INT: DEMERIA STUDY: AFTERNOON
Sami is standing in front of Stephano's portrait, staring up at it. Unseen by her, John walks in and goes to get a cigar.
JOHN
(Taking a cigar out of the box)
What's up Little Blondie?
SAMI
(Startled)
John? I didn't hear you come in.
John walks up beside her.
It gives me the creeps.
JOHN
It’s just a picture.
SAMI
It’s Stephano’s picture. Just like this house.
JOHN
It’s my house now.
SAMI
It’s still the same creepy place.
JOHN
You think I’m creepy.
SAMI
You didn’t use to be.
JOHN
But I am now?
SAMI
I didn’t say that.
JOHN
But you think my house is creepy?
SAMI
It’s still Stephano’s house. Look around. You didn’t change anything. You haven’t changed anything. The portrait up of the man who stole your life is still hanging like shrine.
John looks up at the picture.
JOHN
You don’t like the picture.
SAMI
Stephano isn’t here. But he’s still feels like he’s the lord of the manor.
JOHN
It’s my house now.
SAMI
Is it? Then why haven’t you changed anything?
JOHN
I like it the way it is.
SAMI
You and Mom always had a home of love. It was bright and alive. It was always a safe place.
JOHN
And this isn’t?
SAMI
It’s a mausoleum. A monument to all the DiMera secrets.
JOHN
Does your mother feel the same way?
SAMI
How could she not?
JOHN
Do you want me to raze the place and start over? We’d all be looking for a place to live.
SAMI
You could start by taking that thing down.
JOHN
(Taking the portrait off the wall)
Now what?
SAMI
I can think of a better use of the match than lighting that cigar.
JOHN
Waste of a nice frame.
EJ walks into the room
EJ
What are you doing with my father’s portrait?
JOHN
We’re deciding that now. It could make fine dartboard.
EJ
Put it back.
JOHN
Little Blondie doesn’t like it.
EJ
I don’t care. Put it back.
(Grabbing the portrait)
He is still my father!
SAMI
He’s the monster that tormented my family. Growing up I never knew from one day to the next which of my parents were going to disappear. One day, they told my dad was dead. But then no. His alive, but he looks different. Then mom’s gone. Then she’s back. Then my dad isn’t my dad any more; he’s John. My first dad is my day again, but he looks different. Why? Stephano. If it wasn’t for him, I’d grown up with both my parents. If it wasn’t for him, I be living happily with all my children and the love of my life!
JOHN
Isn’t he the love of your life?
SAMI
Get real.
JOHN
You are staying with him why?
SAMI
I don’t want my twins to grow up like I had to.
EJ
I’ll be there for all of you.
SAMI
You can’t replace Lucas. .
JOHN
You got me thinking.
EJ
Scary thought.
JOHN
You are right. I do need to make some changes. You are going to help me.
SAMI
What can I do?
JOHN
You know what Blondie likes? Turn this into a place she can call home. Money’s no object.
SAMI
Are you serious?
EJ
This is still my father house.
JOHN
It’s my house. Get use to it kid.
(Shouting)
Rolf!
ROLF
(Running in)
What is it?
JOHN
Get rid of that.
ROLF
Stephano’s portrait?
EJ
I’ll take care of it
JOHN
Get it out of my house.
Angrily EJ carries the painting out of the room.
Rolf, I have a new job for you. We’re going to be redecorating.
ROLF
I’m not an interior designer.
JOHN
Learn how to diversify..
CUT
INT: DIMERA HOUSE HALLWAY: LATE AFTERNOON
Sami and Rolf walks down carrying a note pad and the baby monitor. She looks at the windows and makes a few notes. Turning, toward the door, she tried to open it. It’s locked.
SAMI
Rolf. I can’t open this door.
ROLF
(Nervous)
It stays locked.
SAMI
What’s on the other side?
ROLF
(Pulling her away)
The west wing. Nobody goes there.
SAMI
Why?
ROLF
I have other duties to attend to. Excuse me.
Rolf rapidly leaves. Confused, Sami tries to open the door.
INT: DIMERA STUDY: EARLY EVENING
John is on the phone. Sami walks in.
JOHN
Right. Just take care of it. I’ll expect an update tomorrow
(Hangs up the phone)
Well, what do you think?
SAMI
I couldn’t get into the other wing of the house. The door was locked.
JOHN
Did you ask Rolf for the key?
SAMI
He wouldn‘t open it.
JOHN
Rolf!
EJ
(Walking in)
His in the kitchen.
JOHN
Where is the key to the west wing?
EJ
It’s off limits.
JOHN
That’s not what I asked. Rolf!
SAMI
Why?
ROLF
I’m coming.
(Entering the room)
I was getting the wine for dinner.
JOHN
Where is the key to the door to the west wing?
ROLF
No one is to go there. Stephano’s orders.
SAMI
Why? What’s in there?
EJ
I don’t know.
JOHN
I want the key.
ROLF
I don’t know where it is.
JOHN
Rolfie, why is that I don’t believe you.
EJ
I’m telling you not to go there. It’s not safe.
JOHN
You said you don’t know what’s there.
EJ
Father had his reasons.
JOHN
(Walking toward the door)
Anyone else curious?
SAMI
You don’t have a key.
JOHN
I don’t need no stinking key.
SAMI
(Following)
Good point.
CUT
INT: DIMERA HALLWAY OUTSIDE west WING DOOR: EARLY EVENING
John is picking the lock while Sami watches.
JOHN
Just about...got it.
EJ
(Running down the hall)
Don’t do it!
JOHN
(Turning the knob)
To late junior
The door swings open to a large dark room. The last rays of the day filter between the curtains. The furniture is covered. The room is decorated more feminine than the rest of the house. It appears to have been closed off for a long time.
CUT
INT: ROOM IN WEST WING: EARLY EVENING
From the perspective of near the ceiling, John, Sami and EJ are seen in the doorway. The perspective circles around the room focusing on John and Sami as they walk in the door. EJ refuses to enter
EJ
Don’t go in there.
SAMI
It’s all musty.
EJ
I beg you.
JOHN
What are you afraid of Elvis?
EJ
Sami, for the sake of your children.
JOHN
What secrets did Stephano hide here?
SAMI
Maybe you should say who did he hide here?
JOHN
It wasn’t me. My accommodations were as grand.
SAMI
(Walking to EJ)
So whom did your father lock up here?
The perspective stops and focuses on EJ
My mother? Did her keep her here? Or did he kidnap another woman?
EJ
I don’t know Samantha. I just know you have to get out of there
EJ reaches for her. The perspective rush at him, knocking him backwards onto the floor. He wipes the blood from his nose. Stunned, EJ stares at her.
Why did you hit me!
SAMI
I didn’t.
JOHN
(Looking from EJ to Sami)
You’re stronger than you look.
CUT
INT: CARVER LIVING ROOM: EARLY EVENING
Celeste walking down the stairs after putting Theo to bed. Reaching the bottom stair, she suddenly stops and fearfully looks around.
CELESTE
Something is wrong. I can feel it.
She picks up her Tarot deck. Queen of Sword fall on the table
What does this mean?
The Tower drops beside it. The front door slams open. Celeste doubles over in pain.
Oh, my God! The seal has been broken!
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Showing posts with label screenplay. Show all posts
Showing posts with label screenplay. Show all posts
Saturday, April 19, 2008
Friday, January 25, 2008
Never Can Say Good-bye--A Doorway to Romance, Suspense and Murder
Never Can Say Good-bye
by Theresa Chaze
US copyright number: TXu1-167-991
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?
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.
SHANE
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.
by Theresa Chaze
US copyright number: TXu1-167-991
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?
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.
SHANE
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.
Monday, July 16, 2007
Never Can Say Goodbye--a script excerpt
EXT: FOREST: EARLY AFTERNOON
Lynne and Elizabeth are walking down a path, which leads to a rapidly moving river.
ELIZABETH
It’s beautiful.
LYNNE
It’s the last ten acres of virgin forest for five hundred miles. The local Native Americans convinced the loggers that it was haunted.
(Pointing down river)
Another month, there’ll be color no artist could match.
ELIZABETH
Does anybody live here?
LYNNE
It’s state protected land. There are a few public hiking trails. The Bellow’s house is down the road and up the hill. From the front porch you can see the whole valley.
ELIZABETH
It’s amazing. I’ve never seen anything so beautiful.
(Walking down to the water’s edge)
It’s so peaceful.
She looks down river. A doe comes to drink from the river. The sun filters through the trees. A large crow flies over head, cawing. In the distance, she hears saws biting into the trees and the trees falling. The sounds becomes clearer, intermixing with men’s voices.
I thought you said this was protected land.
LYNNE
It is.
ELIZABETH
Someone’s cutting down trees. I can hear them
(The sounds become louder and she puts her hands over her ears)
We have to tell the rangers.
LYNNE
(Running to the river’s edge)
I don’t hear anything! Why are you shouting?
Freshly cut trees, stripped of their branches, start floating down the river. A few at first, then the surface is covered. Two men dressed in work clothes are balanced on wide bottomed, shallow boat. Each carried a long pole with a hook on the end, which they used to break up blocks in the river. Further up river, a similar boat followed. The men casually joked with one another.
ELIZABETH
(Pointing)
Do you seem them?
LYNNE
Who?
ELIZABETH
The men in the boat.
The second boat passes in front of her. One of the men is a teenage Randolph. The lumber sounds suddenly stop and the images vanish.
ELIZABETH
(Stunned)
It stopped.
LYNNE
What did you see?
ELIZABETH
There were trees in the river and men in boats.
LYNNE
(Shaking her head)
Has anything like this happened to you before?
ELIZABETH
I’m not crazy! It happened.
LYNNE
I believe you. Other people have seen it too.
ELIZABETH
Have you?
LYNNE
No. But I’ve seen other things. Come on. Michael’s waiting.
INT: HIDDEN BEDROOM: EARLY AFTERNOON
Michael is standing in the doorway. Sara Jane appears in the rocker. She hums while she mends a man’s shirt. She is very pregnant. He walks to the rocker and reaches out to touch her stomach. She looks up at him and smiles. A car is heard pulling up and parking on the outside of the house. .
EXT: OUTSIDE BELLOW’S HOUSE: EARLY AFTERNOON
Lynne and Elizabeth are getting out of the car. They pull cases out of the back seat and walk toward the house.
INT: HIDDEN BEDROOM: EARLY AFTERNOON
Michael turns away from the window. The room is now empty.
INT: FRONT ENTRANCE WAY: EARLY AFTERNOON
Michael opens the front door. Elizabeth and Lynne walk in, carrying the cases.
LYNNE
Sorry we’re late. I wanted to show Elizabeth the trails.
ELIZABETH
Your house is beautiful.
MICHAEL
I wish it were mine. We’re just renting.
ELIZABETH
It’s so big.
MICHAEL
The original house was half as big. The second Mrs. Bellows was responsible for the expansion.
LYNNE
Where’s the room? And when is Shane coming back?
MICHAEL
Upstairs down the main hall first door on the left. I haven’t had a chance to fix the wall yet. Late tonight. She has a gig, but I have to meet her there. I made a light lunch. Just in case you didn’t have time.
ELIZABETH
We ate before we drove out.
MICHAEL
We seemed to have gotten off to a bad start.
ELIZABETH
Whose fault is that?
LYNNE
(Walking toward the stairs)
Children when you decide to be grown ups again. I’ll be pstairs.
She walks upstairs, leaving them behind.
INT: HIDDEN BEDROOM: EARLY AFTERNOON
Lynne walks into the room and set the cases on the bed. She looks around the room, opening the drawers and the closet. She takes out one of the dresses and examines before returning it to the closet. She moves the clothes around. Behind them are several shelves with boxes stacked on them. She pulls one out and opens it. It is filled with letters and mementos. She puts it on the bed and takes out another. It is filled with homemade baby clothes. They are old, but appear to have never been used. She continues around the room, stopping at the window. The nails, which had secured the window, are still embedded. Their points are sticking out of the bottom. She examines the window; the ceil has been splintered.
Elizabeth and Michael are heard talking in the hallway; they are walking toward the room. She turns as they walk in.
LYNNE
Wouldn’t it have been easier to take out the nails first?
MICHAEL
I didn’t open it.
LYNNE
Who did?
MICHAEL
I don’t know.
ELIZABETH
(Slowly almost reluctantly walks in)
It’s a beautiful room.
LYNNE
Could Shane--
MICHAEL
She is afraid of the room.
LYNNE
Really? Why?
ELIZABETH
That’s silly. This was a room of love.
MICHAEL
She said there was a woman in here, who loves me and hates her.
LYNNE
(Sarcastic)
That’s new! Help me set up the equipment.
Elizabeth looks at herself in the mirror. Sitting in the chair, she picks up the hairbrush. Brushing her hair, she begins to hum quietly to herself the same tune from Michael’s dream.
I would’ve got better readings if I’d been here.
MICHAEL
I’m sorry. I couldn’t help myself. It was like I was possessed. It was all I could think about.
LYNNE
Did you find what you expected?
MICHAEL
Yes and No. It was smaller than I thought. It looked like I imagined.
LYNNE
And?
MICHAEL
I felt disappointed. I was expecting something--someone to be here. But there wasn’t anyone. The dreams started. Sara Jane was here.
(He walks to the rocker)
With her son. But that isn’t possible. The boy was a toddler. Sara Jane died giving birth to their only child. It’s so confusing. Audrey was trying to protect the boy--no, she was angry with him. The women argued. Randolph came in. He still loved Sara Jane. He was married to Audrey. He never loved her. He was going to kill himself to be with Sara Jane. But he couldn’t. Audrey was pregnant.
LYNNE
Why did he marry Audrey?
MICHAEL
He needed a wet nurse for his son. Audrey had given birth to her daughter just a month before. Her husband had been killed in a lumber accident. She wouldn’t move in unless he married her.
ELIZABETH
If he loved Sara Jane so much he wanted to die, how did Audrey come to be with child?
MICHAEL
I was weak.
LYNNE
I?
MICHAEL
Night after night, I lay in our bed missing you. I was alone--our bed was cold. She would come to me, smelling of your perfume. At first I pushed her away. But she was warm and willing. She kept coming back, telling me how much she loved me. I closed my eyes and it was you beside me. You I made love to.
LYNNE
Michael? Elizabeth?
ELIZABETH
How do you think I felt? Watching you in our bed. You wouldn’t let me leave. Why did you do that to me?
MICHAEL
I loved you.
LYNNE
That’s it--Everybody out!
She grabs Michael and pushes him out the door. Going back, she pulls Elizabeth from the chair; the hairbrush falls to the floor. Elizabeth tries to pick it up, but she is hustled from the room. Lynne stops and scans the room, before slamming the door shut.
INT: KITCHEN: AFTERNOON
Michael and Elizabeth sit at the table, eating. Lynne stands at the counter, staring at them.
ELIZABETH
All this is from your garden? It tastes wonderful.
MICHAEL
It always tastes better when you grow it yourself.
LYNNE
Yes. It’s wonderful. It’s also low calorie. Extra special. Everybody agree? Good. Now what the hell happened up there?
MICHAEL
More tea anyone?
LYNNE
No! Sit down!
ELIZABETH
I feel embarrassed.
LYNNE
Why?
ELIZABETH
I don’t know. Part of me didn’t want to go inside. I was afraid I would never be able to leave. Then I didn’t want to leave. It’s not like I thought about it. It’s just how I felt. I was afraid. But it also felt like coming home.
(To Michael)
I saw you. But it wasn’t you. You were someone else. I loved you--and hated you.
MICHAEL
I was finally getting the chance to explain. To make it right.
LYNNE
Make what right?
Off screen a car pulls up and parks. A single car door opens and closes.
Are you expecting anyone?
MICHAEL
I’ll go see who it is.
INT: FRONT ENTRANCE: AFTERNOON
Shane walks in.
SHANE
Mike! What is Lynne doing here?
INT: KITCHEN: AFTERNOON
LYNNE
You said she’d be gone all day!
MICHAEL
Stay here. Both of you. I’ll take care of it.
INT: IN THE HALLWAY AT THE FOOT OF THE STAIRS: AFTERNOON
Shane has gone part way up. Michael runs in.
MICHAEL
You said you were spending the afternoon with you mother..
SHANE
Why is she here?
MICHAEL
Calm down.
SHANE
Don’t tell me to calm down!
MICHAEL
I asked her to check out the hidden room.
SHANE
No doubt she’d have that adventure you wanted. At least you didn’t use our bed.
LYNNE
(Walking in)
Actually we were frolicking on the kitchen table. Miracle Whip isn’t only for sandwiches.
MICHAEL
Lynne, you’re not helping.
SHANE
You’re disgusting!
Zombie-like Elizabeth can be seen walking out of the kitchen.
MICHAEL
Go back in the kitchen.
SHANE
Slut!
LYNNE
Psycho!
MICHAEL
(To Lynne)
You’re not helping.
SHANE
Why are you doing this to me?
Unseen by the others, Elizabeth walks through the dining room, examining the room as she goes. Its appearance seems to confuse her.
You said you loved me.
MICHAEL
I do love you.
SHANE
Then why is she here?
MICHAEL
I wanted to find out about the room.
SHANE
The room. The house. Your work...everything but me!
Lynne notices Elizabeth and joins her in the dining room.
INT: DINING ROOM: AFTERNOON
Elizabeth is looking at the furnishings. Lynne walks up to her.
ELIZABETH
It’s all different.
LYNNE
What’s all different?
ELIZABETH
My house. Who are you? What are you doing in my house?
LYNNE
Elizabeth, what are you talking about?
ELIZABETH
Elizabeth? My name is Sara Jane. Sara Jane Bellows.
LYNNE
OHMYGOODNESS! I don’t have the right equipment for this. Shit!
ELIZABETH
(Calling out to Michael)
Randolph, what did you do to my house?
LYNNE
Sara Jane. Hi. I’m Lynne. Have you been in the house since you died?
ELIZABETH
I’m not dead.
SHANE
(Seeing Elizabeth)
You!
Michael tries to grab her, but she pushes past him and runs into the dining room.
He’s my husband!
MICHAEL
(Following)
Shane!
Lynne intercepts her and they struggle. Elizabeth meets Michael half way into the room.
ELIZABETH
I don’t understand. I waited for you. Why didn’t you come?
MICHAEL
I couldn’t find you.
SHANE
You can’t have him. He’s mine.
ELIZABETH
I know you! I know what you did.
SHANE
Shut up!
Shane shoves Lynne out of the way and lunges at Elizabeth, pushing her backward. Elizabeth hits her head on edge of the table and falls to the floor. Michael grabs Shane and pulls her away. Lynne checks Elizabeth.
MICHAEL
Is she okay?
LYNNE
No! She’s not okay. She’s unconscious!
SHANE
She deserved it!
MICHAEL
You don’t even know her!
(Shoving her away)
Shane, look what you’ve done!
SHANE
Love me. Not her.
LYNNE
We have to get her to the hospital.
SHANE
She was going to ruin everything!
LYNNE
Mike, fight with her later. Help me get her to my car.
MICHAEL
There’s an afghan on the couch.
Lynne runs out of the room.
SHANE
Mike, I did it for us.
MICHAEL
(Gently lifting Elizabeth)
Get out of my way!
SHANE
Mike, please you have to understand.
MICHAEL
Understand what?
SHANE
I can explain.
MICHAEL
(Carrying Elizabeth toward the door)
Stay here.
SHANE
Mike, please!
INT: ENTRANCE WAY: AFTERNOON
Lynne covers Elizabeth with the afghan and opens the door. Michael carries her out. Lynne hesitates at the threshold.
LYNNE
This time you’ll get what you deserve.
She slams the door.
INT: HOSPITAL WAITING ROOM: AFTERNOON
Lynne paces the room, occasionally looking down the hall. Michael sits in the chair, staring at the floor.
MICHAEL
I’ll take care of the bill.
LYNNE
I wish we could take it out of Shane’s hide.
MICHAEL
I’ve never seen her act like that. Could it have something to do with the room?
LYNNE
She was jealous before you moved into the house.
MICHAEL
She had a dream. The woman in the room wanted to hurt her.
LYNNE
Is Shane in that examination room?
MICHAEL
I just thought--
LYNNE
That’d find another way to excuse her. To make it not her fault or yours.
MICHAEL
It’s not my fault!
LYNNE
Isn’t it? What are you going to do if Elizabeth decides to press charges?
A nurse walks in.
NURSE
Your friend’s lucky. She doesn’t have a concussion. But she does have a nasty bump. She can go home. But she shouldn’t be alone for the next few hours.
LYNNE
She can spend the rest of the day and night at my house.
MICHAEL
Where do I pay the bill?
NURSE
At the cashier. She’ll be out in a few minutes.
Tuesday, July 10, 2007
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
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
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