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                                      Screenplay by

                                     Bruce Joel Rubin

                                      SHOOTING DRAFT


               INT. TRIBECA LOFT - DAY

               The CAMERA TRACKS slowly through clouds of moving dust. Shafts 
               of muted light pierce the dense atmosphere. An eerie 
               netherworld envelops us. Strange ghostly forms appear and 
               disappear in the distance. They seem like apparitions.

               Broken timbers and dangling cables emerge from the smoky 
               light. We see hints of a huge demolished space.

               An old white plaster wall FILLS THE SCREEN. Momentary blips 
               of light flash across it. SOUNDS of street traffic are heard 
               dimly in the distance.

               With startling impact, the SOUND of a sledgehammer explodes 
               out of nowhere. The wall shudders.

               HAMMER BLOWS assault the audience. They are loud and jarring. 
               The wall buckles.

               Chunks of plaster CRASH to the floor. The air fills with new 
               swirls of white dust. The SLEDGEHAMMER smashes INTO VIEW. 
               Beams of sunlight cut through the cracks, piercing the 
               atmosphere like searchlights in a fog. A huge section of 
               wall falls toward camera as more plaster billows into the 
               air. We hear voices talking.

                                     MOLLY (O.S.)
                         What a mess!

                                     SAM (O.S.)
                         I told you!

               Through jagged holes we can make out three dim figures on 
               the other side of the wall, all wielding SLEDGEHAMMERS.

                         I can't breathe.

                         Use your mask, dummy.

               One of the figures adjusts something over his face. Isolated 
               rays of sunlight dance around him casting long shadows in 
               the air.

                         "Volga boat..., man." Whoomph!

               His hammer pounds the wall. Molly laughs.


               The CAMERA MOVES IN and for the first time we see them. MOLLY 
               JENSEN, in her late 20's, has a bandanna around her hair and 
               a workman's mask over her nose, but we can tell from her 
               eyes and cheekbones that she is beautiful. SAM WHEAT, in his 
               late 30's, is also hidden behind a mask, but he has a strong 
               forehead and handsome features. Sweat is dripping down his 
               brow, leaving streaks in the dust. CARL BRUNER, early 30's, 
               removes his mask revealing a good looking young man with a 
               fashionable two-day stubble. Both men have their shirts off.

                                                                    CUT TO:


               BLACKNESS AND A LOUD THUD. Suddenly a shaft of light 
               penetrates the darkness. Another thud and more light. We see 
               a hole. The hook of a crowbar enters it, grappling with 
               something around the edges. Then, with a tug and a loud yank, 
               a huge section of tin ceiling crashes to the floor. Huge 
               clouds of dust fly into the air. Molly looks up, astonished.

                         Sam, look, there's a whole eight 
                         feet up there.

                         And about eighty years of dust.

                         We have all this height, Sam. We 
                         could add a second floor and put our 
                         bedroom upstairs. That would leave 
                         all this space.

                              (eyeing her curiously)
                         For what?

                         For space. Just space.

                         Be great for bumper cars.

               Carl laughs as he looks at Sam. Their bodies, covered with 
               white powder, appear as strange, ghostly figures.

                         Sam, this may be none of my business, 
                         but I'm concerned you're doing too 
                         much coke.

               Sam glances down at his white body. They all laugh.

                         Hey, Sam, turn around.

               Sam obeys. Molly doodles on his chest, drawing a bow tie and 
               the outline of a tuxedo jacket. Her lines are quick, 
               accomplished, and subtly erotic.

                              (offering his body)
                         How 'bout me?

               Molly nods. She reaches out and superimposes an armless female 
               torso over his. His stomach jumps sensually as she touches 
               it. Molly pulls back to admire her work. He looks like a 
               Greek statue.

                         I'll never wash again.

               Molly laughs.


               Sam, Molly, and Carl are holding their sledgehammers. Molly 
               begins to count.

                         All together now. One,
                              (they strike the wall 
                              with their hammers. 
                              The wall shakes)
                              (they pound again. 
                              The wall begins to 

               In unison, they hit it once more. A massive section of plaster 
               and metal topples to the ground. New clouds of dust fill the 
               air. Suddenly, Sam spies an old jar lying on the floor. 
               Something rattles inside it, a penny.

                         Hey, look what I found. There's a 
                         penny inside.
                              (he hands it to Molly)
                         For luck in our new loft. It's a 
                         good omen.

                              (shaking her head, 
                         You're the good omen.

               She glances at him lovingly. Carl looks at the two of them 
               and grins.

               As the dust settles we see, for the first time, the outlines 
               of the space they are working in. It is a huge loft over 
               four thousand square feet. Banks of windows run east and 
               west. Molly steps back and admires the room.

                         It's gorgeous.

                         You guys lucked out. Hell, I bet you 
                         could sell it tomorrow and double 
                         your investment.

                         Sell it? Carl, we just bought it.

                         What I wouldn't do for a place like 

                         It's gonna be great.



               It is morning rush hour. Sam and Carl, both wearing suits 
               and ties, exit the Wall Street subway station and approach 
               the Headquarters of Market Security Bank & Trust.

                         Oh, by the way, Sam, I had to move 
                         your 3:00 with Bob Kahan to 4:00 so 
                         you could squeeze in Gary Alan. He 
                         called yesterday and said he has to 
                         see you today about the Danway stuff. 
                         Three o'clock was the only time he 
                         could make it. Also, the board meeting 
                         in L.A. has been confirmed for the 
                         12th. I got you on a 9:00 a.m. flight.

               Sam seems preoccupied.

                         Hey, Sam, relax. This isn't brain 
                         surgery you're going into.

                         I hate pitching to these Japanese 
                         guys. They make me nervous. I mean, 
                         what am I supposed to say, "Who do 
                         you think'll win that big Sumo 

                         Sam, you'll be fine. You're great 
                         with people.

               Sam's jacket flares open. He is wearing yellow suspenders. 
               Carl notices.

                         Hey, nice. I like those.

               Sam, not completely comfortable wearing them, buttons his 


               Carl smiles and then turns to admire a car going by.

                         Jesus, look at that, a Testerossa. 
                         That's the car I'm gonna drive when 
                         I'm making two hundred grand.

                         Better pay off your Mustang first.


               Sam and Carl are standing on a crowded elevator. It is deadly 
               quiet. Suddenly Carl elbows Sam and winks. There is something 
               he wants him to do. Sam hesitates a moment, annoyed, and 
               then relents. He clears his throat.

                         So Carl, what did the doctor say?

                         He said it was contagious. Very 
                         contagious. I shouldn't be going 
                         into work today.
                              (he coughs loudly)
                         But what could I do?

               He sneezes. People on the elevator freeze.

                         And what about the rash?

                         Not good. It's spreading everywhere.

                         On your genitals again?

                         Everywhere. He said be sure not to 
                         touch anyone.

               We see people trying to inch away. Carl coughs again. They 
               hold their breath. The elevator stops at the next floor. All 
               the passengers get off.


               Sam and Carl, laughing, walk through a large office area 
               bustling with activity. Employees, in various cubicles, are 
               talking on telephones and punching information into computers.

               Sam heads into his executive office. Carl steps into a cubicle 
               across the aisle. ROSE, Sam's secretary, approaches him.

                         Morning, Mr. Wheat.

                         Morning Rose. Listen, when the 
                         Kobiashi people arrive, have Elenore 
                         take them right to the...

                         They're already here.

               She points to a windowed conference room. Sam turns around 
               and sees a large group of JAPANESE MEN standing inside.

                         They're early!

                         I know. And Andy Dillon called. He 
                         said they need $900,000 transferred 
                         to Albany by noon.

                         Noon? Damn!

               He hurries over to Carl's cubicle. He is on the phone. Carl 
               cups the mouthpiece.

                         Hold on.

                         Listen, Dillon needs $900,000 in 
                         Albany by noon. Can you transfer it 
                         to his payroll account?

                         Sure. Just let me have your MAC code.

               Sam pulls out his wallet and extracts a small address book. 
               He jots the code numbers on a piece of paper and hands it to 

                         Discretion, huh?

                         You bet. I'll do it right away.


               Sam and a group of fifteen somber Japanese businessmen are 
               sitting around a large granite conference table. Sam stands 
               up and speaks a simple greeting to them.

                              (in Japanese)
                         Good morning, Gentlemen. On behalf 
                         of Market Security Bank & Trust, I 
                         welcome you to our city.

               The men smile happily and nod their heads in unison.


               They look to Sam, expecting more. Uncomfortable, he clears 
               his throat.

                         I'm afraid that's the only Japanese 
                         I know. But I realize it's not our 
                         language fluency, or lack of it, 
                         that brings you to Market Security. 
                         Rather, I'm sure, it is our banking 
                         expertise, our ability to represent 
                         and anticipate all of your banking 
                         needs. As you know, we are not the 
                         largest banking establishment in New 
                              (his throat goes dry 
                              and he takes a sip 
                              of water)
                         But, with combined assets of over 
                         200 billion dollars, we have a firm 
                         commitment to the international 

               A SECRETARY enters the room and hands Sam a piece of paper. 
               It reads "MOLLY ON LINE 2. URGENT." She hands him a phone.

               Sam looks surprised. He nods apologetically to his guests.

                         Excuse me.
                              (he picks up the 

                                                                    CUT TO:


               dressed in a long, clay covered smock. She is in a potters 
               studio. SEVERAL OTHER POTTERS are in the background working 
               at their wheels. A five-foot high ceramic vase stands beside 
               Molly. It is still wet. She toys with it as she speaks into 
               the phone.

                         A man and a woman are lying in bed 
                         when the woman's husband suddenly 
                         comes home. Frightened, she tells 
                         the man he has to leave instantly 
                         through the window. He has no time 
                         to dress.

                                                               CUT BACK TO:


               straight-faced, listening and trying to look as if it is 

                         Uh hmm.

                                     MOLLY (V.O.)
                         It's raining outside. The man, running 
                         naked along the street, sees some 
                         joggers approaching.

               The entire contingent of Japanese men is staring at Sam.

                                     MOLLY (V.O.)
                         One of the joggers calls out. "Hey, 
                         do you always go jogging naked?" And 
                         the man says, "Yes, always."


                                     MOLLY (V.O.)
                         And then the other jogger says, "And 
                         do you always wear a condom?" The 
                         man looks down, embarrassed, and 
                         replies, "Only when it's raining."

               Sam squelches a smile.

                         Well, that's just fine.

                                     MOLLY (V.O.)
                         Now just relax and have fun, okay? 
                         It's not the end of the world if you 
                         lose this account. You've always got 

                         Thank you. I'll remember that.

                                     MOLLY (V.O.)
                         See ya.

               He hangs up and stares at the Japanese men. A short smile 
               crosses his face.

                                                                    CUT TO:

               A CARVED WOODEN ANGEL

               eight feet tall, ascending into an afternoon sky. As the 
               CAMERA PULLS BACK we see that we are inside a building and 
               that the angel is dangling outside an open doorway high above 
               the street.

               A group of workmen grab for the angel, but have difficulty 
               bringing it in. Suddenly Molly steps INTO the FRAME.

                         Where you guys from, the New York 
                         City Ballet?

               With a gutsy maneuver, Molly leans out over the sidewalk and 
               tries to grab hold of the ropes. She can't reach them. 
               Suddenly a pair of hands grabs her around the waist. She 

                         Saved your life.

               Sam laughs as he pulls her back into the loft. She does not 
               think it is funny.

                         You bastard. Don't do that to me. 
                         You scared me half to death.

                         Better than seeing this gorgeous 
                         body splattered all over the street. 
                         Here, look out.

               Sam jumps up, grabs hold of the door's top molding, and swings 
               out over the sidewalk. Molly gasps. Sam's feet push at the 
               angel and send it swinging away and then back toward the 
               loft. Quickly he jumps back, grabs hold of it, and brings it 
               in. The workmen applaud. Molly eyes him with admiration.

               Suddenly we hear a voice call out.

                                     CARL (O.S.)
                         Sam? Molly? Anybody home?

               Molly looks to Sam.

                         Carl? Did you invite him?

                              (under his breath)
                         I couldn't keep him away.

               Carl enters, shakes Molly's hand, and pats Sam on the back.

                         Hi, Moll. Hi, Sam. So, how's it goin?

               Before they can answer, a WORKMAN turns to Molly.

                                     WORKMAN (V.O.)
                         Where do you want this?

                         In the bedroom.

               INT. LOFT - DAY

               As the angel pulls away from camera, we see the newly 
               decorated loft for the first time. It is painted now in lovely 
               pastels. The floor, a huge gymnasium-like expanse, is 
               lacquered with polyurethane. Furniture and boxes are piling 
               up along the walls. Dominating the space, with a kind of 
               surreal presence, are a large number of Molly's sculptures 
               and ceramics. There is also a vintage jukebox. Carl is 

                         Wow! The place looks great. Really 

                         You like it, huh?

                         "Like" is hardly the word. I never 
                         imagined it would be this beautiful. 
                         This is incredible.

               A mover lugs in a heavy old chair. Molly sees it.

                         Sam, you kept that chair?

                         What do you mean? It's comfortable. 
                         For T.V. I love that chair.

                         But it doesn't go with anything.

                         It goes with me.

                         It's okay, I'll paint it.

               Sam pinches her ass. Molly smiles.

               INT. KITCHEN - DAY - LATER

               Sam, Molly, and Carl are sprawled out on the floor, eating 
               from Cartons of Chinese food. Frank, a gray cat, eats beside 
               them. Unpacked boxes are scattered everywhere.

                         It was the middle of December. I was 
                         sitting in my old office, the one 
                         Charlie's in. Suddenly, I heard this 
                         woman screaming. I thought someone'd 
                         been shot or something.

                         They took away my MasterCard. It was 
                         Christmas, for godssake.

                         She was four thousand dollars over 
                         her limit.

                         It wasn't four thousand. And I'd 
                         already sent in the payment! You're 
                         the ones that lost it.

                         She's still angry.

                         No I'm not.

               The cat begins nibbling Sam's food.

                         Get outta here, Frank!
                              (the cat scampers 
                         You should have seen her. All pink 
                         and flushed. Her skin was gorgeous, 
                         like a rose. And she's screaming, 
                         demanding to see the president. So 
                         Wilton brought her to me.

                         You? You weren't even a VP yet.

                         She didn't know that.

               Carl smiles.

                         Can you believe it? And the next 
                         thing I know, he's telling me his 
                         life story. I couldn't believe it. 
                         Everything. About his divorce, how 
                         he'd just arrived in New York, how 
                         he didn't know any women. And all 
                         with this Montana accent.

                         What's a Montana accent?

                         The one you always slip into it when 
                         you get nervous. "Yes, Ma'am. Thank 
                         you, Ma'am. Can I fondle your breasts, 

                         I wasn't nervous.

                         Admit it. You liked me. You were 

                              (matter of factly)
                         I thought you were cute.

                              (looking at Carl)
                         Do you believe this? I should have 
                         been Picasso's mistress. I should 
                         have been living in Barcelona or 
                         Paris. But no, I'm moving in with a 
                         New York banker who thinks I'm cute.

               She looks at Sam and grins. Carl is staring at Molly, 
               obviously turned on by her. He is embarrassed when she catches 
               his gaze and quickly looks away.


               INT. MOLLY'S STUDIO - NIGHT

               Molly, dressed only in a T-shirt, is sitting at her potters 
               wheel throwing a series of pots. Sam enters the studio. He 
               is barefoot, shirtless, wearing jeans.

                         What are you doing?

                         I felt inspired.

                         At 2:00 am?

               She nods and presses her hands into a pot that is forming in 
               front of her. Sam watches the sensual movement of her fingers, 
               molding and forming the clay. She is forceful, assured, 
               gifted. The clay responds to her slightest effort. Slowly, 
               almost unconsciously, Sam reaches for her shoulders and begins 
               kissing them.

                         You notice Carl's eyes today? They 
                         were all over you.

                         What? Are you jealous? Sam, let me 
                         tell you something. He's not even 
                         looking at me. It's you he idolizes. 
                         He doesn't see me at all... Anyway, 
                         he's not my type.

               Sam reaches over her and gently adds his fingers to the clay. 
               Molly looks up at him.

                         What are you doing?

                         I feel inspired.

               His hands dig into the clay. Molly smiles. Their fingers 
               seem to dance together. After a moment, she reaches up to 
               him, her clay-covered fingers streaking his face and curving 
               down to his chest. Sam grins and reaches down to her.

                                                              MATCH CUT TO:

               SAM'S FINGER

               as it presses two buttons on his jukebox. We watch as the 
               mechanical arm selects a record and slowly, sensuously, lowers 
               it to the turntable. The arm hovers over the record and then 
               descends. It begins to play. The song is "Unchained Melody" 
               by the Righteous Brothers.

               SAM AND MOLLY

               are dancing in the middle of the dark loft. Moonlight pours 
               through the windows and shines off the floor. Wads of packing 
               paper swirl sensuously around their feet.

               Molly runs her fingers down Sam's naked back. The moment is 
               sweet and erotic. We watch as Sam slowly draws his fingers 
               down over Molly's face, gently caressing her forehead, her 
               eyes, her lips.

               Sam slides his hands under Molly's T-shirt, slowly moving 
               them toward her breasts. Her breathing slows. They dance 
               silently, her hair swaying in the soft light.

               We hear the sounds of their bare feet on the highly polished 

               Sensuously, Molly's shirt lifts above her navel as Sam presses 
               into her. Their stomachs touch and part and touch again. She 
               bites her lip. Sam eyes her moonlit form as she strokes his 
               chest, slowly moving her fingers down his torso, around the 
               curve of his hips, and then digging into the back of his 

               Sam leans into Molly and nips at her neck. She stops dancing. 
               Her eyes close. She stands absolutely still. Sam's hands 
               move to her backside. He pulls her closer.


               LIVINGROOM - NIGHT

               SAM AND MOLLY, making love on the livingroom carpet. Paper 
               and packing materials crumble beneath them and scatter across 
               the floor. For all their sensuality, it is their hands and 
               eyes that are most expressive, revealing a tenderness that 
               is deeply moving. Their lovemaking is full of love.


               The song ends. The jukebox arm retracts and gently slides 
               the record back into its slot.



               BEDROOM - NIGHT

               Sam and Molly are lying together silently. Molly gazes at 

                         What's the matter?

                         The matter?

                         I can tell.

                         Nothing... really.

                         You're worried, aren't you? About 
                         moving in together?

                         No. Not really.

                         Then what? The promotion?

                         I don't know. A lot of things. I 
                         just don't want the bubble to burst... 
                         Whenever something good happens to 
                         me I'm just afraid I'm going to lose 

               Molly gently strokes his head.

                         You know what?


                         I love you. I really love you.

               He smiles and strokes her cheek.


               Suddenly the T.V. blares into the room. Sam jumps up, grabbing 
               the remote control unit from under his buttocks. Molly laughs 
               as he turns the SOUND DOWN. The news is on and they are 
               showing the remains of an airline disaster. Sam stares at 
               the tube.

                         Oh Jesus. Another one.

                         Don't watch that stuff.

               He motions to wait. Dead bodies litter the screen.

                         ...It is estimated that 34 people 
                         died in the crash, the second in 
                         less than two weeks.

               The T.V. goes OFF. Sam, confused, spins around. Molly is 
               holding the remote control. She nods for him to lie down.

                         I should cancel my L.A. trip... These 
                         things always happen in threes.

                         Threes? Sam, get serious. Besides, 
                         you lead a charmed life.

                         Yeah. So did they.

               Sam looks at her and then back at the screen.

                         Amazing, huh?
                              (he snaps his fingers)
                         Just like that. Blackout.



               INT. SAM'S OFFICE - DAY

               Sam is sitting at his computer. His address book with his 
               access codes is sitting open beside him. He seems perplexed 
               by something happening on the screen. After pushing a series 
               of buttons and getting the same response, he whacks the 
               computer on the side. Carl, walking in the door, sees him. 
               Sam looks up sheepishly.

                         A glitch. What's up?

                         The Mark Greenberg and Larry White 
                         accounts. I can't get in. Your MAC 
                         code doesn't work.

                         I changed it.

                         Why? What's up?

                         Nothing. I just want to nose around 
                         a bit... Can you keep your mouth 

                         Yeah, sure. Tell me, what's going 

                         I think I've stumbled onto something. 
                         There's too much money in these 

                         Too much money. That's ridiculous. 
                         How could there be too much money?

                         That's what I keep asking myself.

                         It must be the computer.

                         I've been checking.

                         Yeah, Mr. Fixit.
                              (he hits the computer 
                              like Sam did and 
                         Come on, move over. Let me see what 
                         I can do.

                         Not yet. I'm gonna dig around a bit.

                         Okay, okay. Just call me when you're 
                         ready for help.
                              (he heads for the 
                         So, what are you and Moll doing 

                         We're going to the theatre. She wants 
                         to see "Macbeth" at the Spring Street 

               Carl winces. Sam smiles.


               Sam and Molly are sitting in the fifth row of a crowded 
               auditorium. He is sound asleep.

               ANGLE STAGE

               A scene from "Macbeth".

               Sam begins to snore. Molly grabs his nose. He jerks awake. 
               Molly grins.


               Bright marquee lights sparkle overhead as Sam and Molly exit 
               the theatre. It is a beautiful brisk night.

                         I loved it.

                         I could tell.

               She smiles and squeezes his arm. They walk silently down a 
               dark street, heading toward their loft. The pavement is full 
               of shadows.

                         Did I tell you what Marcia said?

                         Six times.

                         Six? No I didn't. Sam, don't be so 
                         blasť. I'll have two major pieces in 
                         the show. The New York Times reviews 
                         her gallery all the time. This could 
                         be huge.

                         Molly, the "New York Times" is some 
                         frustrated little critic with pimples 
                         on his ass who flunked out of art 
                         school. Who cares what The New York 
                         Times thinks?

                         Eight million readers, that's who.

                         Your work's beautiful. That's a fact, 
                         Moll. It doesn't matter what anyone 

               We can tell from the expression on Molly's face that it does. 
               Sam puts his arm around her. She nestles close to him. Then, 
               suddenly, she stops and looks up. There is an unexpected 
               seriousness in her voice.

                         I want to marry you, Sam.

                              (taken aback)

                         I've been thinking about it for days. 
                         More than thinking. I want to do it. 
                         I want to jump in whole hog...
                              (she pauses)
                         What is that look for?

                              (staring at her)
                         It's just been so long since... I 
                         mean, you never wanted to talk about 

               There is a long pause.

                         Do you love me, Sam?

                         What do you think, Moll?

                         How come you never say it?

                         What are you talking about?

                         You say "ditto". It's not the same.

                         People say "I love you" all the time. 
                         It doesn't mean anything.

                         Sometimes you need to hear it.

               Sam stops and stares at Molly. He pauses quietly. He is about 
               to speak when A MAN'S FACE emerges from the shadows behind 
               him. Molly gasps. Sam spins around.


               is standing in the darkness between two buildings. He stares 
               at the couple for a moment and then steps onto the sidewalk. 
               Sam and Molly stand motionless. The man hesitates and then 
               begins walking the other way. Molly exhales a deep breath.

               Sam takes Molly's arm and they continue briskly down the 
               street. Suddenly they hear FOOTSTEPS coming after them.

                         What should we do?

                         Let me handle this.

               Sam stops abruptly and turns around. A gun is staring him in 
               the face. Molly screams.

                         Your wallet!

               Sam waits a beat.

                         Give it to him!

               Sam reaches for his jacket. The Mugger grabs his wrist and 
               then carefully pulls the wallet out himself.

                         Take the money. Just leave the wallet 
                         and my...

               He swipes Sam across the head. Molly screams. The Mugger 
               whacks her across the face. Sam explodes, plowing into the 
               mugger with all his might.

                         Sam, No!

               There is a wild, all out brawl. Sam fights like a mad man. 
               Suddenly the GUN goes off. The Mugger panics and takes off 
               running. Sam charges after him.


               The two men run down the dark street, but the Mugger is 
               already a full block ahead and disappears into the shadows.

               Sam gives up. Slowly he turns and begins walking back toward 

               We can see Molly dimly at the end of the block as Sam 
               approaches. She is screaming for help. Frightened, Sam calls 


               She doesn't answer. Sam tenses and starts running toward 
               her. He is just three feet away when suddenly he stops. An 
               expression of pure terror overwhelms his face.

                                                                    CUT TO:

               CLOSEUP - MOLLY

               drenched in blood. Her eyes are glazed, on the verge of shock. 
               Panting, she stoops down to the curb as THE CAMERA TRAVELS 
               WITH HER. She grabs hold of something lying in the shadows 
               and pulls it toward her.

               It is Sam's dead body she is holding in her arms.

               Sam's ghostly form, still solid to all appearances, stands 
               beside Molly. His eyes are awash in horror and confusion. He 
               seems unable to move. THE CAMERA HOLDS on his face as the 
               full impact of his situation dawns in his eyes.

               Suddenly he lets out a blood-curdling scream.


               He jumps down toward his body and reaches out to grab hold 
               of his motionless form. His hands make a strange SOUND as 
               they pass right though it. It is terrifying. Sam jumps up, 
               crazed, frenzied, and begins circling Molly. It is as though 
               he is trying to undo what has been done.

                         This isn't happening. It's not 

               He reaches out to Molly for help. His hand cuts through her 
               shoulder. He screams.

               FOOTSTEPS. People are running down the street. The sound of 
               SIRENS can be heard in the distance. Two MEN run toward Sam. 
               He yells out at them.

                         Help me!

               They run right through him. He gasps in stunned terror.

               Sam watches helplessly as they reach his body. Molly looks 
               up and begins screaming hysterically. One of the Men grabs 
               her as the other goes for Sam's wrist. There is no sign of 

               The first Man holds Molly back as his friend stoops down and 
               begins some form of cardio-pulmonary resuscitation. There is 
               no response. Sam bends down, trying desperately to help. It 
               is a futile gesture.

                         Do it! Do it!

               The Man bangs on Sam's chest. Blood gushes from the wound. 
               Molly recoils. He bangs again.

                                                           CUT ABRUPTLY TO:

               INT. LOFT - NIGHT

               Sam shoots up in bed, panting. It is dark. He stares around 
               the loft in sudden confusion. With a lurch he flicks on the 
               night light. Molly is lying beside him, her head buried 
               beneath a pillow. Sam seems stunned.

                         Molly? Molly!

               Tears stream down his face. Molly stirs.

                         Sam? What's the matter? Is something 


               Sam is so relieved to hear her voice that he can hardly 

                         What is it, honey?

               Molly, groggy, tries to sit up. Sam reaches out for her.

               As she turns around, we see A SKELETEL VERSION OF HER HEAD 
               staring at the camera. It speaks.

                              (mocking him)
                         What is it, honey?

               Sam bolts upright, screaming. It is a scream so consumed by 
               terror that one fears it will never stop.

                                                       CUT UNEXPECTEDLY TO:

               CLOSE-UP OF SAM

               asleep in bed. He is thrashing at his pillow and moaning.

               Suddenly, a hand reaches out and touches his shoulder. Sam 
               jumps straight up in bed and kicks wildly at the sheets.

                                                                    CUT TO:

               SAM'S P.O.V.

               Molly is sitting on the bed looking at him, afraid.

               Sam stares down at her. He is breathing heavily, not trusting 
               his own senses. His hands clutch at the wall.

                         What's happening to me?!


               Suddenly, a brilliant white light shoots into the room as a 
               host of glowing forms, radiating an intense inner light, 
               float before us. A blinding tunnel spirals in an infinite 
               vortex behind them. Sam is awed and confused. We sense that 
               the light is enchanting him. The entire room begins to 
               disappear in the light.

               Molly screams.

                         Don't leave me. I need you, Sam.


               Sam turns and sees Molly, only she is not in the bed. She is 
               back on the street. To his amazement, he is on the street, 
               too, still bathed in the soothing light. Frightened, he calls 
               out to her.


               She does not hear him. He calls again.


               There is no response. Sam, deeply troubled, hesitates for a 
               moment. He is torn between Molly and the light. Then, in a 
               painful, but conscious gesture, he turns from the light and 
               walks toward Molly. At that instant, the light behind him 
               disappears with the sound of a pneumatic door closing. There 
               is a sense of terrible finality as the tunnel evaporates 
               into the void. Sam is left on the dark pavement. He stands 
               there a moment, as if in shock, and then begins running toward 
               Molly. An AMBULANCE is rounding the corner.

                                                                    CUT TO:


               EXT. NEW YORK STREETS - NIGHT

               Swirls of light speed toward the ambulance as car headlights 
               and streetlamps merge in a wild dizzying rush. The SIREN 
               wails into the night.

               INT. AMBULANCE - NIGHT

               Sam's body is lying in the back of the ambulance as a 
               PARAMEDIC applies electric paddles to his chest in an effort 
               to save him. After a moment, he looks up at Molly. We can 
               tell from the expression in his eyes that it is hopeless. 
               Sam yells.

                         Don't stop! I'm not dead!

               Molly, kneeling over Sam's body, grabs him and begins to cry 
               in long terrible sobs.


               A DOCTOR, comforting Molly, accompanies her from one of the 
               emergency operating rooms and leads her through a pair of 
               swinging doors into a separate waiting area. We see TWO 
               POLICEMEN and TWO DETECTIVES stand up and approach her.

               Sam doesn't want Molly to go and begins to follow her, but 
               then seems torn, afraid to leave his body. He turns back 
               just as his corpse, covered in a green sheet, is wheeled 
               into the corridor and parked alongside the wall. Sam seems 
               stunned and inconsolable as he sits down beside it.

               A wrinkled OLD MAN approaches Sam and joins him on the bench. 
               He begins talking.

                         So, what happened to you?

               Sam is startled, amazed that the man can see him.


                         You're new, huh? I can tell.

                         Are you talking to me?

                         Relax. It ain't like before, you 
                         know. It's a whole new ball-a-wax.

                         Who are you?

                         I'm waiting for my wife. She's in 
                         4C. Cardiac wing. She's fighting it.

               The man sticks his head into the green sheet covering Sam's 
               body. His head disappears. Sam is terrified.

                         Shot, huh? That'll do it every time. 
                         Poor bastard. Well, get used to it. 
                         You could be here a long time.
                              (leaning in close)
                         I'll tell you a secret. Doors ain't 
                         as bad as you think. Zip zap. They 
                         ain't nothin' at all. You'll see. 
                         You'll catch on.

               Suddenly there is a loud COMMOTION and we see several 
               PHYSICIANS operating furiously on an Old Man lying on the 
               table beside them. It is a life threatening situation and 
               they seem to be failing.

                         He ain't gonna make it. I've seen it 
                         a million times. He's a goner. See? 
                         Here they come. Lucky bastard. Could 
                         have been the other ones. You never 


               Before Sam can understand what is happening the entire room 
               fills with a strange preternatural light. Suddenly he looks 
               up and freezes.

               The amorphous forms he saw right after he died are floating 
               down through the ceiling and reaching for the body on the 
               operating table. They are emitting a powerful light.

                         Hurry, we're losing him.

                         What'd I tell you? Bingo!

               The glowing forms take hold of the man's spirit and help 
               extract it from his body. His physical form changes instantly 
               from a solid object into an ethereal substance.

               Sam stares in amazement as the strange beings carry the spirit 
               upward. They evaporate through the ceiling.

                         He's gone.


               The light in the room grows dull instantly. Nurses cover the 
               dead man with a dark sheet as the doctors step away. Sam 
               turns to the Old Man.

                         Who are you? What's happening...?

               The Man isn't there. An Orderly approaches the gurney with 
               Sam's body and begins pushing it toward the elevator. Sam 
               jumps in front of him.


                                                                    CUT TO:

               SAM'S P.O.V.

               as the stretcher begins to roll right through him. The 
               penetration of his physical space is horrifying to Sam. He 
               stands, almost paralyzed, as the body of the Orderly 
               intersects with his. It is a stunning moment of extraordinary 
               strangeness as we witness the atoms and molecules of the 
               Orderly's body passing through his. It is like a glimpse of 
               ultimate chaos, the universe within.

               Then, in a flash, the Orderly has passed through, but Sam is 
               still shaking. He stares up at the ceiling.

                         Oh God, help me.

                                                                    CUT TO:

               SAM'S P.O.V.

               as the ceiling lights and acoustical tiles begin to blur. 
               The hallway grows dark. It is as though Sam is blacking out.

               EXT. CEMETERY - DAY

               Slowly, images begin to emerge out of the blackness. It takes 
               a moment to realize that they are scenes from Sam's funeral.

               The CAMERA TRACKS along rows of mourners as seen from SAM'S 
               P.O.V. He seems to be floating among them. We hear snippets 
               of conversations. It all seems strangely odd and disjointed. 
               Time seems unfixed, malleable.

               We see a MINISTER standing beside the grave.

                         As we say farewell to our friend Sam 
                         Wheat, we are reminded of his 
                         kindness, his generosity, his buoyancy 
                         of spirit...

               The CAMERA KEEPS MOVING. Sam's associates from the bank are 
               among the mourners.

                         All that we treasure, our friends, 
                         our loved ones, our body, our mind, 
                         are but on loan to us. We must 
                         surrender them all. We are all 
                         travelers on the same road which 
                         leads to the same end.

               Sam notices a WOMAN in a fancy print dress comforting one of 
               the mourners. The woman looks up at him, smiles, and waves. 
               Sam is surprised. He looks behind him, but no one is there.

               As he turns back, the woman is walking away. She appears 
               just like any normal person until she approaches a large 
               gravestone and passes right through it. Sam is shocked.

                         As our loved one enters eternal life, 
                         let us remember that love, too, is 
                         eternal, that although we will miss 
                         him, our love will light the void 
                         and dispel the darkness.

               Suddenly, Molly ENTERS THE FRAME. Sam spots her. The CAMERA 


               She does not respond. RUTH, her sister, leans over to her. 
               Tears form in Molly's eyes. A hand reaches out to give her a 
               tissue. Molly looks up. It is Carl. She gives him her hand. 
               He squeezes it with affection.

                         ...and into Your hands we commend 
                         his spirit. May he rest in peace. In 
                         the name of the Father, the Son, and 
                         the Holy Ghost. Amen.

               The casket is lowered into the ground. Molly approaches the 
               grave. She us a little unsteady. Carl takes her elbow. A 
               shovel is placed in her hands. With great emotional effort 
               she lifts a shovelful of dirt and tosses it onto the casket. 
               It lands with a REVERBERATING finality. Sam shudders.


               LONG SHOT - PEOPLE

               leaving the cemetery. We hear them talking.

                         What time you going back to work?... 
                         What's the buzz on Digital? It's 
                         sad. He was so young... How's your 
                         new Honda?... Going away this weekend?

                                                               CUT BACK TO:

               CLOSEUP - SAM

               desperately alone. Down the hill, people are getting back 
               into their cars. Sam can see Molly being let into a limousine. 
               He stands there staring at his own casket, grieving. Then, 
               after a moment, he turns away. Separating from his body, 
               from his own grave site, he runs after her.


               INT. LOFT - DAY

               Molly is sitting on the couch in the middle of the loft 
               surrounded by FRIENDS and WELL WISHERS. A young GIRL, her 
               niece, cuddles in her lap. People are eating and milling 
               around. Slowly THE CAMERA BEGINS TO PAN. It ends on Sam, 
               standing alone in a corner. In the midst of all the activity 
               he is lost and alone.

                                                             FADE TO BLACK:


               Raw clay on a potter's wheel spins hypnotically, sensuously. 
               Molly's wet hands press in, shaping it, molding it. A bowl 
               begins to appear. The camera pulls back and reveals Sam. He 
               is sitting on the floor behind her, knees pressed to his 
               chest, rocking aimlessly.

               Molly looks away from the bowl she is forming. It distorts 
               and bends. Angry, she digs her finger into it. The bowl 
               disintegrates. Tears form in her eyes.

               Frank jumps up on the bench beside her. Molly stares sadly 
               around the room. Quietly, she begins talking to herself, to 
               the air.

                         Oh God, Sam...

               Sam looks up.

                         I picked up your shirts this morning. 
                         I don't know why. Mr. Reynolds said 
                         to tell you hello. I broke into tears. 
                         It's so hard...

               Sam walks over to Molly. Desperate for contact, he reaches 
               out to touch her cheek, but then hesitates and pulls back.

                         I think about you every minute. It's 
                         like you're still here, like I can 
                         feel you, Sam.

               He stares at her, hoping, wondering.

                         I am here, Moll. I am.


               Suddenly, as if hearing Sam's voice, the cat begins to hiss. 
               Molly spins around. The cat scans the room. Unexpectedly, 
               Sam's and the cat's eyes meet... With a wild SCREECH, the 
               cat jumps from the bench and takes off running. Sam recoils. 
               Molly stands up.

                         Frank, what's wrong? Frank?

               The cat is nowhere to be seen. All of a sudden, Molly freezes. 
               Sam is standing right beside her. It is almost as though she 
               senses his presence.

                              (continuing; whispering)

               She holds very still for a moment. Sam watches breathlessly, 
               loving her, wanting her. Then quietly, hopefully, he reaches 
               out. It is a useless gesture. In a moment of great poignancy, 
               Molly shakes her head and walks right through him. He remains 
               IN THE FRAME, alone.

               INT. BEDROOM - DAY

               Sam, stands in the corner of a large, walk-in closet, watching 
               as Molly goes through his effects. Boxes, scattered underfoot, 
               are filling up with his life's possessions. Molly reaches 
               for a shirt.

                         Wait, Moll. Not that one. That's my 

               She tosses it into a box and then takes down a sweater. It 
               is obviously handmade, about four sizes too big. Sam 
               recognizes it.

               Molly holds the sweater tenderly and presses it to her cheek. 
               After a moment she puts it back. Then, in a surprising 
               outburst, she cries out and begins flailing at the shelves. 
               Everything comes flying off. Sam reaches out to console her.

                         Molly, don't.

               Unexpectedly, Carl comes rushing into the room. He takes 
               hold of Molly and sits her on the bed.

                         Say something. Help her, Carl.

                         It's hard. It's very hard.

                         Oh good. That's really good.

                                                                    CUT TO:


               INT. KITCHEN - DAY

               Molly and Carl are standing over the kitchen table folding 
               piles of Sam's clothes and placing them into boxes. As Molly 
               lifts one of Sam's jackets, something falls from a side 
               pocket. It is his small black leather address book. Sam stares 
               at it with recognition. Carl sees the book fall and stoops 
               to pick it up but Molly gets it first.

                         Sam's address book.

               She skims through it a moment, but the memories it evokes 
               are too powerful for her. She places it carefully into a box 
               labeled "Sam's Things -- Valuable" and continues packing. 
               She finds the old jar with the penny in it. It's marked "For 
               Luck". She holds it tenderly for a moment and then places it 
               on the nightstand beside the bed.

               Carl discovers some old ticket stubs in another of Sam's 
               jackets. He examines them.

                         Dave Brubeck. Newport '86. Should I 
                         toss 'em?


                         Molly, we hated that concert.

               She takes the stubs and lovingly puts them in the box. Sam 

               Carl finds a half used package of Rolaids. Molly takes them 
               from his hand and puts them in the box, too.

                         Oh, you want to save those?

                         Rolaids? What are you doin' Moll?

               Molly just stares for a moment.

                         I miss him, Carl.

               Carl comes over and takes her hand.

                         We all do.

               Molly buries her head on his shoulder. Carl strokes her hair.

                                                                    CUT TO:


               Carl lifting a pile of boxes and carrying them to the door. 
               Suddenly Molly yells out.

                         Wait. Wait. Not that one.

               She hurries over and pulls the "Valuable" box from the stack 
               in his arms. He looks at it with surprise.

                         Oh, shit. I'm sorry. I don't know 
                         how that got in there.

               He turns to the door and then back to Molly.

                         Hey, Moll. Why don't you come? It's 
                         like summer outside.


                         Just for a stroll. It'd be good to 
                         get out.

               Molly shakes her head and turns away.

                         I can't do it Carl.

               Carl, annoyed, walks over to her.

                         Molly... you're not the one who died!

               Molly stops and looks at him. He has struck home. After a 
               moment she nods her head.

                         Okay. Just a short walk.

               He gently squeezes her shoulders.

                         Thata girl.

               Before Sam even understands what is happening, they are 
               exiting the loft. Sam jumps up and runs after them.

                         Hey, Molly! Wait!


               The door slams shut. Sam is locked inside. Frightened and 
               desperate, he rushes for the door knob. His hand sinks through 
               it. There is a strange sound, like ELECTRICAL STATIC, as it 
               penetrates the metal and wood. Frightened, he yanks it back.

               Sam circles the space several times and then returns to the 
               door. Clenching his teeth, he reaches out again. As his hand 
               pushes up against it, we sense that he experiences a subtle 
               resistance. The hairs on the back of his hand vibrate as his 
               ghostly form presses into it. We sense Sam's fear as his 
               entire arm DISAPPEARS FROM VIEW. The grating ELECTRICAL SOUND 
               shudders up his spine.

               The sight of his amputated limb is unsettling but Sam does 
               not pull back. Slowly he edges in and presses his face into 
               the molecules of the wood.

                                                                    CUT TO:

               SAM'S P.O.V.

               as atoms and electrons spin past him at frightening speed. 
               There is a sense of a universe in total chaos. Terrifying 
               SOUNDS charge through his body.

                                                                    CUT TO:


               pulling back from the door. He is trembling.

               INT. LOFT - AN HOUR LATER

               DISCOVERS SAM. He is sitting in a corner singing quietly to 

                         "Singing bye bye, Miss American Pie. 
                         Drove my Chevy to the levy, but the 
                         levy was dry. Them good ol' boys 
                         were drinkin' whiskey and rye, and 
                         singing this'll be the day that I..."

               He stops, realizing the last word of the song. He sits 
               silently, staring at the wall.

               Suddenly, there is a SOUND at the door. Sam's eyes shoot up. 
               The door begins to open.

               Sam stands up. His face begins to tighten. We know instantly 
               that something is wrong. His eyes fill with a fury we have 
               not seen before.

               The Mugger, the man who killed Sam, is entering the loft. He 
               has a key in his hand and puts it in his pocket. Sam is 
               stunned. The Mugger locks the door.


               Sam goes wild. He shoots at the man with all his might, 
               attacking him unceasingly, but with no effect. His hands and 
               feet pass right through him.

                         You motherfucking bastard! What the 
                         hell are you doing here? What are 
                         you doing?

               The Mugger, unaware that anything is going on, glances around 
               nervously as he moves through the vast space.


               Entering the bedroom, the Mugger goes to the dresser and 
               quickly examines the drawers. He is very neat, careful to 
               leave no sign that he was there. He seems to be looking for 
               something but cannot find it.

               ANOTHER ANGLE

               Suddenly we hear a KEY TURNING in the front door. The Mugger 
               seems startled. He dashes from the bedroom and hides quickly 
               behind one of the large sculptures. We hear the door OPEN. 
               Molly is standing there.

               Sam goes crazy.

                         Molly, no! Get out!

               Molly closes the door and locks it shut. Sam freezes as she 
               heads for the bedroom. She walks right past the Mugger. To 
               Sam's horror she stops and turns to look around. There is a 
               curious expression on her face. Seeing nothing she continues 
               through the loft.

               The Mugger pulls out his gun. Sam looks on in absolute terror.

               Molly's purple blouse hits the floor as she begins to remove 
               her clothes. She turns on the radio.

               Sam doesn't know what to do. The Mugger seems excited by 
               Molly's semi-nudity. He begins skirting the edges of the 
               loft, moving toward the bedroom. Sam is crazed.

               Suddenly, out of nowhere, Frank appears at the Mugger's feet. 
               Sam's eyes light up. He drops to his knees, crawls over to 
               him, glares into his eyes, and screams.

               ANGLE - THE CAT

               SCREECHES and jumps straight up. His claws shoot out at the 
               mugger's face, ripping into the flesh near his eye.

               Blood appears. The mugger sees it dripping through his 
               fingers. The sight of it upsets him. He grabs the cat angrily 
               by the neck. It SQUEALS. Molly in her bra, peers from the 

                         Frank, what's wrong?

               The Mugger holds the cat's mouth shut. Seeing and hearing 
               nothing, Molly steps back into the bedroom.

               The Mugger takes the cat and throws it across the floor. 
               Holding his eye, he gets up and rushes for the exit. Sam 
               runs after him, but the door closes before he can get through. 
               He is left inside.

               ANGLE - SAM

               stares at the closed door in a wild panic. He doesn't know 
               what to do. Then, summoning all of his courage, he takes a 
               blind, running slow motion leap and charges through it.

               SAM'S P.O.V.

               There is a brief sense of passing through a molecular force 
               field, a miniature universe inside the door.

               ANGLE - SAM

               as he emerges from the door and lands on the other side. He 
               seems excited to have survived and is very pleased with 

               EXT. NEW YORK STREET - DAY

               The Mugger steps out onto the sidewalk and hurries toward 
               the subway. A patch of sleeve soaks up the blood from his 

               Sam starts after the man but instantly freezes. Hordes of 
               people crowd the sidewalk. The crush of humanity is 
               frightening. Two lovers, holding hands, are coming right at 
               him. Before Sam is able to move, we hear the sound of their 
               arms cutting through his ghostly form.

               Sam tries instinctively to dodge the crowds but people 
               approach him from all angles.

               We hear a BABY CARRIAGE roll through Sam's feet and he nearly 
               falls over trying to avoid it. His instincts will not let 

               A barrage of images and SOUNDS assaults Sam. It is more than 
               he can handle. Still, he refuses to give up. He stays close 
               to the Mugger.


               The Mugger heads down a flight of steps into the IRT.

               INT. SUBWAY TRAIN - DAY

               The Mugger gets onto a crowded subway car. Sam stands near a 
               corner of the train watching him.

               Suddenly, Sam notices that something odd is happening. One 
               of the riders at the other end of the car is walking toward 
               him. As he approaches the Mugger, he does not stop, but passes 
               right through him. It takes Sam a moment to realize what is 
               happening, but then it is too late.

               ANGLE - THE OTHER GHOST

               With unholy fury the New Ghost charges into Sam. The attack 
               is so unexpected and ferocious that Sam has no sense of how 
               to defend himself. With unexpected power, the Ghost grabs 
               hold of him and slams him into the subway door. Sam's head 
               plows right through it.


               on Sam's head sticking outside of the car as the subway tunnel 
               rushes past him. There is a panicked look on his face. The 
               look intensifies as he turns and sees another train barreling 
               down on him.


               on Sam's body inside the car still struggling with the Ghost 
               as the other train shoots by the window. With a huge gasp, 
               Sam shoots back into the car, and wrests himself free of the 
               Ghost's hold. The Ghost flies after him, screeching.

               Sam surges through the door at the end of the train and finds 
               himself on the bridge between the subway cars. The subway 
               Ghost stares at him through the window with a wild, insane 

                         Stay off! This is mine!


               With shocking impact, the Ghost's fist goes flying into the 
               window. To Sam's terror and amazement, the window SHATTERS. 
               The Ghost smiles. Passengers scream and Sam dives for cover. 
               Sam stares at the broken glass with fascination and confusion. 
               Suddenly, the train moves from the darkness of the tunnel 
               into broad daylight.


               The train stops at an elevated subway platform in Brooklyn.


               SAM'S P.O.V.

               Sam sees the Mugger exiting the train and frantically rushes 
               after him.

               EXT. BROOKLYN STREETS - DAY

               Sam follows the Mugger down a long covered staircase to the 

               EXT. 321 PROSPECT PLACE - DAY

               The Mugger heads toward 321 Prospect Place. The streets are 
               lined with old apartment buildings. Many windows are boarded 
               up. TWO MEN, standing on the corner, are slamming a piece of 
               heavy machinery onto the pavement.

               Sam hears GOSPEL MUSIC coming from a storefront church and 
               notices a sign, "SISTER ODA MAE BROWN, MEDIUM, SPIRIT READER, 
               ADVISOR." He looks up to a third story window and sees a 
               similar sign with day-glo arrows pointing to the entrance on 
               the street. He seems curious, but then realizes that the 
               Mugger is nearly halfway down the block. He turns and rushes 
               after him.

               EXT. 321 PROSPECT PLACE - DAY

               Sam and the mugger approach a tenement building at 321 
               Prospect Place.

               INT. TENEMENT HALLWAY - DAY

               Sam follows the Mugger into the building and watches as he 
               opens the mail box for APT. 4D. The name scribbled across it 
               is WILLIE LOPEZ. There's no mail.

               INT. WILLIE'S APARTMENT - DAY

               Sam enters Willie's apartment. It is a squalid affair. Peeled 
               paint chips litter the floor. The bed is unmade.

               Willie pulls open a drawer in a small nightstand and drops 
               in the keys to Molly's loft. Sam sees his wallet. His driver's 
               license, bank ID, and a photo of Molly are there, too. 
               Furious, Sam lunges for Willie but then holds his punch, 
               knowing it will have no effect. He turns instead to a window 
               and, like the Ghost on the subway, smashes it with his fist. 
               Nothing happens.


               Willie dials the phone. Someone comes on the line.

                         She came home. I couldn't get it. 
                         Give me a couple of days. I'll go 

               He hangs up. Sam stares at him in wild confusion.

                         Get what? Who the hell are you? What 
                         were you doing at Molly's? What the 
                         hell's going on?

               Willie grabs a bottle of wine from the nightstand and lies 
               down. After a moment he reaches over and takes Molly's photo 
               from the drawer. He studies it slowly.

               Sam stands by the door in a state of motionless rage. There 
               is nothing he can do.

                         Stay away from her!

               EXT. BROOKLYN STREETS - DAY

               Sam storms down the street. His movements seem undirected, 
               utterly aimless. He is seething inside.

               Suddenly Sam looks up. An old BAG LADY is walking down the 
               street talking loudly to a SHORT WOMAN tagging along beside 
               her. As they approach a street pole, the Bag Lady swerves to 
               the side. The Short Woman, however, walks right through it. 
               Passersby laugh at the Old Lady talking to herself. Sam, 
               unsettled, rushes away.

               As Sam rounds a corner, a sudden blast of MUSIC explodes out 
               of nowhere. Sam jumps into the street, gasping. A phonograph 
               needle SCRATCHES across a record and the MUSIC STOPS. A 
               woman's voice booms out:

                                     WOMAN'S VOICE
                         Sorry 'bout that.

               PANNING SHOT

               to a pair of loudspeakers in a storefront window. The MUSIC 
               blares out once more and SOUNDS of gospel fill the street.

               Sam looks up. He is back in front of the storefront church 
               with the sign for SISTER ODA MAE BROWN, MEDIUM, SPIRIT READER, 
               ADVISOR, hanging overhead. Below it is another sign. "Contact 
               the dearly departed. $20.00".

               Sam stares at the sign with curiosity. The MUSIC is 
               compelling. After a moment's hesitation, he goes in the open 

               INT. STOREFRONT - DAY

               A record player is sitting near the storefront window, a 
               makeshift microphone placed in front of it.

               Several rows of folding chairs face a raised platform with 
               nothing on it. A number of people are sitting there, mostly 
               women. One gets the sense that this is a cross between a 
               waiting room and a meeting hall. A black WOMAN steps up on 
               the platform and calls out:

                         Rosa Santiago.

               MRS. SANTIAGO tucks a Spanish paperback romance into her 
               purse and heads to a door at the rear of the hall. Sam follows 
               after her.

               INT. SEANCE ROOM - DAY

               Mrs. Santiago enters a dark room with a window and door 
               leading to a side street. A paisley bedspread is tacked over 
               the window.

               In the center of the room is a round seance table. Two 
               heavyset sisters, CLARA (39), and LOUISE (36), are standing 
               beside an open closet. It is empty.

                         Please be seated.

               Mrs. Santiago sits at the table. She seems apprehensive. 
               Clara steps into the closet and taps on each of the walls as 
               though demonstrating that they are solid.

                         My sister will be with us soon.

               She steps back out and closes the door. Louise inserts a 
               tape into a boom box and then steps forward.

                         Sister Oda Mae. Grant us the gift of 
                         your all-seeing presence. Appear for 
                         us now.


               She turns back to the closet and opens the door. Like magic, 
               ODA MAE BROWN, 41, appears standing inside. She is a black 
               woman in a white tunic. The whiteness of her garment makes 
               it look as if she is glowing in the dark. Mrs. Santiago is 
               wide-eyed. Sam smiles as Oda Mae steps into the room.

                                     ODA MAE
                         Mrs. Santiago.

                                     MRS. SANTIAGO
                         Buenos dias.

               She takes a twenty dollar bill from her purse and hands it 
               to Oda Mae. Clara graciously intercepts the money.

                                     ODA MAE
                         I understand you are hoping to contact 
                         your husband.

                                     MRS. SANTIAGO
                         Si. Si.

                                     ODA MAE
                         Well, I believe he's gonna be with 
                         us today.

                                     MRS. SANTIAGO
                         Oh, tsank you, tsank you.

               Tears well up in her eyes. She crosses herself several times.

                                     ODA MAE
                         But there's no telling about the 
                         other world. You gotta cast out all 
                         doubt. You gotta believe. Do you 

                                     MRS. SANTIAGO
                              (nodding her head 
                         Si. Si. I believe. I believe.

                                     ODA MAE
                         And remember, we don't make no 
                         promises. I can phone up there till 
                         I'm blue in the face,
                              (she points to the 
                         ...but it don't necessarily mean 
                         he's gonna be home. Them folks go 
                         shopping, they play bingo. It's just 
                         like here. You can't always get 'em.

               Mrs. Santiago, utterly fascinated, nods understandingly.

                         Sure lady!

               Oda Mae's eyes glance up curiously for a second, as though 
               she heard something, and then she continues.

                                     ODA MAE
                         Okay, let's get ready then.

               Sam steps back as the sisters get up and position themselves 
               behind Oda Mae. The moment feels rehearsed, theatrical. Oda 
               Mae raises her hands into the air and closes her eyes. There 
               is a hush in the room. Her body begins to tremble. Mrs. 
               Santiago clutches her chair. Suddenly Oda Mae breaks out of 
               her trance.

                                     ODA MAE
                         We got a problem here. I don't think 
                         he's in. Wait. I feel something. Did 
                         he know someone who's passed over, 
                         someone named Anna... Mary... 
                         Consuela... Maria?

                                     MRS. SANTIAGO
                         Si, si! His mama. She's Maria.

                                     ODA MAE
                         Ah! I knew it. He's with his mama.

                         Oh my God...

               Oda Mae's eyes dart uncomfortably around the room.

                                     ODA MAE
                         I'm afraid this is gonna be too hard. 
                         Now I got two souls I gotta contact. 
                         I don't know about that. It's 
                         difficult, you know. The pain. The 

                                     MRS. SANTIAGO
                         I pay more. How much? How much?

                                     ODA MAE
                         Twenty dollars.

                         Way to go. Milk her for every penny.

               Oda Mae jumps up and stares at her sisters. They look back 
               at her curiously. They can't figure out what's wrong. Neither 
               can Oda Mae.

               Mrs. Santiago reaches into her purse. A twenty dollar bill 
               changes hands. Sam watches, amazed at it all. Oda Mae sits 
               down and goes back into her trance. Her eyeballs roll up 
               into their sockets.

                         Praise the Lord. Thank you, Jesus.

               Oda Mae is beginning to shake again. The two women grab her 
               shoulders to keep her from falling out of the chair. Suddenly 
               her whole body stiffens.

                         Have mercy! Have mercy!

               Mrs. Santiago stares on in amazement. After a moment Oda 
               Mae's body collapses in a heap. Then, like a phoenix rising 
               from the ashes, she pulls herself up in her chair and assumes 
               a normal pose.

               After several seconds to get her bearings, Oda Mae begins to 
               speak. Only now she has an entirely new voice. It sounds 
               deep and hoarse, like an old man's. For all its put on 
               theatricality, it is strangely convincing.

                                     ODA MAE
                         Welcome, Rosa Santiago. You are 
                         fortunate today. The channel is clear. 
                         Many spirits are gathering.

                              (scanning the room)
                         Yeah? Where?

               Oda Mae jerks. Her eyes dart nervously around the room.

                                     MRS. SANTIAGO
                         My husband?

                                     ODA MAE
                              (a bit uneasy)
                         I can feel his vibration. Yes, yes, 
                         he is drawing toward us now. I can 
                         see him coming.

                                     MRS. SANTIAGO
                         Julio! Julio! How is he? How does he 

                                     ODA MAE
                         Oh, he is a very handsome man.

                                     MRS. SANTIAGO

                                     ODA MAE
                         In our Father's Kingdom we are all 

                                     MRS. SANTIAGO

               Sam looks on dismayed.

                                     ODA MAE
                         He is standing before me. He is 
                         wearing a black suit.

                                     MRS. SANTIAGO
                         A black suit? Oh yes, yes. He was 
                         buried in that.

               Mrs. Santiago begins to cry. Sam looks around the room with 
               growing disgust. Then he leans over to Oda Mae and yells 
               into her ear.

                         What a crock of shit!

               Oda Mae nearly falls off her chair. She spins around.

                                     ODA MAE
                         Who's there?

               Sam is stunned. Clara and Louise look at one another in total 
               confusion. This is obviously not part of the act. Mrs. 
               Santiago seems frightened.

                                     ODA MAE
                         Where are you?

                              (looking around)

               Oda Mae screams and jumps up thrashing at the air. Her knee 
               kicks the table and sends it toppling. Mrs. Santiago is 

                                     MRS. SANTIAGO
                         Julio! Julio!

                         What's going on?

                                     ODA MAE
                         Get out of here! Leave me alone!

               Mrs. Santiago doesn't know what to do. She begins to cry.

                         Who are you talking to?

               Clara runs up to Oda Mae.

                                     ODA MAE
                         Keep him away!

               Louise looks at the empty room.

                         Are you talking to me?

                                     ODA MAE
                         Do something. Help me.

               Clara just stares at her sister. Sam is excited and amazed.

                         I don't believe this. Hey you. My 
                         name is Sam Wheat. Can you hear me? 
                         Sam Wheat!

                                     ODA MAE
                         Stop it!

                         Say my name! Sam Wheat! Say it!

                         Talk to me, Oda Mae. Say something.

                                     ODA MAE
                         Sam Wheat!

               Sam nearly falls on his face. Clara's eyes widen. She is 
               more confused than ever.



               Oda Mae runs into the closet.

               It has a false panel leading to a hidden chamber on the left 
               side and she barricades herself inside it. Clara and Louise 
               stand outside pulling on the handle. They seem frightened.

                         Oda Mae! Oda Mae!

               INT. CLOSET - DAY

               Oda Mae is rocking back and forth on the floor praying. Sam's 
               feet enter the frame beside her.

                                     ODA MAE
                         Lord, I swear, no more cheatin'. I 
                         promise, Lord. I don't want to go to 
                         hell. I'll do anything. Gimme a 
                         penance. Just make him go away.

                         Go away. Hell no. I'm stayin' right 

               Oda Mae screams, jumps back into the closet, and bolts up 
               against the door. It tears from its hinges and falls into 
               the seance room, nearly crushing Louise. Mrs. Santiago runs 
               out screaming. Oda Mae takes one look around and collapses 
               in a dead faint.


               INT. ODA MAE'S LIVINGROOM - DAY

               Beads of sweat collect on Oda Mae's brow and cheeks. She 
               seems feverish. Clara and Louise are sitting beside her with 
               damp towels nervously soaking up the perspiration. Oda Mae 
               appears to be talking to herself until we PULL BACK and reveal 
               Sam nearby.

                                     ODA MAE
                         My mama, her mama, may they rest in 
                         peace, they had de gift. Mama always 
                         said I had it, but I never did. She 
                         tol' me all about it, how it felt 
                         an' all. But now that it's happenin' 
                         I don't know what to do. You're 
                         scarin' me half to death. Please, 
                         you gotta go away, you gotta find 
                         someone else.

               Clara and Louise look at one another with growing concern.

                         Someone else? Are you outta your 

                                     ODA MAE
                         I'm gettin' there fast.
                              (she pushes Louise's 
                         Leave me alone.

                         Not till you help me.

                                     ODA MAE
                         Where are you?

                         Where? I'm right here.

                         I'm standing right beside you.

                                     ODA MAE
                              (mimicking his words)
                         "I'm standing right beside you."
                              (she pauses and looks 
                         Are you white?


                                     ODA MAE
                         Oh God, I knew it. He's white. Why 

               Louise looks at her sister and shakes her head.

                         Listen, damn it. You can help me. 
                         There's a woman, Molly Jensen. She's 
                         in terrible danger. The man who killed 
                         me broke into our apartment. He's 
                         going to go back. You've gotta warn 

                                     ODA MAE
                         Why would she listen to me?

                         She has to! This man's a killer! 
                         He's got a key.

                                     ODA MAE
                         Forget it, mister. I can't.

                         It's just a phone call. You're all 
                         I've got. Lookit. I'm not leavin' 
                         till you help me. I don't sleep 
                         anymore, so I can sit here day and 
                         night. I don't care how long it takes. 
                         I can talk forever.

               Oda Mae gulps, a horrified expression on her face.

               INT. LOFT - DAY

               The telephone rings. Molly, preparing dinner, runs to answer 


                                     ODA MAE (V.O.)
                         Molly? Is this Molly speaking?


                                     ODA MAE (V.O.)
                         My name is Oda Mae. I'm a spiritual 
                         reader and adviser.
                              (she hesitates)
                         I'm calling for a friend of yours. 
                         He asked me to call. This is 
                         important. You gotta believe me. 
                         Don't be afraid.

                         Who is this?

                                     ODA MAE (V.O.)
                         I got a message from Sam.


                                     ODA MAE (V.O.)
                         Sam Wheat. He asked me to call.

               Molly slams down the receiver, panting. For several seconds 
               she doesn't move. Slowly, she walks to the couch and sits 
               down. She is trembling.

               INT. ODA MAE'S KITCHEN - DAY

               Oda Mae hangs up the phone.

                                     ODA MAE
                         What'd I tell you.

                         You gotta go there.

                                     ODA MAE
                         Look, I don't care what you do to 
                         me, I'm not goin' nowhere.

               INT. ODA MAE'S BEDROOM - NIGHT

               Sam is sitting on the edge of Oda Mae's bed, singing. It 
               sounds like he's been singing for hours. He is very hoarse.

                         "I'm Henery the Eighth I am / Henery 
                         the Eighth I am, I am / I'm gettin' 
                         married to the widow next door / 
                         She's been married seven times before 
                         / And every one was an Henery / 
                         Wouldn't take a Willie or a Sam / 
                         I'm her eighth old man I'm Henery / 
                         Henery the Eighth I am, I am / Henery 
                         the Eighth I am / Second verse same 
                         as the first / I'm Henery the Eighth 
                         I am..."

               Oda Mae bolts upright in her bed, her hands over her ears.

                                     ODA MAE
                         Okay! Okay! I'll go. You just shut 
                         your mouth.


               INT. BUS - DAY

               Sam and Oda Mae are sitting at the rear of a crowded bus. 
               She appears to be talking to herself.

                                     ODA MAE
                         I can't believe I'm doin' this. I 
                         gotta be a crazy lady goin' into the 
                         city with you. I never go there. 
                         What the hell you doin' in my life, 
                         huh? Why me?

               Several people move away.


               EXT. LOFT BUILDING - DAY

               Oda Mae approaches the loft building and buzzes Molly's 
               apartment. She waits a few moments.

                                     ODA MAE
                         There's nobody there.

                         Just wait.

                                     ODA MAE
                         No, sir. I did what I promised. I 
                         said I'd come and I'm here. I didn't 
                         say anything 'bout waitin'.

                         Just one more time. Please. It's a 
                         big place.

               Oda Mae turns to leave. Sam, desperate, starts to sing.

                         "Ninety-nine bottles of beer on the 
                         wall, ninety nine bottles of beer,"

               Oda Mae stops. She turns back to the buzzer and rings once 
               more. Suddenly Molly answers.

                                     MOLLY (V.O.)
                         Hello, who's there?

                                     ODA MAE
                         Don't go away. It's Oda Mae Brown. I 
                         called you last night. Your friend 
                         Sam says you gotta talk to me.

               There is a CLICK as Molly hangs up.

               INT. LOFT - DAY

               Molly walks away from the intercom, shaken. Suddenly we hear 
               Oda Mae yelling up from the street.

                                     ODA MAE (O.S.)
                         Hey you, Molly! You gotta listen to 
                         me! this is for real. Sam is here. 
                         He needs to talk to you.

               Molly walks over to the window and looks down. Oda Mae is 
               standing in the street looking up. She is calling out at the 
               top of her lungs. Molly pulls back. She is afraid.

                                     ODA MAE (O.S.)
                         He says remember the starfish at 
                         Montego Bay? Remember the picture he 
                         took a' you in Reno?
                         Remember his green underwear, the 
                         pair you wrote your name on? She 
                         wrote her name on 'em?

               Molly tenses. There is a sign of recognition in her eyes.

               EXT. TRIBECA STREET - DAY

               Oda Mae is standing by the curb and shouting up to Molly's 
               fifth floor window. Several people stare at her curiously. 
               She turns to them.

                                     ODA MAE
                         Hey, do you mind? This here's a 
                         private conversation.

               The people turn away. She turns back to the window. Sam 
               prompts her.

                         Ask her about the sweater in the 
                         closet, the one she knitted that's 
                         too big.

                                     ODA MAE
                         What about the sweater you knitted 
                         that was too big?

                         Four sizes.

                                     ODA MAE
                         Four sizes.

                         She couldn't throw it out. I saw. I 
                         was there.

                                     ODA MAE
                         You couldn't throw it out. He saw. 
                         He was there. This is for real. Hey 
                         do you hear me up there?

               A WORKMAN peers out of a second story window.

                         I hear you.

                                     ODA MAE
                         I'm not talkin' to you.

                         Haven't you ever heard of phones?

                                     ODA MAE
                         Kiss my behind!
                              (yelling again)
                         Listen, I'm not gonna stand here all 

                         Thank God.

                                     ODA MAE
                         Forget it. I've had enough of this.

               Oda Mae is about to walk away when the entrance door opens. 
               Molly steps outside. Oda Mae sees her and stops.

                                     ODA MAE
                              (Molly nods)
                         I'm Oda Mae Brown.
                              (walking over and 
                              shaking her hand)
                         You can call me Oda.


               Molly and Oda Mae are sitting in a booth staring at one 

                         Why should I believe you? Why should 
                         I believe any of this?

                                     ODA MAE
                         Girl, if you think I'd come down 
                         here for the fun of it, you got 
                         another think comin'. This Sam of 
                         yours... I don't know, lady. I mean, 
                         you ever hear a whole night of "Henry 
                         the Eighth I am?"

                         He did that? That's how he got me to 
                         go out with him.

                                     ODA MAE
                         And he cain't carry a tune.

                         I know. Oh God. This is all so crazy. 
                         I can't believe I'm talking to you 
                         like this. I don't believe in these 
                         things. I don't believe in life after 

                         Tell her she's wrong.

                                     ODA MAE
                         He says you're wrong.

                         You're talking to him right now?

                                     ODA MAE
                         What? You think I'm makin' it up?

                         Where is he?

                                     ODA MAE
                         How should I know? It's not like I 
                         can see him. I just hear his voice.

                         I'm holding her hand.

                                     ODA MAE
                         He says he's holding your hand.

                         I'm sorry. I don't believe you. Why 
                         are you doing this to me? I don't 
                         believe a word you're saying. Sam is 
                         dead. He's dead.

                         I'm holding her hand.

                                     ODA MAE
                         He says he's holding your hand.

               Molly's hand jumps. Oda Mae looks at her. There is a long, 
               poignant moment. Sam chokes up.

                         God, I love her. I love her so much.

                                     ODA MAE
                         He says he loves you... so much.

                              (shaking her head)
                         No. He would never say that.

                              (his eyes brightening)
                         Ditto. Tell her "ditto".

                                     ODA MAE
                         Ditto? What's that mean, ditto?

               Molly starts, an expression of true astonishment shining in 
               her eyes.


               INT. LOFT - DAY

               Molly is pressed up against the edge of the couch listening 
               nervously as Oda Mae speaks. Sam wanders around the room, 

                                     ODA MAE
                         To tell the truth, I don't know how 
                         I'm doin' it. In fack, confidentially, 
                         nothin' like this never happened to 
                         me before. Now, all a sudden, I can't 
                         turn it off.
                              (she sees a photo of 
                         Is this you? Is this him?

               They both say "yes" at the same time.

                                     ODA MAE
                              (continuing; to Sam)
                         Hazel eyes, huh? You sound like they'd 
                         be blue.

                         I don't understand. Why did he come 
                         back? Why is he still here?

                                     ODA MAE
                         Cause he's stuck, that's why. He's 
                         between worlds. It happens sometimes, 
                         when their spirits get out too quick. 
                         He thinks he still has stuff t'do 
                         down here.

                         Come on Oda Mae, stop rambling.

                                     ODA MAE
                         Oh, oh, now he's got an attitude.

               Molly stares at Oda Mae.

                         I do not have an attitude.

                                     ODA MAE
                              (to Molly)
                         We're having a discussion.
                              (back to Sam)
                         Whataya mean, you're not angry? If 
                         you weren't angry you wouldn't be 
                         raisin' your voice like that.

                         Goddamn it, Oda Mae!

                                     ODA MAE
                         Ah ah, baby. That does it. I don't 
                         talk to anybody who takes the Lord's 
                         name in vain.

               She stands up, as if to leave. Molly watches with growing 
               discomfort as Oda Mae seems to be talking to herself.

                         Relax, Oda Mae.

                                     ODA MAE
                         You relax. You're the dead one. You 
                         want my help, then you apologize. 
                         Nobody talks to me like that, 

                         Jesus Christ!

                                     ODA MAE
                              (to Molly)
                         Excuse me, girl. Time for me to go.

               Oda Mae heads for the door. Molly is confused.

                         I don't believe I'm watching this.

                         Damn it. All right. I apologize.

               Oda Mae stops, pauses a moment, and walks back to the couch. 
               Sam, relieved, paces back and forth.

               Oda Mae's eyes follow his voice as Molly watches her 

                         Please, Oda Mae, I need you to tell 
                         Molly what I'm saying. You gotta 
                         tell her word for word.

                                     ODA MAE
                         Monsieur has a message for you.

                         Molly, you're in danger.

                                     ODA MAE
                         You can't tell her like that. And 
                         would you stop movin' all over the 
                         place? You're makin' me sick.

               Molly looks concerned. Sam leans into Oda Mae.

                         Say it!

                                     ODA MAE
                         He's sayin' you're in danger.

                         Danger?... What do you mean?

                         I know the man who killed me. Willie 
                         Lopez. I know where he lives.

                                     ODA MAE
                         He says he knows the man who killed 
                         him, Willie Lopez. He's Puerto Rican.

               Molly grows pale as she listens. Her forehead tightens.

                         Write it down.

                                     ODA MAE
                         Write it down.

                         You do it!

                                     ODA MAE
                         Now I'm a secretary.

               Oda Mae takes a card from her purse and grabs a pencil.

                         321 Prospect Place. Apartment 4D.

                                     ODA MAE
                         321? Hey, that's my neighborhood.

               Oda Mae seems perplexed as she writes it down and gives it 
               to Molly.

                         Molly, he's got my wallet and my 
                         key. He was in here.

                                     ODA MAE
                         He's got his wallet and key. He was 
                         in here.

                         In here?

                              (directly to Molly)
                         You have to go to the police. The 
                         Mugger wasn't acting alone. It was a 
                         setup, Moll. I was murdered.

                                     ODA MAE
                         He says he was set up, that he was 
                         murdered. He wants you to go to the 

               Molly stands up, afraid. Oda Mae stands up, too.

                                     ODA MAE
                         I'm sorry. I don't want nothin' to 
                         do with this.

               Oda Mae heads for the door as Molly watches in a daze.

                         Where you going?

                                     ODA MAE
                         Don't follow me! I've done all I'm 
                         gonna do.
                              (opening the door)
                         I'm finished. And I ain't comin' 
                         back. So don't you come botherin' me 
                         again cause it's over. I mean it. 
                         This is it. Have a nice life. Have a 
                         nice death. I'm goin'.

               She lets herself out. Sam just stands there as the door slams 


               INT. KITCHEN - THAT NIGHT

               Carl is pacing nervously. He seems very upset. After a moment 
               he approaches Molly. Sam is behind her.

                         Molly, there's no one on earth who'd 
                         like it to be true more than me, but 
                         you've got to be rational about this. 
                         I understand your desire to hold on 
                         to him, but this... this is absurd.

                         It was real, Carl. She was real.

                         Listen to her, Carl, goddamn it. She 
                         needs some support here.

                         Molly, you're a grown woman. How can 
                         you believe some fortune teller from 

                         She was in touch with him.

                         I don't believe it, Molly. Not for a 

                         Come on, Carl. Open your mind.

               Carl sits down beside her.

                         Carl, she knew things.

                         What kind of things?

                         I told you, the picture in Reno, the 
                         starfish,... damn it, Carl.
                              (with great difficulty)
                         She said Sam knew who killed him. 
                         That he was set up... murdered.

                         Oh boy. This is getting deranged. 
                         We're going off the deep end here.

                         Give him the address, Moll.

                         She had a name, an address -- Willie 
                         Lopez, 321 Prospect Place. She said 
                         he had Sam's wallet.

               Sam smiles. Carl stands up. His voice begins to rise.

                         This is sick. This is really sick. 
                         How can you swallow this crap? Who 
                         knows if this guy exists? Maybe she's 
                         just setting someone up.

                         That's what I have to find out.

                         Find out? What are you talking about?

                         Sam wants me to go to the police.

                         Sam wants you to go to the police? 
                         Molly! Jesus! Are you outta your 
                         mind? What are you gonna tell 'em? 
                         Some storefront psychic's been getting 
                         messages from the dead? Do you know 
                         how that sounds? You're talkin' ghosts 
                         here, for God's sake.

               Molly looks suddenly vulnerable.

                         I'm sorry. This stuff just really 
                         gets to me.

                         You don't believe me. You don't 
                         believe any of this, do you?

                              (half heartedly)
                         I'm trying to, but... Look, if it'll 
                         make you sleep any better, I'll check 
                         it out, okay? Now why don't you go 
                         to bed. Try and get some sleep.

               Molly looks at Carl, annoyed. She doesn't believe him for a 

               INT. CARL'S CAR - NIGHT

               Carl, in his red Ford Mustang, is speeding up town. Sam is 
               beside him in the front seat.


               Carl steps into the lobby of Willie's building. Sam follows, 
               wide-eyed. He seems both intrigued and astounded by what 
               Carl is doing. When Carl stops to read the apartment number 
               on Willie's mail box, Sam is thrilled.

                         Way to go, Carl!

               Carl climbs the stairs two at a time and approaches Willie's 
               door. He bangs on it, loudly.

               ANGLE - THE DOOR

               opens a crack as Willie peers out. Carl pushes it hard and 
               it opens the rest of the way. Willie steps back.

                         Carl, what're you doin' here?

               Sam freezes as Willie addresses Carl by name. He can barely 

                              (scared, in over his 
                         Who've you been talking to?

                         Talking to? What the hell do you 
                         mean? What's going on?

                         Some woman knows all about you. The 
                         murder, everything. Where's she 
                         getting it from, huh?

                         What the hell are you talking about? 
                         I haven't said a word.

               Sam is staggered. His body is shaking.

                         She knows your name, goddamn it! She 
                         knows where you live!

                         A lot of women know where I live.

               Carl is fuming.

                         This isn't a joke, man. You find 
                         that bitch, whoever she is, and... 
                         get rid of her, you hear me? I've 
                         got four million dollars stuck in 
                         that fucking computer. If I don't 
                         get those codes, if that money's not 
                         transferred soon, I'm dead. If I 
                         lose Balistrari's money, we're both 

                         Tell him you only wash dirty money 
                         on the first of the month.

                         What is wrong with you? Is everything 
                         a joke? You were supposed to steal 
                         his wallet. You weren't supposed to 
                         kill him. Was that a joke?

                         I did you a favor. Freebee.

                         These are drug dealers, man.
                         Don't blow this for me, Willie. I've 
                         risked my job here. I could go to 
                         jail. A hundred thousand of that 
                         money goes to me. Now give me Sam's 
                         key. I'll get that address book 

               Willie goes to the desk drawer and takes out Sam's key. Sam, 
               unable to control himself, explodes in a fit of rage. Hauling 
               back, he slugs Carl with all his might. His fist has no 

                         You killed me, Carl. You had me 
                         killed. Look what you've done to me! 
                         Look what you've done!

               EXT. STREET - NIGHT

               Carl is on the street heading back to his car. Sam is beside 
               him, yelling right into his face.

               He is screaming and cursing at the top of his lungs but Carl 
               doesn't hear him.

                         You fucker! You mother fucker! I had 
                         a life, Goddamn you. I had a life!

               From the distance, we see Sam smashing into Carl. It is like 
               hitting the air. For all of his rage and bluster, there is 
               nothing he can do.

               EXT. LOFT BUILDING - DAY

               Molly, neatly dressed, exits her building and hails a cab. 
               She hops inside. Seconds later she hops out again, yelling.

                         You white fascist bigot. Who do you 
                         think you are? Bed Stuy's part of 
                         New York, you know. This is America.

               The driver speeds off. Molly gives him the finger.


               Molly exits a subway station and walks toward 131st Street. 
               She is the only white woman on the block and heads turn as 
               she passes.

                         Hey, Snow, you lost or sumpin'?

               Molly pays no attention. Children run up to her, stare, and 
               run away.

               TRACKING SHOT

               When Molly turns down 131st Street, the crowds disperse and 
               she is all alone. There is a sense of menace in the air. A 
               group of young men sitting on a stoop watches as she walks 
               by. One of them whistles. Molly keeps walking.

               EXT./INT. WILLIE'S BUILDING

               Molly sees Willie's building. She walks into the dank lobby. 
               It is dark and full of shadows. Leaning close, she examines 
               the mail boxes. Willie's name is there. She backs away, 

               INT. LIVINGROOM - DAY

               A dresser drawer opens and a box labeled "Sam's Things -- 
               Valuable" is slowly pulled out. A hand reaches inside it and 
               extracts Sam's address book. As THE CAMERA PULLS BACK, we 
               see that it is Carl standing in Molly and Sam's livingroom. 
               Carl opens the book and quickly jots down a series of code 
               numbers he finds in the back. His eyes sparkle with 


               Molly is sitting in a room opposite DETECTIVE SERGEANT THOMAS 
               BEIDERMAN, 48, and SERGEANT DOROTHY WALLACE, 29. Both officers 
               are staring at her as she speaks. She seems very 

                         Look, you've gotta believe me. I 
                         don't even believe this stuff, myself. 
                         But this is real. Do you think I'd 
                         come here if it wasn't real? You 
                         told me to come if I had any new 
                         information. Well, here I am.

               The officers don't respond.

                         Don't look at me like that. You guys 
                         use psychics all the time.

               There is dead silence.

                         Damn it. I know how this sounds. I 
                         hear myself saying it and I want to 
                         cringe. But this woman knew things 
                         she couldn't have known, intimate 

                         How intimate?

                         Things Sam only said to me.

                         Okay, let me get this straight. 
                         According to this psychic lady, there 
                         are ghosts and spirits all over the 
                         place, watching us all the time, 
                              (she stands up)
                         I'm sorry. I've got important things 
                         to do.

               She leaves the room. Molly gives her a dirty look and turns 
               to Beiderman.

                         I'm telling you. The killer's name 
                         is Willie Lopez. I've got his address. 
                         You've got to check it out.

               Sgt. Beiderman gets up and looks over to Molly.

                                     SGT. BEIDERMAN
                         Okay. You just wait here. Let me see 
                         if this guy's got a record.

               He heads out of the room. Molly sits back with an air of 
               enormous relief and gratitude. Sergeant Wallace comes into 
               the room again and picks up a folder. Molly waits nervously. 
               After a moment Sergeant Beiderman returns with a police file 
               in his hands. Molly looks up at him, and then smiles at 
               Wallace as she sees it. She feels vindicated. He lays the 
               thick folder on the desk and opens it up. She hurries over 
               to him.

                                                                    CUT TO:

               MUG SHOTS OF ODA MAE

               and reams of police paperwork. WIDEN as Molly stares at it 
               all in sudden shock.

                         What are you doing? Where's your 
                         file on Willie Lopez?

                                     SGT. BEIDERMAN
                         There's no file for a Willie Lopez. 
                         He was probably some old boyfriend 
                         she was trying to get even with. 
                         This psychic woman's record goes 
                         back a long way. Fraud, numbers 
                         rackets, you name it. She's a real 

               CUT BACK AND FORTH between the records and Molly's stunned 
               reaction. We see recent photos of Oda Mae and others going 
               back to her youth. They are fascinating and revealing. We 
               even see photos of her mother and grandmother. In addition, 
               there are pages of arrest records and prison files.

                                     SGT. BEIDERMAN
                         1967. Shreveport, Louisiana. Forgery, 
                         selling false ID. Served one year. 
                         1971. Baton Rouge. Arrested for fraud, 
                         numbers racketeering. Served ten 
                         months. 1974. Hattiesburg, 
                         Mississippi. Fraud, seven months. 
                         1984. Albany, New York. Petty larceny. 
                         It goes on and on.

               Molly is overwhelmed by the evidence.

                                     SGT. BEIDERMAN
                         This woman's a charlatan. You can't 
                         believe anything she said.

                         This isn't possible. There were words, 
                         private things. How could she have 
                         known all that?

                                     SGT. BEIDERMAN
                         They have ways.

                         Ways? What ways?

                                     SGT. BEIDERMAN
                         They've got a million cons. A lot of 
                         times they read the obits. All she 
                         had to do was see the word "banker". 
                         Hell, they even go through your 
                         garbage to find things they can use, 
                         letters, old papers. They don't need 

               Molly turns away.

                                     SGT. BEIDERMAN
                         I bet you threw stuff out, huh? It 
                         could have been anything. What about 
                         that underwear she knew all about?

               Molly's eyes widen.

                                     SGT. BEIDERMAN
                         Green underwear. I'll bet she zeroed 
                         right in on that.

                         No! She was real. She said things. 
                         She knew about a sweater I knitted, 
                         about songs we sang... She knew about 
                         this place we went, Montego Bay...

               Molly begins to cry.

                                     SGT. BEIDERMAN
                         I'm sorry. I know this is hard. People 
                         want so much to believe. They're 
                         grieving, vulnerable. They'd give 
                         anything for one last moment... money, 
                         insurance policies. Believe me, these 
                         people know what they're doing. Look, 
                         I know how you must feel. You know, 
                         you can press charges.

               Molly shakes her head no. Sgt. Beiderman closes the file. 
               Molly sits for a long time. She is in terrible pain.

                         Oh God, I wanted it to be Sam.

               Sgt. Beiderman nods his head compassionately and then turns 


               Molly is sitting in her bedroom. The glow of the late 
               afternoon sunlight casts long shadows across the bed. She 
               seems deeply depressed and alone. Gradually her gaze falls 
               on a jar sitting on the nightstand. In it is the penny Sam 
               found when they were first working on the loft. A label on 
               the jar says, "For Luck!" In a moment of sudden rage, she 
               picks it up and throws it against the wall. It SHATTERS on 
               the floor.

               INT. CARL'S OFFICE - NIGHT

               The code from Sam's address book, jotted on a piece of paper, 
               is sitting beside Carl.

                         God, let this be it!

               Anxiously, Carl punches the code into a computer and, 
               suddenly, Sam's old accounts appear on the screen. A look of 
               relief wafts across Carl's face.

                         Oh God, yes!

               Carl is staring at the same accounts Sam was examining the 
               afternoon before he was killed, the accounts with too much 
               money in them.

               Carl picks up the phone and punches a number. Someone answers.

                         Tony, this is Carl. I'm all set. 
                         We're fine. Everything's fine. Just 
                         tell me what you want me to do.

               A VOICE on the other end begins to speak.

                         We want you to transfer the money 
                         from the 12 separate accounts into a 
                         single account under the name "Rita 
                         Miller". Tomorrow, at five minutes 
                         before closing, 3:55 p. m., transfer 
                         the full account to First Island 
                         Bank of Nassau, registry number 486-

               Carl writes it all down.

                         Call us when it's done.

                         Tell Mr. Balistrari there won't be 
                         any problems.

                         I'll do that.

               Carl hangs up. He seems deeply relieved.

               REVEAL SAM

               He is standing in front of Carl, watching. Quickly, Carl 
               begins punching commands into the computer. He is setting up 
               the dummy account. Rita Miller, #926-31043.

               INT. LOFT - THE SAME NIGHT

               Molly, in a short terrycloth robe, is sitting in a chair. A 
               magazine is on her lap but she is staring vacantly into the 
               loft. She seems lost in the vast space. Sam is pacing back 
               and forth. There is a melancholy look in his eyes.

                         Why can't you hear me, Molly? I need 

               Suddenly the BELL rings. Molly jumps.

               Molly's finger is on the intercom. She seems unsettled.

                         Who's there?

                         Molly, it's Carl. Can I come up?

               Sam freezes. Molly is surprised. She hesitates a moment and 
               then pushes the buzzer to let him in. We hear Carl bounding 
               up the stairs.

                         Don't open it. He's a murderer, Moll!

               There is a KNOCK. Molly opens the door. Carl seems buoyant, 
               almost celebratory. He has a bag of fruit in his hand. He is 
               still in a suit and tie.

                         Hi. Thanks. I know it's late. I'm 
                         sorry to disturb you. I felt bad 
                         about last night. This supernatural 
                         stuff just makes me so uncomfortable. 
                         I don't even read horoscopes.

                         Don't worry. It's okay.

                         No it's not. You needed me to hear 
                         you and I didn't and that was wrong. 
                         I want you to know that I'm your 
                         friend, Moll.

                         You were never our friend.

                              (holding out a paper 
                         Hey, I brought you some Japanese 
                         apple pears. I know you like them.

                              (taking the bag)
                         Oh, that's so sweet.

                         Listen, can I come in for a minute? 
                         I won't stay long. I've had one of 
                         those days. Maybe a cup of coffee?

                         No, Moll. Don't do it. Don't let him 



               INT. LIVINGROOM - NIGHT

               Carl, in shirt sleeves and Molly in her robe, are sitting on 
               the couch drinking coffee. We notice that Carl is wearing 
               yellow suspenders. Sam is beside himself, watching them.

                         Are you alright? You look nervous, 

                              (glancing at her thighs)
                         What can I tell you. It's been tough. 
                         Hell, you know. It still hurts so 
                              (he poses sadly)
                         Then on top of it all... it's the 
                         responsibilities. They've given me 
                         my own accounts, but I've had no 
                         time to adjust. My mind has been 

               Molly reaches out and pats his arm. There is an awkward pause.

                         Where were you this morning? I thought 
                         you were coming to the bank to sign 
                         those papers.

                         I didn't have time.
                         I went to the police, Carl.

               Sam looks at her, amazed. Carl, on the other hand, stiffens. 
               He laughs nervously.

                         You're kidding. You really did it? I 
                         don't believe... What did you tell 
                         them? What did they say?

                         You were right, you know. I felt 
                         like such a fool. They brought out a 
                         file on this psychic woman ten inches 
                         thick. It was awful.

                         A ripoff artist, huh?

                         Molly, no.

                         The sad part is that I believed her. 
                         I believed her, Carl.
                         It was all a sham.

                         Sometimes we need to believe.

                         Why?... I was a fool. I don't believe 
                         anything anymore. Why would people 
                         do such things?

               Sam is devastated.

                              (milking it)
                         It's hard to face reality, Moll, the 
                         hard cold facts of it. What you have 
                         to remember is the love you felt. 
                         That's what's real. You have to 
                         remember how good Sam was. How much 
                         he loved you.

               Molly holds back tears. Carl reaches out tenderly and strokes 
               her hair.

                         You were everything to him, Molly. 
                         You were his life.

                              (finally crying)
                         I feel so alone.

                         You're not alone. You're young. You've 
                         got so much talent. You're 
                         fantastically gorgeous.

                              (appreciating his 
                         Oh God, I don't know what's real 
                         anymore. I don't know what to think.

                         Just think about Sam. Think about 
                         what he meant to you, the years you 
                         had together, how wonderful they 

               Carl glides his hand slowly, lovingly across her cheek.

                         Let your feelings out.

               Almost imperceptibly, his hand moves down to the nape of her 
               neck. As she moves, her robe opens slightly. Carl notices, 
               glimpsing her nakedness beneath it. Sam notices, too. He 

                         Life turns on a dime, Moll. People 
                         think they have forever, that they'll 
                         always have tomorrow. But it's not 
                         true. Sam taught us that. We have to 
                         live for now, for today.

               Molly can barely contain her tears. Carl moves toward her 
               moist cheeks and kisses them gently. Slowly, he guides his 
               lips to her neck and kisses it, too. It is all hateful and 
               sensual at the same time. Sam turns away.

               Molly feels Carl's tenderness, needs it. She does not notice 
               his hand reaching for the cord on her robe and slowly pulling 
               it toward him. With a little tug the cord unravels and the 
               robe falls open. Molly is confused, aroused, not sure what 
               to do. She starts to pull it closed. He holds her hand. For 
               a moment they do nothing. Then his fingers reach for her 
               thigh. Her body quivers. Carl feels her openness and pulls 
               closer, his hand rising gently up her naked body.

               Molly's eyes close. She says nothing.




               Sam charges wildly at the couch and begins flailing 
               uncontrollably at the two of them. Unexpectedly his foot 
               kicks out and hits a framed photograph of him and Molly that's 
               sitting on an end table. The picture CRASHES to the floor, 
               the glass SHATTERING.

               Molly jumps up, the mood suddenly broken. She sees the photo 
               and recoils. Carl reaches for her. She backs away.

               Sam is stunned by what has happened. He jumps up and tries 
               kicking over another picture but nothing moves. His foot 
               goes right through it.

               Molly looks at Carl, drying her tears.

                         I can't. I'm sorry. I can't. It's 
                         too soon... You've been great Carl, 
                         but... I need you to leave. Please. 
                         I need you to.

                         Sure. It's okay. I understand. I 
                         really do.

               She reaches out and takes his hand.

                         Look, what if we have dinner tomorrow 
                         night? Just talk. Can I interest you 
                         in that?


               Molly hesitates a moment and then nods her head "yes". Carl 

               INT. SUBWAY STATION - NIGHT

               Sam rushes madly down a flight of stairs into a subway 
               station. A train is just leaving. He jumps on board.

                                                                    CUT TO:

               INT. SUBWAY TRAIN - NIGHT

               Sam begins quickly casing the aisles, looking for something. 
               It is not there. Another train can be seen speeding past the 
               window. Sam takes a running leap and jumps onto it, passing 
               through the walls.

                                                                    CUT TO:


               ANGLE - SAM

               disappointed. Suddenly, an express train passes alongside 
               his local. Sam sticks his face inside it. Suddenly, he smiles 
               and rushes onto it.


               Sam does not have to stand there long. Within seconds, the 
               terrifying Ghost he had seen before comes charging at him. 
               We notice him more clearly now. He is wearing a dark blue 
               pea coat. There is a grizzled look about him. He has stained 
               teeth and seems perpetually unshaven.

                         Get off my train!

               This time Sam does not back away. He holds his ground. The 
               Ghost lets fire every trick in his arsenal. Posters come 
               flying off the walls. A bag of groceries topples from a 
               woman's arms, an old man's cane flies across the aisle, a 
               boy's Mets cap flips off his head. People on the train move 
               quickly to other cars.

               Unable to frighten him, the Ghost kicks Sam in the stomach. 
               Sam recoils, feeling it, but gets back up again. He is angry 
               now. He begins raging at the other Ghost. The Ghost is 

                         Teach me how you do that! I want to 
                         learn! I'm not leaving til you teach 

               The Ghost, exhausted, looks up at him and smiles with 

                         You stubborn asshole.

               Sam nods in agreement.

                                                                    CUT TO:

               SAM AND THE GHOST

               sitting in the corner of a deserted subway station. Sam is 
               trying desperately to push a bottle cap with his finger.

                         What are you doing? What are you 
                         doing? You can't push it with your 
                         finger. You're dead.

               The Ghost demonstrates, kicking a garbage pail onto its side. 
               Sam can't quite tell how he did it.

                         I don't get it.

                         It's your mind, you idiot. It's all 
                         in the mind. The problem is you think 
                         you're still real, that you're 
                         standin' on the floor, that you're 
                         wearin' those clothes. Bullshit! You 
                         don't even have a body anymore. It's 
                         all up here. You wanna move things, 
                         you gotta use your mind. You gotta 
                         focus! You hear what I'm saying?

                         How do you focus?

                         I don't know how you focus! You just 

               With surprising energy, the Ghost flicks a bottle cap and 
               sends it shooting across the subway platform.

                         It's all in the anger. You gotta 
                         direct it. You gotta channel it.

                         I'm angry all the time. It doesn't 
                         do a thing.

                         Cause you're angry all over. You 
                         gotta be angry here, in the pit of 
                         your stomach. Bring it down here. 
                         Let it explode.
                              (he makes an explosive 
                         It's like a reactor, you know. Pow!

               He kicks a Coke can toward Sam. Sam tries to kick it back 
               and misses. The Ghost laughs. Sam gets angry. He tries again 
               and falls on his head. The Ghost laughs louder. Now Sam is 
               really angry. We see him forcing the anger down into his 
               stomach. He holds still for a moment and then kicks at the 
               can with all his might. To his shock and amazement, it sails 
               right through the Ghost's head. The Ghost smiles.

                         I did it!

                         Way to go.

                                                                    CUT TO:


               practicing. He smashes at an abandoned tennis shoe with his 
               fist. Nothing happens.

                         From your gut. What do I keep tellin' 

               Sam's stomach bulges. He tries again. Nothing.

                         Give it time! What else have you 

               Undaunted, Sam tries once more. This time the tennis shoe 
               moves. The Ghost nods his head approvingly. Sam is thrilled.

                         How long have you been here?

                         Since they pushed me.

                         Someone pushed you?

                         Yeah, someone pushed me!


                         What? You don't believe me? You think 
                         I fell? You think I jumped? Well, 
                         fuck you!
                              (an unexpected rage 
                              starts to build)
                         It wasn't my time! I wasn't supposed 
                         to go! I'm not supposed to be here!

               Venom spews from the Ghost's mouth. Suddenly he rams a 
               cigarette machine full force with his head. The glass SHATTERS 
               and packs of cigarettes scatter everywhere. He throws himself 
               on top of them with terrible longing.

                         I'd give everything for a drag. Just 
                         one drag.

               He rolls and wallows in terrible frustration, tossing the 
               cigarettes in all directions. Suddenly he looks up and sees 
               Sam. He is unable to control his fury.

                         Who the hell are you? Why are you 
                         hounding me like this? Leave me alone.

               AN EXPRESS TRAIN

               is shooting through the station. The Ghost throws himself 
               into it and in an instant he is gone.


               INT. SUBWAY STATION - NIGHT

               Sam, all alone, walks through the station. Suddenly, he 
               reaches out and pushes a garbage can lid. It swings back and 
               forth. He is delighted. A beer can is sitting on a bench. He 
               pushes it off, watching it roll across the platform with 
               childlike glee.

               Looking up, Sam sees an advertisement for Market Security 
               Bank and Trust. He stares at it with great interest. "Special 
               Banking for Special People. We make it easy for you." 
               Something registers in Sam's eyes. He yells and jumps straight 
               up, hitting a subway sign with his finger. With great 
               excitement, he runs for the stairs and rushes from the 


               INT. SEANCE ROOM - NIGHT

               ORTISHA JONES, a black woman with brassy red hair, is sitting 
               at Oda Mae's seance table surrounded by several of her 
               relatives. Clara and Louise stand behind Oda Mae helping 
               with the ritual. Oda Mae goes into her trance.


               A GROUP OF GHOSTS is milling behind Oda Mae. Sam comes barging 
               into the room and looks at them in amazement.

                         What the hell?

               Oda Mae, startled, jumps up in her chair. Everyone else jumps, 
               too. Clara and Louise look worried.

                                     ODA MAE

                         What is all this? What's goin' on?

                                     ODA MAE
                         What'd you do, tell every spook in 
                         town about me? I got spooks from out 
                         of town here. There's stuff goin' on 
                         you wouldn't believe. I can't hardly 
                         believe it myself.

               Ortisha and her relatives look up, confused.

                         Oda Mae. You're doing it. This is 
                         for real. How do you like that?

                                     ODA MAE
                         I don't.

                         Come on. Look at this. You're doing 

               One of the GHOSTS standing in the background butts in.

                         Can you hurry this up? My husband's 
                         in the waiting room.

                         I need your help, Oda Mae. There's 
                         something we need to do.

                                     ODA MAE
                         Forget it. I'm not doin' anything. 
                         You're holdin' on to a life that 
                         don't want you no more. Give it up.

                         Give it up? I'm already dead.

                                     ODA MAE
                         Dead, yeah, but you ain't finished 
                         dyin'. Give up the ghost.

                         And how am I supposed to do that?

                                     ODA MAE
                         You're asking me?

               Ortisha looks at Oda Mae. She has no idea what's going on.

                         Are you speaking to me?

                                     ODA MAE
                         Does it look like I'm speakin' to 
                              (continuing; to Sam)
                         So, are you gonna leave or not? I've 
                         got work to do.

               Ortisha is totally confused. Oda Mae turns back to her.

                                     ODA MAE
                         What's a matter? You're supposed to 
                         be concentrating. How do you expect 
                         me to do this if you're not 
                         concentrating? Okay then. You ready? 
                         Let's do it.


               Oda Mae and everyone in the room gets very quiet. One of the 
               ghosts draws close. Oda Mae's eyes roll up into her head. 
               Then, suddenly, an extraordinary thing occurs. We see the 
               spirit pull back and dive right into Oda Mae. Oda Mae gulps. 
               Her nostrils flare. Her eyes bulge.

                                     ODA MAE
                         Oh, Lord! Stop! Whatcha doin' to me?

               Oda Mae's body goes into bizarre convulsions as the Ghost 
               tries to move inside her. She looks strangely stuffed and 
               enormously uncomfortable.

               Sam and the others watch in astonishment as she tries to 
               speak, but nothing comes out.

               Then suddenly the GHOST speaks through Oda Mae.


               Ortisha and her relatives jump up in amazement.

                         Orlando! Is that you?

                         Ortisha, where are you? I can't see 
                         too good.

                         Here! She's here!

                         In front of you! I'm right here!

               Orlando suddenly zeros in on Ortisha. His eyes widen.

                         Mother of God, what've you done to 
                         your hair!?

               Ortisha smiles excitedly.

                         Orlando, do you like it? It's Autumn 

               Suddenly Oda Mae's body begins to shake wildly and her voice 
               booms out, screaming with all her might.

                                     ODA MAE
                         Get out of here, you little shit!

               With frightening speed, she sends the spirit catapulting out 
               of her body. Clara and Louise jump up. Oda Mae is shaking.

                                     ODA MAE
                         Lord oh Lord, don't you ever do that 
                         to me!


               ANGLE ORLANDO

               He is lying on the floor, exhausted.

                         What happened to me? I can barely 

                         You should know better than to try 
                         that. It's not worth it. It'll wipe 
                         you out for days.

                         That was incredible, Oda Mae.

                                     ODA MAE
                         Never again. Never.

                         Where's Orlando?

                         He spoke through you. It was amazing.

                                     ODA MAE
                         No more, uh uh, no more.

                         What happened to Orlando? Where'd he 
                         leave the insurance policy?

                         You're great, Oda Mae! You're a real 
                         medium. It's what you were born for.

                                     ODA MAE
                         I want everybody out.


               Ortisha looks around the room, befuddled. Clara and Louise 
               aren't sure what to do.

                                     ODA MAE

               Ortisha and her relatives scurry out fast. The ghosts, too, 
               begin passing through the wall. Oda Mae lays her head on the 
               table. Suddenly her whole body begins heaving. She is starting 
               to cry. Sam is surprised.

                         Oda Mae, what's wrong?

                                     ODA MAE
                         Out! I said out! That means you, 

               Sam hesitates a moment and then respectfully follows the 
               others through the wall.


               INT. SEANCE ROOM - NIGHT

               Clara knocks on the seance room door and peeks in.

                         Oda Mae, there's a man here who says 
                         he has to see you right away.

                                     ODA MAE
                         I ain't seein' nobody.

               Willie pushes his way into the room. Clara isn't sure what 
               to do. Oda Mae looks up. She does not know him.

                         Are you the one that can talk to the 

                                     ODA MAE
                         I beg your pardon! I'm not seeing 
                         customers right now.

                         I said I need to know if you're the 

                                     ODA MAE
                         I'm the one. But not now.

                         This is important. I have a friend. 
                         He died recently. Some say he was 
                         mugged. I think he was murdered.

               Oda Mae stares at him curiously.

                         I'm told you can contact people like 
                         that. Is that true?

                                     ODA MAE
                         It's been known to happen. But it's 
                         not gonna happen now, so come back 

                         I can't wait til later.

               He sits down across from Oda Mae and shows no signs of 
               leaving. Oda Mae observes him quietly for a moment.

                                     ODA MAE
                         What's your friend's name?

                         Good question. Why don't you tell 

               Oda Mae glares at him.

                         You're the psychic, right?

                                     ODA MAE
                         This ain't no guessin' game.

                         Then what is it, lady?

                                     ODA MAE
                         Lookit, I don't know what your trouble 
                              (getting nervous)
                         Who are you?

                         You're the mindreader. I hear you've 
                         been tellin' people about me for 
                         days. What's my name?

               ANGLE - ODA MAE

               confused and uncomfortable. Sam comes wandering back into 
               the room. His eyes bulge.


                                     ODA MAE

               Willie sits straight up in his chair, amazed.

                         How'd you know that?

                                     ODA MAE
                         Because I'm psychic.

               With a sudden thrust, Oda Mae sends her foot shooting into 
               Willie's balls. As he recoils she knocks the table into his 
               lap and rushes for the closet. We see her barricade herself 
               in the hidden chamber.

               Willie, shaking, scrambles to his feet and, before Sam can 
               stop him, BLASTS his gun at the closet door. It is riddled 
               with bullets. Sam screams out. Willie runs to the side door 
               and escapes to the street. Clara and Louise come rushing in.

               Sam charges into the closet and sees that Oda Mae is safe 
               behind the false door. Then he hurries to the street.


               EXT. STREET - NIGHT

               Sam rushes to the sidewalk and looks in all directions. Willie 
               is nowhere to be seen. He hurries back to Oda Mae.


               INT. SEANCE ROOM - NIGHT

               The room is a disaster area, full of hysterical women. Oda 
               Mae is being dragged from the closet, unhurt but in a state 
               of shock.

                                     ODA MAE
                         He tried to kill me! Why? Why?

               No one answers.

                                     ODA MAE
                         Talk to me!

               Her sisters start talking but she shoos them away.

                         Oda Mae, we're in trouble...

                                     ODA MAE
                         We're in trouble? Who's we? You're 
                         already dead.

                         I can stop them. But I can't do it 
                         alone. You've gotta help me.

                                     ODA MAE
                         Help you? It's me they're tryin' to 

                         You're right. And they'll be back. 
                         I'm your only chance.

                                     ODA MAE
                         Why don't you go find a haunted house 
                         and rattle some chains.

                         I need you Oda Mae. I need you to 
                         get some fake ID's.

                                     ODA MAE
                         Fake ID's? What for?

                         Help me now, they'll never bother 
                         you again. I promise.

                                     ODA MAE
                              (stopping, thinking)
                         Help you? Whataya talking about 
                         exactly? What else do I have to do?

               EXT. NEW YORK STREET - DAY

               Oda Mae, dressed to the hilt, is walking with Sam toward the 
               main branch of Market Security Bank & Trust. She seems nervous 
               and upset.

                                     ODA MAE
                         This is crazy. This ain't gonna work. 
                         I don't know nothin' 'bout bankin'.

                         I'll teach you. You'll learn fast.

               As they reach the entrance of the bank, they pass a pair of 
               NUNS collecting money to build a shelter for the homeless. 
               One of them holds out a collection box. Oda Mae passes her 
               by, carefully avoiding eye contact.


               Oda Mae enters Sam's bank. She seems completely out of place. 
               Sam, walking beside her, directs her every move.

                         See where it says "New Accounts"? 
                         That's where you're going.

                                     ODA MAE
                         I'm not givin' 'em any money.

                         Just do what I say.

               Oda Mae approaches the New Accounts desk. She seems very 
               uptight. A woman OFFICER behind the desk looks up at her.

                         Can I help you?

                         Tell her you're here to fill out a 
                         signature card for a new account.

                                     ODA MAE
                         I'm here to fill out a signature 
                         card for a new account.

                         And do you know your account number?

                         Yes. 926-31043.

                                     ODA MAE
                         Yes. 926-31043.

                         Rita Miller.

                                     ODA MAE


                         Tell her Rita Miller.

                                     ODA MAE
                         Rita Miller.

                              (eyeing her oddly)
                         Didn't they have you sign a card 
                         when you opened the account?

                         Tell her Carl Bruner opened it for 
                         you by phone and asked you to come 
                         in today.

                                     ODA MAE
                         Carl Bruner opened it for me. He 
                         asked me to come in today.


               The Officer checks out the name and account number on her 
               computer screen. It all seems to jive. She pulls out a card 
               from her desk and hands it to Oda Mae. Oda Mae stares at it.

                         Just sign you name at the bottom on 
                         the first blank line.

               Oda Mae nods and starts to sign "Oda Mae". Sam stops her.

                         No, no, no. Rita Miller.

                                     ODA MAE
                              (to the officer)
                         Can I have another one please? I 
                         signed the wrong name.

               Sam hits his forehead with his hand. The Officer gives her 
               another card. Oda Mae signs it.

                         Tell her to see that it goes right 
                         up to the third floor file since you 
                         have a transaction to make.

                                     ODA MAE
                         I need you to put that in the third 
                         floor file cause I got a transfusion 
                         to make.

                         A what?

                                     ODA MAE
                         You know what I mean.
                         Umm, can I keep the pen?

                              (surprised, not sure 
                              what to say)
                         ...uh, sure.

               Oda Mae, delighted, walks away smiling and gives the officer 
               a wave. She is loving this.

                                     ODA MAE

               INT. CARL'S OFFICE

               The clock on Carl's wall says 3:40. He seems anxious. The 
               phone RINGS. Carl jumps. He pushes down the speaker button.

                         Hello. Carl Bruner speaking.


                         Mr. Balsitrari

                         Balistrari? Carl, it's me, John. 
                         I've got the info on the Bradley 

                         Oh yeah, yeah. That's great. I'll 
                         pick it up later.

               He hangs up. His hand is shaking.


               Sam and Oda Mae approach a fancy part of the bank housing 
               administrative personnel. They approach a GUARD who is 
               standing there.

                         Tell the guard you're here to see 
                         Lyle Furgeson.

                                     ODA MAE
                         Lyle Furgeson, please.

                         Do you have an appointment?

                                     ODA MAE
                         No. I'm here for the fun of it.

                         Don't say that! Tell him Rita Miller's 

                                     ODA MAE
                         Tell him Rita Miller's here.

                         Just one moment, please.

                         Don't embellish.

                                     ODA MAE
                         Yes, Sir.

                              (turning around)
                         Excuse me?

               She waves him on.

                         Now listen, this guy Furgeson's a 
                         real jerk.

                                     ODA MAE
                         Why are you whispering?

                              (he doesn't know)
                         Just be quiet and listen. I've known 
                         him five years and he still thinks 
                         my name's Paul.

               We see the Guard leaning over Mr. Furgeson's desk. FURGESON 
               looks up and sees Oda Mae. He shrugs his shoulders.

                         He's a social moron. You don't have 
                         to worry about anything. Tell the 
                         guard Furgeson knows you. You spent 
                         time with him and his wife Shirley 
                         at the Brewster's Christmas party 
                         last year.

               The Guard comes back.

                         What is this regarding?

                                     ODA MAE
                         What? He doesn't remember me? We 
                         were together at the Brewster's 
                         Christmas party. With his wife 
                         Shirley. They had that lovely tree... 
                         all those presents. Why, I'll never 
                         forget all those beautiful...

               Sam pokes her. She yelps, surprised, and glances around. The 
               Guard gives her an odd look.

                                     ODA MAE
                         Oops. Gas.

               She forces a smile. He smiles back and then goes over to Mr. 

                         This'll be easy. Furgeson was so 
                         drunk at that party, he could have 
                         had a conversation with Tina Turner 
                         and he wouldn't remember.

               The Guard whispers in Furgeson's ear. Furgeson appears totally 
               flummoxed. He looks up at Oda Mae, embarrassed, and waves. 
               The Guard motions her to come back. She walks proudly over 
               to his desk. He sticks out his hand.

                         Hello, hello. Of course, of course. 
                         It's been so long.

                                     ODA MAE
                         A long time.

                         Ask how Bobby and Snooky are.

                                     ODA MAE
                         How are Bobby and Snooky doin'?

                         Why, they're just fine, thank you. 
                         Nice of you to ask. And how is your... 

                                     ODA MAE
                         Couldn't be better.

                         Well, isn't that wonderful.

                         Tell him you've been wondering how 
                         they did on the Gibraltar securities.

                                     ODA MAE
                         So tell me, Fergie, how did you do 
                         on the Gibraltar securities?

                         The Gibraltar securities! Well, it 
                         looks like we topped out, huh?

                         "We sure did!"

                                     ODA MAE
                         We sure did.

                         That was a wonderful tip.

                         "Good old Randy".

                                     ODA MAE
                         Good old Randy. Got a real head on 
                         his shoulders.

                         "Her" shoulders.

                                     ODA MAE
                         "Her" shoulders.

                         Sure does. Well... well. So what 
                         brings you here today?

                         You're closing an account.

                                     ODA MAE
                         I'm closing an account.

                         Well... wonderful. Do you have your 
                         account number?


                                     ODA MAE


               She looks up into the air. Furgeson eyes her strangely.

                                     ODA MAE
                         Make that 31-0-43... Numbers. I'm 

               He punches Rita Miller's number into the computer. A figure 
               appears on the screen. He stares at it for a few seconds and 
               then punches it in again.

                              (trying to be calm)
                         Well, Rita, you'll be withdrawing 
                         four million dollars from us today, 
                         is that correct?

                                     ODA MAE
                         Four million dollars?!

                         Say "yes"!

                                     ODA MAE
                         Yes! Four million. That's right. 
                         That's right.

                         And how will you want that?

                                     ODA MAE
                         Tens and twenties?


                         A cashier's check! Tell him a 
                         cashier's check.

                                     ODA MAE
                         A cashier's check.

                         Fine. Of course, you realize we're 
                         required to get some identification 
                         from everyone. It's just procedural. 
                         You understand.

                                     ODA MAE
                         Of course.

               Oda Mae reaches into her purse and pulls out a DRIVER'S 
               LICENSE and a SOCIAL SECURITY CARD. Furgeson gets up and 
               walks away from his desk. He seems unsteady on his feet. An 
               OFFICER at the next desk is using a Brillo pad to clean a 
               stain on her desk. Oda Mae smiles.

                                     ODA MAE
                         You know, if you put that Brillo pad 
                         in the freezer, it'll last twice as 

               The Officer nods appreciatively.

               INT. CARD FILE ROOM - DAY

               Furgeson lays Oda Mae's ID next to her signature card. The 
               signatures match up. He nods his head in approval.

               INT. CARL'S OFFICE - DAY

               Carl looks up at the clock. It is 3:50. He pushes down a 
               button on the phone. A SECRETARY answers.

                                     SECRETARY (V.O.)
                         Yes, Mr. Bruner.

                         Get me the First Island Bank of 
                         Nassau. It's on the rolodex.


               Mr. Furgeson returns with Rita Miller's signature card and a 
               cashier's check for $4,000,000. Oda Mae's hand shakes as she 
               examines it.

                         I'll just need your signature right 

                                     ODA MAE

                         Sign Rita Miller.

               Sam looks up and gulps. Molly has just entered the bank and 
               is heading toward them. He jumps up nervously.

                         I'll be back in a minute. You're on 
                         your own. Don't say anything foolish.

               Oda Mae signs a form closing the account. Of course the 
               signatures match. Mr. Furgeson examines them both and smiles. 
               He shakes Oda Mae's hand.

                         Now you be careful with this. It's 
                         like carrying cash, you know.

                                     ODA MAE
                              (positively glowing)
                         I sure do.

               Sam rushes over to Molly. He is not sure what to do. He 
               notices a stack of deposit forms on the counter she is about 
               to pass. He hurries to it and flicks the entire stack, a 
               hundred sheets, flying up into the air. Molly, confused, 
               thinks she is responsible and stoops to pick them up. Sam, 
               delighted, flicks another stack.

               Oda Mae is talking a blue streak when Sam returns to her.

                                     ODA MAE
                         Then my mother took all the money 
                         from the oil wells and put it in 
                         gasoline pumps. Every gas station 
                         has 'em you know, sometimes six or 
                         more. It adds up.

                         Oda Mae, come on. We gotta get out 
                         of here. Say goodbye.

                                     ODA MAE
                              (abruptly getting up)
                         Well, I've got to leave. It's been a 
                         pleasure doin' business with you. 
                         Say "hi" to Shirley and Snooky for 

                         Thank you, Rita. I'll be glad to.

               Oda Mae smiles and leaves. There is a new lilt in her walk. 
               Suddenly Sam looks and sees Molly about to stand up.

                         Hurry up, Oda Mae.

               At that second, Oda Mae spots a quarter lying on the ground. 
               She stoops down and picks it up.

                                     ODA MAE
                         What a day!

               Molly sees her, does a double take, and starts to go after 
               her. Unfortunately, Oda Mae steps onto an elevator before 
               Molly can catch up. The doors close. Molly stops for a moment 
               and then looks back across to the executive area. She sees 
               Lionel Furgeson and hurries over to him.


               He is surprised to see her and grows instantly solicitous.

                         Molly. How are you?

                         Lionel, a woman who just left, a 
                         black lady, about my height, did you 
                         see her?

                         Well, yes. I just took care of her.

                         What did she want? Did it have 
                         anything to do with me? Did she ask 
                         about Sam?

                              (not understanding)
                         Sam? No. Why?

                         Was her name Oda Mae Brown?

                         No, Rita Miller. She just closed an 

               Molly stares at Furgeson. She is not sure what to think.

                         Is there a problem?

                              (hesitating, not sure 
                              what to say)
                         No. I guess not. Thanks.

               She walks away, confused.

               INT. CARL'S OFFICE - DAY

               Carl, in front of his computer, is going crazy. He keeps 
               punching buttons on the keyboard but the same response appears 
               over and over on the screen. "RITA MILLER, #926-31043. ACCOUNT 
               CLOSED. BALANCE $00.00."

               Panicked, Carl jumps up. He moves quickly, erratically around 
               the office and then back to the computer. He punches the 
               keys over and over. The same answer appears on the screen. 
               The account is closed.


               Carl runs through the office. He seems crazed. People look 
               at him.

                         Carl, is something wrong?

                         Is someone playing with the computers?


                         Is this a joke? One of my accounts 
                         is closed.

                         Which account? What's wrong?

               Carl freezes. He doesn't answer.

                         You want me to call someone?

                              (changing his demeanor)
                         No, no. Never mind. It's okay. It's 
                         all right. I can do it.


               Sam and Oda Mae are walking down the street in front of the 
               bank. Oda Mae is talking to herself.

                                     ODA MAE
                         $4,000,000. $4,000,000. Lord Almighty.

                         Oda Mae. Take the check out of your 

               She stops. There is a nervous look on her face.

                                     ODA MAE
                         Take it out? Why?

                         Just do it.

               Oda Mae, worried, removes the check but holds onto it tightly.

                         Now endorse it. Sign Rita Miller.

                                     ODA MAE
                              (in shock)
                         Endorse it? Why?

                         Do what I say.

                                     ODA MAE

                         That's blood money, Oda. I was killed 
                         for that money. Endorse it now.

                                     ODA MAE
                         What are you going to do with it?

                         We're giving it away.

                                     ODA MAE
                         Away? What do you mean? To who?

                         Look to your left.

               Oda Mae looks at the nuns collecting money for the homeless. 
               She recoils.

                                     ODA MAE
                         Are you outta your mind?

                         Do what I tell you.

                                     ODA MAE
                              (clutching the check)
                         I can't.

                         Yes, you can. If you don't do it, 
                         they'll track you down. Your only 
                         protection is to get rid of it, now.

                                     ODA MAE
                         Sweet Jesus, you're killing me, Sam.

                         I'm saving you, Oda Mae. You'll go 
                         to heaven for this.

               Oda Mae growls at him.

               With great difficulty, she approaches the nuns.

               The nuns look at her with curiosity and compassion.

                         Write "St. Joseph's Shelter".

               With great hesitation, Oda Mae begins to write. We sense 
               that every word is a torment for her. The nuns politely avert 
               their eyes from the check.

                         Bless you, child.

               Oda Mae gives her a dirty look and hands the check over.

                         I'm proud of you.

                                     ODA MAE
                         Don't you talk to me. I don't want 
                         you comin' round no more. I mean it. 

                         Come on, we're friends.

                                     ODA MAE
                         Friends? Friends?

               She turns on her high heels and wobbles away. Sam calls after 

                         I think you're wonderful, Oda Mae.

               She growls again. In the background we see the nuns secretly 
               peeking at the check. One of them, wide-eyed, faints dead 
               away. The other nun stoops down and fans her face in an 
               attempt to revive her.

               INT. CARL'S OFFICE - NIGHT

               It is after hours. Almost everyone on the floor has gone. 
               Carl, hunched over his computer, is typing furious commands 
               on the keyboard. He looks haggard and worn.

               Sequence after sequence of coded numbers flash past on the 
               monitor screen. Sam, sitting in a desk chair, watches, 

                         Search, you bastard! You'll never 
                         find it. It's gone.
                              (he smiles)
                         They'll kill you for this, Carl. You 
                         and Willie. They'll wipe you off the 
                         face of the earth.

               In a moment of childish delight, he pushes his feet against 
               the wall and the chair shoots across the room. Carl looks up 
               and sees an empty chair moving. He stares at it in confusion, 
               and then goes back to the screen. He seems desperate. Nothing 
               is working.

               Panicked and frightened, Carl flicks off the machine and 
               storms furiously around the room. Sam approaches the computer, 
               hesitates a moment, and then pushes the power switch. The 
               computer CLICKS back on. Carl spins around. He stares at the 
               computer curiously for a moment and then turns it back off. 
               Sam, enjoying this, reaches for the switch and FLICKS it 
               back on again. Carl stares at it.

                         What the...?

               Carl watches as the keys seem to depress themselves and 
               letters begin appearing on the screen. He sits down, 
               mesmerized by what is happening. Then his face grows tense. 
               The word "M-U-R-D-E-R-E-R" is emerging before him.

               Carl flies out of his chair, frantically running around to 
               see who else is on the floor. He yells out like a madman.

                         Who's doing that?

               There is no one there. He hears the computer beginning to 
               type again and hurries back to look at the screen. One word 
               appears. "S-A-M".

               Carl gasps and smashes the computer with his fist. It crashes 
               to the floor. Electrical sparks go flying as Carl gasps for 

               Sam cannot hold himself back any longer. With a horrifying 
               scream, he charges at Carl, jamming his fist hard into his 

                         You bastard! You goddamn bastard!

               Carl grabs his side.


               He hits Carl again. Carl gasps in inexplicable pain.

                         It's dinner time, Carl. Don't you 
                         have a date with Molly, you creepy 
                         son-of-a bitch?

               Sam keeps hitting deeper into Carl's mid-section. Carl doubles 
               over as though he's going to throw up.

                         Jesus! Oh God!

               Sam is flushed with excitement. Carl kneels beside his desk. 
               He cannot understand what is happening to him. His face goes 
               stark white as the attack continues.

               Then, unexpectedly, the assault stops. Sam, exhausted, stares 
               hatefully at his old friend cowering on the floor. Slowly 
               and dizzily, Carl gets up. He looks fearfully around the 
               office and then, holding his stomach, hurries from the room.

               INT. LOFT - THE SAME NIGHT

               Molly, all dressed to go out, is sitting in Sam's easy chair, 
               asleep. Suddenly Carl arrives knocking at her door. He does 
               not look well. Sam is with him.

                         Carl? Where were you? I thought we 
                         were having...?

                         I'm sorry. Things just got so crazy. 
                         I completely forgot.

                         Old Carl had a little trouble at the 

                         Forgot? I was worried. Is everything 
                         okay? Are you all right?

                         I'm okay. I'm alright. Look, can I 
                         talk to you for minute? Can I come 

               Molly eyes Carl with concern as he enters the loft.

                         I need to ask you a question.

                         He needs to borrow four million 

                         Molly, I know what the police said, 
                         but when you thought Sam was here, 
                         when you thought he spoke to you, 
                         what did you feel? What did he say?

                         Why? What happened?

                              (very tense)
                         Molly, that psychic woman, I want to 
                         know what she told you. I want to 
                         know what she said.

                         Carl, stop this. It was all a hoax. 
                         I told you. It wasn't real. She's a 
                              (she hesitates and 
                              stares at Carl)
                         Does this have anything to do with 
                         her being at the bank today?

                         Oh shit!

                         At the bank?

               Sam tenses. He holds up his hand as if wanting her to stop.

                         I was sure I saw her. Furgeson says 
                         she was taking out money. It turns 
                         out her name isn't even Oda Mae Brown. 
                         It's Rita Miller or something.

               Carl turns white. His eyes bulge. He feels sick.

                         What's wrong?

                         Stomach. My stomach. Do you have 
                         anything? Pepto Bismol.

                         Sure. Just a second. What's going 

               Concerned, she hurries from the room. Sam digs his hands 
               into Carl's back. Carl jerks forward in intense pain and 
               begins flailing at the air.

                         What are you doing to me. Get away! 
                         Get away!

               INT. KITCHEN

               Sam does not go away. Freaked, Carl runs into the kitchen 
               and rushes to the stove. Quickly he turns on the gas. He 
               looks crazed. Turning to the air, he begins whispering loudly.

                         You touch me again and I'll set her 
                         on fire. I mean it. I'll kill her. 
                         I'll blow up the whole building if I 
                         have to. Stay away!

               Sam jabs at the knob on the stove and begins to turn it off. 
               Carl sees it move. Shocked and frightened, he grabs it and 
               pulls it off, leaving only the tiny stem in place.

                         Go on, try it again. Let me see you 
                         turn it off now.

               Sam, frightened, tries with all his might but he cannot twist 
               it. Carl pulls out a cigarette lighter and gloats.

                         Try and hurt me. I'll kill her if 
                         you hurt me.

               Sam rushes at Carl about to jam his full fist into his chest, 
               but then he stops, afraid. He pulls back, shaken. Carl stands 
               there waiting for a blow that doesn't come. He begins to 

                         What's a matter? You believe me, 
                         huh? You better believe me! I want 
                         my money. I need that money and I 
                         want it tonight -- at 11:00. If that 
                         psychic lady doesn't bring it here, 
                         Molly's dead.

               Sam freezes. Molly enters the kitchen. She grabs her nose.

                         Oh my God. Is that the gas?

               Carl acts as if that's the reason he came into the kitchen.

                         You must have left the stove on.

               He fiddles with the dials and turns it off.

                         Just glad I smelled it.

                         Me, too.

               She opens a window.

                         Molly, I'm sorry. I've got to go. 
                         Look, there's something going on. I 
                         can't talk now. Some trouble at the 

                         Trouble? What kind of trouble? Is it 
                         that woman, the psychic?

                         I don't have time to talk now. What 
                         if I come back? Around 11:00?

                         Carl, what's going on? Let me help 

                         I can't. I'm sorry to do this, but 
                         it's important. I'll be back.

               Molly is speechless.




               Oda Mae is watching T.V. with Clara and Louise. Suddenly she 
               jumps, aware of Sam's presence in the room.

                                     ODA MAE

               Clara and Louise jump, too.

                         Not again!

                                     ODA MAE
                         What're you doin' here?

                         Oda Mae! We're in trouble. They want 
                         the check. They're comin' to kill 
                         you. We gotta get outta here.

                                     ODA MAE
                         The check? What do you mean, "the 
                         check". You said they'd never find 

                         What's happenin' Oda Mae?

               EXT. STREET

               A red Mustang SCREECHES to a stop on the street below. Sam 
               and Oda Mae run to the window. Carl and Willie are looking 

               INT. LIVINGROOM

                         It's them.

                                     ODA MAE
                         They're comin' to kill me.
                              (to Sam, crazed)
                         What have you done?


               Willie and Carl jump out of the car. They head for Oda Mae's 


               Sam steps back from the window.

                         They're heading for the door.

                                     ODA MAE
                         Jesus have mercy.


               Willie forces open a back door. They head into the building.


               Oda Mae and the others hurry into the hall. They rush down 
               the corridor and knock loudly on a neighbor's door. A WOMAN 
               opens it a crack.

                                     ODA MAE
                         Emergency! Let us in!

                         Who you kiddin'?

               The Woman slams the door and locks it shut. Oda Mae looks 


               Carl and Willie climb the stairs two at a time.


               Oda Mae and her sisters bang on another apartment door. No 
               one is home. Across the corridor an ELDERLY WOMAN sticks her 
               head out to see what is going on. Before she can say anything 
               they push their way inside.

                                     ELDERLY WOMAN
                         What're you doin'? You can't come in 
                         here. The cat don't like visitors. 
                         She'll pee all over the couch. You 
                         wanna pay for...

               Oda Mae grabs the woman's mouth.

                                                                    CUT TO:


               just as Willie and Carl emerge from the stairwell. They head 
               down the hall toward Oda Mae's door. Willie pulls out a gun, 
               and fires. The lock shoots open. They rush inside.

                                                               CUT BACK TO:

               ODA MAE

               in the elderly woman's vestibule, peering through the 
               peephole. The old woman is struggling and still trying to 
               talk. Oda Mae's knees are wobbling.

                                     ODA MAE
                         They're gonna find us.

                         No they won't. I'm gonna get 'em.

                                     ODA MAE
                         Oh yeah? And how you gonna do that?

                         Whataya mean? I'm a ghost, aren't I?


               Willie moves quickly through Oda Mae's apartment, his gun 
               pointed, ready to fire. He seems furious when he realizes no 
               one is there.

                         Looks like someone just left.

                         I'll check the building.


               He rushes back out and down the stairs. Willie stays in the 
               apartment. Suddenly, the doorbell RINGS. Willie rushes over 
               and opens the door a crack. There is no one there. Confused, 
               he backs away. The doorbell rings again. Completely mystified, 
               he aims his gun and opens the door all the way. The hallway 
               is empty.

               As Willie stands there, wondering what is happening, Sam 
               steps inside and pushes the door closed. It slams shut. Willie 
               nearly jumps out of his skin.


               He stares at the door in total bewilderment. At that instant, 
               a collection of picture frames flies off the breakfront and 
               crashes into his legs. He backs away, spooked.

               Suddenly, the T.V. flicks ON at full volume and then the 
               STEREO and the RADIO. Lights begin flashing on and off. Willie 
               spins around in total dismay.

               Summoning all of his force, Sam slams into Willie. Willie 
               recoils in unexplainable pain. He seems very disoriented. 
               His gun falls to the floor. He reaches for it and Sam pushes 
               it away. Willie jumps up, afraid. His eyes dart around the 
               room. Sam laughs.

                         Who's there? Who's doing that?


               A pair of candle holders shoot off the mantle piece and nearly 
               hit Willie in the head. He freaks. Grabbing his gun, Willie 
               runs into the bathroom and locks the door. Suddenly the hot 
               water faucet turns on by itself.

               Willie is terrified. Steam rises from the sink. Willie tries 
               to get out, but Sam approaches him from behind and appears 
               to dig his hands into his neck. Willie crumples to his knees.

                         Oh God!

               There is a SQUEAKING SOUND and Willie looks up. Letters are 
               appearing in the fogged mirror. He stares in disbelief as 
               the word "B-O-O!" emerges before him. He cries out.

                         Let me outta here!

               Shaking uncontrollably, Willie FIRES his gun at the mirror. 
               Glass and tiles EXPLODE. Willie is cut and bleeding. He grabs 
               hold of the door and yanks it open.

               INT. HALLWAY

               Willie rushes to the hallway, charges for the back stairs 
               and stumbles down the three flights to the street. Carl, 
               running down the corridor, rushes after him. Willie drops 
               his gun. Carl picks it up.

               EXT. BROOKLYN STREET -- NIGHT

               Willie runs from the building and careens down the sidewalk. 
               People clear a path as he hurls past them like a madman. 
               Carl, confused, runs after him.

               Sam, too, races after Willie, unwilling to let him get away.

               Suddenly, a man obstructs his way. Willie goes flying over 
               him and lands face down on the cement. Before he can get up, 
               Sam is all over him and does not let up. People stand back 
               to watch as Willie does battle with himself. Panicked, he 
               calls out to a bystander.

                         Help me!

               People back away. Carl watches in terror. He understands 
               exactly what is happening.

               EXT. STREET - NIGHT

               Willie, blinded by his own hysteria, runs wildly into the 
               street. Cars are bearing down on him from all directions. He 
               does not get out of their way.

               One driver sees Willie coming and swerves to avoid him. His 
               car skids. Another car brakes to avoid a collision and 
               suddenly both cars crash right into him.

                         Look out!

               Willie's body is crushed instantly between the two vehicles 
               as his spirit is catapulted into the air still screaming and 
               writhing. His ghostly form reaches out to people for help as 
               they rush past. No one stops.

               Willie spins around and sees a mangled body crumpled on the 
               street. Suddenly, he recognizes that it is his own dead body 
               lying there. He begins to scream.

               A bizarre and frightening CLICKING SOUND fills the air. Sam 
               looks up. A group of strange dark figures has emerged from 
               the shadows.

               With a loud, terrifying shriek, the dark forms swoop down 
               and grab hold of Willie. Sam freezes. In an instant they are 
               dragging Willie, kicking and screaming, down through the 
               sewer grates into the bowels of the earth.


               Sam backs against a wall in absolute horror. Carl, standing 
               in the crowd, turns and runs.


               Oda Mae and her sisters are huddling with the old woman in 
               the entryway to her apartment. They all appear frightened. 
               The door is opened a crack and they can see people gathering 
               in the hall outside.

               Sam walks up to Oda Mae. She feels his presence.

                                     ODA MAE
                         Sam? What happened?

                         He's dead, Oda Mae.

                                     ODA MAE
                              (she utters a sigh of 
                         Oh, thank God. It's over.

                         No. It's not over, Oda Mae. There's 
                         still Carl.

               Oda Mae freezes. She turns to Sam.

                                     ODA MAE
                         Who's Carl?

               INT. TAXI CAB - NIGHT

               Sam and Oda Mae are in a taxi speeding downtown.

                         Tell him to hurry!

                                     ODA MAE
                         Can't you hurry up?

                         Listen, lady, I'm going as fast as I 

               Sam leans forward and pushes at the gas pedal. The cab shoots 
               forward. The driver seems shocked.

                                     ODA MAE

               He gives her a dirty look.

               INT. LOFT - NIGHT

               There is a KNOCK at the door. Molly goes to it. Fastening 
               the latch, she opens it a crack.

                         Carl, is that you?

               Oda Mae wedges her foot inside.

                                     ODA MAE
                         Molly, it's Oda Mae. I know what you 
                         think of me, but your life is in 
                         danger. You have to listen to me. 
                         Sam's here, too. You gotta let us 

               Molly tries to slam the door but hits Oda Mae's foot.

                         Get the hell out of here. I'm calling 
                         the police.

                                     ODA MAE
                         Go ahead. We want you to call 'em. 
                         You're in trouble. Let us in.


                                     ODA MAE
                         Sam's death was no accident. He was 
                         murdered, Molly. Carl was laundering 
                         money at the bank. Sam found out. 
                         He's dangerous. He tried to kill me. 
                         He'll kill you, too.

                         Why are you doing this to me? Get 
                         away from me! I know all about you. 
                         You're a fake. You're just a fake. 
                         Leave me alone!

               We see Sam's inside the room with Molly. He gazes at her 
               lovingly for a moment and then calls back to Oda Mae.

                         Tell her she's wearing the blouse I 
                         spilled the Margarita on and the 
                         earrings I gave her for Christmas.

                                     ODA MAE
                         Sam says you're wearin' the blouse 
                         he spilled the Margarita on and the 
                         earrings he gave you at Christmas.

                                                               CUT BACK TO:


               grabbing hold of her beads. Her hand is shaking.

                                     ODA MAE (O.S.)
                         See, I'm no fake.

                         Go away!

                         Gimme a penny quick.

                                     ODA MAE

                         Empty your purse. On the floor. Now.

               Oda Mae obeys. A pile of coins falls on the floor.

                         Push a penny under the door.

               Oda Mae obeys and a penny slides into the loft. Molly sees 
               it. Sam tips it carefully so it lands upright against the 
               bottom of the door. Pushing gently, he moves the penny up 
               the door until it's eye level with Molly. She watches it, 

               Then, to her astonishment, the penny floats away from the 
               door and hovers in the air. There is a look of wonder in 
               Molly's eyes as it floats toward her.

                              (continuing; calling 
                              to Oda Mae)
                         Tell her it's for luck.

                                     ODA MAE (O.S.)
                         Sam says it's for luck.

               Molly stands there dumbfounded. Her face is completely white. 
               After a moment she reaches for the penny. It falls into her 
               hand. There are tears in her eyes.

                                                                    CUT TO:


               Oda Mae standing in the hallway as the door to the loft begins 
               to open. Slowly Molly steps out onto the landing and stares 
               at her, nervously, uncomprehendingly. She hesitates for a 
               long moment and then invites Oda Mae in.

               INT. LOFT - NIGHT

               Molly is on the phone. Oda Mae is beside her.

                         Right. Yes, it's right on the corner. 
                         We're a red brick building with the 
                         entrance on the left side. Please 
                         hurry. Thank you Sergeant. We'll be 
                         waiting right here.
                              (she hangs up)
                         Police are on their way.

               Oda Mae takes her and leads her to the couch.

                         What do we do now?

                                     ODA MAE
                         Just wait.

               There is a period of awkward silence.

                         Is Sam here?

                         I'm sitting beside you.

                                     ODA MAE
                         Right here.

               Molly reaches out tentatively. Sam meets her hand. She 
               flinches for a second but does not pull back.

                              (fingering the air)
                         Can you feel me, Sam?

                         With all my heart.

                                     ODA MAE
                         With all his heart, he says.

                         I'd give anything to be alive again, 
                         just to feel you once more.

                                     ODA MAE
                         He wishes he could touch you, just 
                         one more time.

                         Oh, Sam.

               Oda Mae looks away uncomfortably. The CAMERA HOLDS on her 
               face. After a moment she turns around and addresses the air.

                                     ODA MAE
                         Okay, damn it, you can use me if you 

               Sam looks oddly at Oda Mae.

                                     ODA MAE
                         Come on. Before I change my mind.

               Suddenly he understands what she means.

                                                                    CUT TO:


               Sam's finger presses down two keys. We see a record slide 
               out of its slot and move toward the turntable. We know what 
               it is going to play.


               Oda Mae closes her eyes. "Unchained Melody" begins to play. 
               Sam hesitates for a moment and then cautiously, awkwardly 
               slides his ghostly body into her solid form. We sense Oda 
               Mae's discomfort gradually give way as Sam emerges inside 
               her. After a second her body turns slowly toward Molly.

               Oda Mae's hand reaches out and with slow, deliberate gestures, 
               touches Molly's hand. Molly swallows hard. She closes her 

                                                                    CUT TO:


               Sam. It is as though he alone is there with Molly. His eyes 
               are full of tears. He can barely move. His hand glides slowly 
               down Molly's cheek. He seems to be in a state of ecstasy and 

               The experience is more than he can bear. He pulls back.


               Molly reaches out, takes Sam's hand, and guides it to her 
               soft lips. Sam can barely breathe. He seems totally absorbed 
               in the experience, the sensation of human flesh.

               His eyes are absolutely still and full of light. He seems to 
               be glowing.

               Gently, Molly takes Sam's arm and guides him to his feet. 
               Effortlessly, she draws him to the center of the huge loft. 
               With great tenderness, she puts her arms around him and before 
               he knows what is happening, they are dancing. It is a strange, 
               touching image, reminiscent of their first night in their 
               new home. Sam reaches out and slowly draws his fingers down 
               over her face, caressing her forehead, her cheeks, her lips. 
               She stands motionless. Her face shines. She knows beyond all 
               doubt that it is him.

                         I love you so much.

                                                                    CUT TO:


               A LOUD JARRING SOUND. It takes a moment to realize that it 
               is someone KNOCKING at the door. The light slams back into 
               its shadowy substance and Sam comes shooting back into his 
               ghostly form. Oda Mae is standing with Molly in the center 
               of the room. Sam is beside them. He appears shaken and dizzy.

               There is a another loud POUNDING at the door.

                         The police!

               Molly heads for the door. Sam calls out. He can barely speak.


                                     ODA MAE
                              (to Molly)

               Sam tries to go instead. To his amazement and ours he is 
               extremely weak, barely able to move.

                         What's happening to me?

               His ghostly functions are diminishing.

               There is another KNOCK and a voice rings out.

                                     CARL (O.S.)
                         Molly, open up. It's me.

                         It's Carl!

                         Get out of here! The fire escape.

               Oda Mae grabs Molly.

                                     ODA MAE
                         Come with me.

               Oda Mae and Molly run for the fire escape window. We hear 
               Carl yelling in the hallway.

                                     CARL (O.S.)
                         Molly. Open up. Are you there?

               INT. STAIRWELL - NIGHT

               Carl is standing on the landing. He is holding a gun. He 
               aims it at the lock and FIRES. The door to the loft flies 

               INT. LOFT - NIGHT

               Carl moves rapidly through the huge space.


               It is obvious that no one's home.


               Sam, with great effort, rushes at Carl and attacks him with 
               his fists. To his great shock, he has no impact. Carl walks 
               right through him.

               EXT. FIRE ESCAPE - NIGHT

               Molly and Oda Mae are climbing the fire escape.

               INT. LOFT - NIGHT

               Carl runs to the fire escape window. He looks out just in 
               time to see Oda Mae go into the 7th story window.

               INT. NEW LOFT - NIGHT

               Molly and Oda Mae run through a new loft that is under 
               construction. It is a maze of tangled wires and broken walls. 
               The fire escape window slams shut and nearly scares them 
               half to death. They rush blindly toward the front door. It 
               won't open.

                                     ODA MAE
                         Back to the fire escape. Head for 
                         the roof.

               Oda Mae reaches the fire escape window just as Carl appears 
               on the other side. She screams. Carl tries shoving the window 
               open. It won't budge.

               Molly sees some scaffolding leading to the skylight. There 
               is an opening at the top.

                         This way!

               Molly quickly climbs the scaffolding and makes it to the 

               With a huge shove, Carl opens the window and rushes inside. 
               The window slams behind him.

               Oda Mae rushes back toward Molly, but her foot catches on a 
               loose cable and she falls to the ground.

                                     ODA MAE
                         Help us, Sam!


               ODA MAE

               A hand falls on Oda Mae's shoulder. She spins around. Carl 
               is standing behind her. She screams as he knocks her to the 

                         I want the check. Just give me the 

               Molly looks down from the scaffolding and begins to scream.

                         God almighty, Carl! What are you 
                         doing? What have you done!?

               She descends quickly and runs toward Carl.

                         Don't interfere! She's a thief. It's 
                         not her money.

               Carl kicks Oda Mae. Molly rushes at him, attacking him 
               violently. Carl aims his gun at her.

                         Keep out of this, Molly!

               He grabs Oda Mae by the hair.

                         Where is it?

               Oda Mae cries out.

                                     ODA MAE
                         In my purse.


                                     ODA MAE
                         Over there.

               She points across the room.

               Carl sees the purse and yanks Oda Mae toward it. Yanking it 
               off the floor, he tears through it like a wild man. There is 
               no check. He grabs Oda Mae.

                         Where is it, goddamn it? Where is 

                                     ODA MAE
                         I gave it away.

                         You're lying! Don't lie to me!

               He aims his gun at her eye and is about to FIRE when, 
               suddenly, something shoves him to the floor. Carl screams 
               and jumps back, tripping over Oda Mae. Sam is standing there.

               In total panic, Carl scrambles to get up. Horrified, he SHOOTS 
               his gun blindly into the air. Molly and Oda Mae dive for 
               cover. The bullets have no impact. Sam musters all his 
               strength and shoves Carl again. White with fear, Carl grabs 
               Molly and aims his gun at her head.

                         I'll kill her. You touch me and I'll 
                         kill her. I mean it, Sam. Just give 
                         me the check.

               The gun is cocked at her temple. No one moves. Slowly the 
               camera dollies toward Carl.

                         Sam, please. I didn't mean for him 
                         to kill you. It's not my fault. Come 
                         on, Sam, give me the check. Give it 
                         to me and I'll leave her alone.

               Nothing happens. Carl looks nervous.


                         Sam? Sam?

               In a wild explosive fury, Sam charges at Carl and smashes at 
               his gun. The weapon flies out of Carl's hand. Empowered by 
               an anger we have not seen before, Sam smashes into Carl with 
               a violent force. Carl's body careens into walls and 
               floorboards. Wiring snaps. Two-by-fours crack.

               Carl, crawling desperately to escape, sees his gun on the 
               floor. With a wild rush, he grabs for it and shoots at the 
               door. The lock explodes and the door flies open.

               Carl tries to run for it, but Sam cuts in front of him. With 
               growing power, Sam sends Carl flying back into the apartment, 
               colliding into a tall scaffold. Bags of plaster topple to 
               the ground as mounds of plaster dust hurl into the air. The 
               apartment looks like a scene from another world.

               Carl, in a state of total unrelieved panic, breaks away from 
               Sam. The dust obscures his escape. Like a trapped insect, he 
               scrambles furiously to the fire escape window. Sam cannot 
               see him.

               Carl shoves at the window. It is stuck. With a supreme effort, 
               he grabs a ripped bag of plaster and swings it at the glass. 
               Half of its plaster spews across the room before smashing 
               the window. Shards of glass fly in all directions. Sam turns 
               and sees Carl. He surges after him, but knows he cannot get 
               to him in time.

               Carl is halfway out the window when Sam's fist slams into an 
               electrical box attached to a dangling BX cable. It goes flying 
               toward the window. To his amazement, it hits the frame. A 
               huge pane of glass dislodges and comes crashing down. Carl 
               looks up just in time to see the pointed edge aiming for his 
               chest. Before he can move, it pierces him between the ribs 
               and slices into his heart. His body quivers.

               Carl's eyes bulge from their sockets. His body begins to 
               spasm. He can't get up. A look of abject terror flashes 
               through his eyes. He tries to scream. There is no sound. He 
               tries to breathe. There is no breath.


               With one last effort, Carl lurches forward. To his amazement, 
               his body stands up and pulls away from the window. He looks 
               down at his chest and is amazed to see that the glass is 
               gone. There is no blood. Excited and confused, he turns around 
               and sees Sam. For a moment, he cannot comprehend what is 


               There is a strange, silent moment between them.

               Then, seemingly out of nowhere, a terrible CLICKING sound is 
               heard. Frightening black forms are emerging from the darkness. 
               Carl looks behind him and gasps. Past the figures coming 
               toward him, he sees his own dead body. It is pinned to the 
               window sill.

               Before Carl can cry out, the dark figures swoop down and 
               envelope him. In a flash, his spirit is caught and surges 
               with the dark forces back into the shadows. Far in some 
               invisible distance, we can barely hear him scream.

               And then it is silent. It is over.


               Molly is crouched in the corner, her back pressed tightly 
               against the wall. She is staring into space. The room is 
               filled with plaster dust. Slowly, emerging from the dust, we 
               see Sam approaching Molly. He gazes at her with terrible 

               Suddenly, a brilliant light glows from behind the ceiling 
               and the skylight floods the room with a golden haze. Sam 
               turns to look at it. His eyes are full of surprise and wonder. 
               The spirits beyond the ceiling are beckoning to him. As he 
               looks down, he notices that his hands are growing transparent. 
               His body is beginning to fade. A faint smile forms on his 
               face. He leans down toward Molly, staring at her for a long, 
               silent moment.

                         Goodbye, Moll.

               Molly's head lifts up. She looks around.

                         Sam? Is that you?


                         I hear you, Sam.

               She starts to cry.

               Gradually, we notice that the dust in the air near Molly is 
               beginning to shimmer with a subtle glow. To her astonishment, 
               Sam's spirit is reflected in the floating particles.

                         Oh God!

               Sam's luminous form appears before her. Molly is overwhelmed 
               by the sight of him. The two of them gaze at one another 
               without moving. They know it is for the last time. It is a 
               silent exchange, charged with emotion.

               Slowly, the two bodies reach forward. As their lips touch, 
               the plaster dust swirls sensuously through Sam's vaporous 
               image and he begins to disappear. Molly pulls back from him 
               as though from a cloud. His voice rises from the mist.

                         I can't stay anymore.

               Tears roll down her cheek.

               The brilliant light intensifies. It is beautiful, like a 
               sunrise, saturating the room with a warm, comforting glow. 
               Molly looks up and sees it all. Oda Mae sees it, too.

                                     ODA MAE
                         They're waiting for you, Sam.

                         I know. Goodbye, Oda Mae.
                              (with deep felt 
                         Thank you. Your mama would be proud.

               Oda Mae smiles warmly.

               Sam turns to Molly. She is gazing at the last remaining 
               moments of him. Her eyes brim over with tears and love.

                         I love you, Molly. I've always loved 

               Molly swallows hard and wipes her eyes.


               The light inside Sam intensifies. A sweet smile emerges on 
               his lips.

                         It's so amazing, Moll...

               His face fills with joy.

                         The love inside.

               He whispers, almost crying.

                         You take it with you.

               They are his last words. His spirit dissolves within its 
               ghostly moorings and begins to evaporate. Molly looks up 
               silently for a moment, her face filled with love.

                         See ya.

               We see Sam's spirit rise from the room. It passes effortlessly 
               through the ceiling and, in seconds, he is gone. The room 
               grows dark.

               Molly sits quietly on the floor. There is a look of awe and 
               wonder in her eyes. After a moment, Oda Mae reaches down to 
               help her up. Molly looks at her lovingly and then gently 
               takes her hand. Arm in arm, supporting one another, they 
               walk quietly from the room.

                                         THE END


Writers :   Bruce Joel Rubin
Genres :   Romance  Thriller  Drama  Fantasy

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