEDROOM: DREAMTIME
Six year old Randy is being rocked by Sara Jane. She is singing to him. They are both happy. From the hallway, Audrey calls him. The little boy stiffens with fear. Sara Jane calms him, motioning for him to be silent. Slowly the door closes and locks itself. Moments later Audrey tries to open it.
AUDREY
(From the opposite side of the door)
Randy, open the door. Let Mamma in.
(Angrily rattles the doorknob)
I don't have time for this. You're sisters need me. If you don't unlock the door, I'll use the key and you'll be punished again.
(Keys jingle and the door opens
From Audrey's perspective, Randy is sitting alone in the rocker. Audrey marches into the room. Randy runs toward the bed. She catches him.

RANDY
(Squirming)
I want my Mamma!




To Read the full script email me at Tirgana@yahoo.com