Cornel1801.com  

Ghost (1990) script

by Bruce Joel Rubin
Find more about trailer
 
INT. TRIBECA LOFT - DAY

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

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

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

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

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

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

			MOLLY (O.S.)
	What a mess!

			SAM (O.S.)
	I told you!

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

			SAM
	I can't breathe.

			MOLLY
	Use your mask, dummy.

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

			SAM
		(singing)
	"Volga boat..., man." Whoomph!

His hammer pounds the wall. Molly laughs.

ANGLE

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

							CUT TO:

ANGLE

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

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

			SAM
	And about eighty years of dust.

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

			SAM
		(eyeing her curiously)
	For what?

			MOLLY
	For space. Just space.

			SAM
	Be great for bumper cars.

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

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

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

			MOLLY
	Hey, Sam, turn around.

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

			CARL
		(offering his body)
	How 'bout me?

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

			CARL
	I'll never wash again.

Molly laughs.

ANGLE

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

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

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

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

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

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

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

			MOLLY
	It's gorgeous.

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

			MOLLY
	Sell it? Carl, we just bought it.

			CARL
	What I wouldn't do for a place like 
	this.

			SAM
	It's gonna be great.

OMITTED

EXT. MARKET SECURITY BANK & TRUST - HEADQUARTERS - DAY

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

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

Sam seems preoccupied.

			CARL
		(continuing)
	Hey, Sam, relax. This isn't brain 
	surgery you're going into.

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

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

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

			CARL
		(continuing)
	Hey, nice. I like those.

Sam, not completely comfortable wearing them, buttons his 
jacket.

			SAM
	...Molly.

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

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

			SAM
	Better pay off your Mustang first.

INT. BANK HEADQUARTERS, ELEVATOR - DAY

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

			SAM
	So Carl, what did the doctor say?

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

He sneezes. People on the elevator freeze.

			SAM
	And what about the rash?

			CARL
	Not good. It's spreading everywhere.

			SAM
	On your genitals again?

			CARL
	Everywhere. He said be sure not to 
	touch anyone.

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

INT. BANK HEADQUARTERS, EXECUTIVE OFFICES - DAY

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

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

			ROSE
	Morning, Mr. Wheat.

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

			ROSE
	They're already here.

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

			SAM
	They're early!

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

			SAM
	Noon? Damn!

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

			CARL
	Hold on.

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

			CARL
	Sure. Just let me have your MAC code.

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

			SAM
	Discretion, huh?

			CARL
	You bet. I'll do it right away.

INT. WELL-APPOINTED EXECUTIVE BOARDROOM - DAY

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

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

The men smile happily and nod their heads in unison.

			MEN
	Arigato.

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

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

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

Sam looks surprised. He nods apologetically to his guests.

			SAM
	Excuse me.
		(he picks up the 
			receiver)
	Hello?

							CUT TO:

MOLLY

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

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

												CUT BACK TO:

SAM

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

			SAM
	Uh hmm.

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

The entire contingent of Japanese men is staring at Sam.

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

			SAM
	Okay.

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

Sam squelches a smile.

			SAM
	Well, that's just fine.

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

			SAM
	Thank you. I'll remember that.

			MOLLY (V.O.)
	See ya.

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

							CUT TO:

A CARVED WOODEN ANGEL

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

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

			MOLLY
	Where you guys from, the New York 
	City Ballet?

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

			SAM
	Saved your life.

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

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

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

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

Suddenly we hear a voice call out.

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

Molly looks to Sam.

			MOLLY
	Carl? Did you invite him?

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

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

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

Before they can answer, a WORKMAN turns to Molly.

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

			MOLLY
	In the bedroom.

INT. LOFT - DAY

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

			CARL
	Wow! The place looks great. Really 
	great.

			MOLLY
	You like it, huh?

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

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

			MOLLY
	Sam, you kept that chair?

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

			MOLLY
	But it doesn't go with anything.

			SAM
	It goes with me.

			MOLLY
	It's okay, I'll paint it.

Sam pinches her ass. Molly smiles.

INT. KITCHEN - DAY - LATER

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

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

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

			SAM
	She was four thousand dollars over 
	her limit.

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

			SAM
	She's still angry.

			MOLLY
	No I'm not.

The cat begins nibbling Sam's food.

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

			CARL
	You? You weren't even a VP yet.

			SAM
	She didn't know that.

Carl smiles.

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

			SAM
	What's a Montana accent?

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

			SAM
		(laughing)
	I wasn't nervous.

			MOLLY
	Admit it. You liked me. You were 
	interested.

			SAM
		(matter of factly)
	I thought you were cute.

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

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

OMITTED

INT. MOLLY'S STUDIO - NIGHT

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

			SAM
	What are you doing?

			MOLLY
	I felt inspired.

			SAM
	At 2:00 am?

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

			SAM
		(continuing)
	You notice Carl's eyes today? They 
	were all over you.

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

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

			MOLLY
		(continuing)
	What are you doing?

			SAM
	I feel inspired.

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

											MATCH CUT TO:

SAM'S FINGER

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

SAM AND MOLLY

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

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

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

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

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

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

							DISSOLVE:

LIVINGROOM - NIGHT

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

JUKEBOX

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

							DISSOLVE:

OMITTED

BEDROOM - NIGHT

Sam and Molly are lying together silently. Molly gazes at 
him.

			MOLLY
	What's the matter?

			SAM
	The matter?

			MOLLY
	I can tell.

			SAM
	Nothing... really.

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

			SAM
	No. Not really.

			MOLLY
	Then what? The promotion?

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

Molly gently strokes his head.

			MOLLY
	You know what?

			SAM
	What?

			MOLLY
	I love you. I really love you.

He smiles and strokes her cheek.

			SAM
	Ditto.

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

			SAM
	Oh Jesus. Another one.

			MOLLY
	Don't watch that stuff.

He motions to wait. Dead bodies litter the screen.

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

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

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

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

			SAM
	Yeah. So did they.

Sam looks at her and then back at the screen.

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

EXT. WALL STREET ESTABLISHING SHOT - DAY

OMITTED

INT. SAM'S OFFICE - DAY

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

			SAM
	A glitch. What's up?

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

			SAM
	I changed it.

			CARL
	Why? What's up?

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

			CARL
	Yeah, sure. Tell me, what's going 
	on.

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

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

			SAM
	That's what I keep asking myself.

			CARL
	It must be the computer.

			SAM
	I've been checking.

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

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

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

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

Carl winces. Sam smiles.

INT. SPRING STREET REPERTORY - NIGHT

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

ANGLE STAGE

A scene from "Macbeth".

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

EXT. SPRING STREET REPERTORY - NIGHT

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

			SAM
	I loved it.

			MOLLY
	I could tell.

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

			MOLLY
		(continuing)
	Did I tell you what Marcia said?

			SAM
	Six times.

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

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

			MOLLY
	Eight million readers, that's who.

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

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

			MOLLY
		(continuing)
	I want to marry you, Sam.

			SAM
		(taken aback)
	What?

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

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

There is a long pause.

			MOLLY
	Do you love me, Sam?

			SAM
	What do you think, Moll?

			MOLLY
	How come you never say it?

			SAM
	What are you talking about?

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

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

			MOLLY
	Sometimes you need to hear it.

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

AN INTENSE LOOKING MAN

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

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

			MOLLY
	What should we do?

			SAM
	Let me handle this.

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

			WILLIE
	Your wallet!

Sam waits a beat.

			MOLLY
	Give it to him!

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

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

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

			MOLLY
	Sam, No!

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

			MOLLY
	Sam!!!!!

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

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

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

			SAM
	Molly!

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

							CUT TO:

CLOSEUP - MOLLY

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

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

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

Suddenly he lets out a blood-curdling scream.

			SAM
	No!!!!!!

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

			SAM
		(continuing)
	This isn't happening. It's not 
	happening.

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

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

			SAM
		(continuing)
	Help me!

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

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

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

			SAM
	Do it! Do it!

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

										CUT ABRUPTLY TO:

INT. LOFT - NIGHT

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

			SAM
	Molly? Molly!

Tears stream down his face. Molly stirs.

			MOLLY
	Sam? What's the matter? Is something 
	wrong?

			SAM
	Molly!

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

			MOLLY
	What is it, honey?

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

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

			MOLLY
		(mocking him)
	What is it, honey?

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

								CUT UNEXPECTEDLY TO:

CLOSE-UP OF SAM

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

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

							CUT TO:

SAM'S P.O.V.

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

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

			SAM
	What's happening to me?!

ANGLE

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

Molly screams.

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

ANGLE

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

			SAM
	Molly!

She does not hear him. He calls again.

			SAM
		(continuing)
	Molly.

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

							CUT TO:

OMITTED

EXT. NEW YORK STREETS - NIGHT

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

INT. AMBULANCE - NIGHT

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

			SAM
	Don't stop! I'm not dead!

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

INT. HOSPITAL EMERGENCY ROOM - NIGHT

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

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

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

			MAN
	So, what happened to you?

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

			SAM
	What?

			MAN
	You're new, huh? I can tell.

			SAM
	Are you talking to me?

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

			SAM
	Who are you?

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

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

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

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

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

ANGLE

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

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

			DOCTOR
	Hurry, we're losing him.

			MAN
	What'd I tell you? Bingo!

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

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

			DOCTOR
	He's gone.

ANGLE

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

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

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

			SAM
		(continuing)
	No!

							CUT TO:

SAM'S P.O.V.

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

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

			SAM
	Oh God, help me.

							CUT TO:

SAM'S P.O.V.

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

EXT. CEMETERY - DAY

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

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

We see a MINISTER standing beside the grave.

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

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

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

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

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

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

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

			SAM
	Molly.

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

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

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

							DISSOLVE:

LONG SHOT - PEOPLE

leaving the cemetery. We hear them talking.

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

												CUT BACK TO:

CLOSEUP - SAM

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

							DISSOLVE:

INT. LOFT - DAY

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

											FADE TO BLACK:

ANGLE

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

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

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

			MOLLY
	Oh God, Sam...

Sam looks up.

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

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

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

He stares at her, hoping, wondering.

			SAM
	I am here, Moll. I am.

ANGLE

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

			MOLLY
	Frank, what's wrong? Frank?

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

			MOLLY
		(continuing; whispering)
	Sam?

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

INT. BEDROOM - DAY

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

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

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

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

			SAM
		(continuing)
	Molly, don't.

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

			SAM
		(continuing)
	Say something. Help her, Carl.

			CARL
	It's hard. It's very hard.

			SAM
		(sarcastic)
	Oh good. That's really good.

							CUT TO:

OMITTED

INT. KITCHEN - DAY

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

			MOLLY
	Sam's address book.

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

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

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

			MOLLY
	No!

			SAM
	Molly, we hated that concert.

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

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

			CARL
	Oh, you want to save those?

			SAM
	Rolaids? What are you doin' Moll?

Molly just stares for a moment.

			MOLLY
	I miss him, Carl.

Carl comes over and takes her hand.

			CARL
	We all do.

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

							CUT TO:

ANGLE

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

			MOLLY
	Wait. Wait. Not that one.

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

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

He turns to the door and then back to Molly.

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

			MOLLY
	No.

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

Molly shakes her head and turns away.

			MOLLY
	I can't do it Carl.

Carl, annoyed, walks over to her.

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

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

			MOLLY
	Okay. Just a short walk.

He gently squeezes her shoulders.

			CARL
	Thata girl.

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

			SAM
	Hey, Molly! Wait!

ANGLE

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

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

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

							CUT TO:

SAM'S P.O.V.

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

							CUT TO:

SAM

pulling back from the door. He is trembling.

INT. LOFT - AN HOUR LATER

THE CAMERA MOVES SLOWLY THROUGH THE LOFT AND GRADUALLY 
DISCOVERS SAM. He is sitting in a corner singing quietly to 
himself.

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

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

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

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

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

ANGLE

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

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

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

ANGLE

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

ANOTHER ANGLE

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

Sam goes crazy.

			SAM
	Molly, no! Get out!

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

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

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

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

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

ANGLE - THE CAT

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

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

			MOLLY
	Frank, what's wrong?

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

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

ANGLE - SAM

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

SAM'S P.O.V.

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

ANGLE - SAM

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

EXT. NEW YORK STREET - DAY

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

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

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

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

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

EXT. NEW YORK SUBWAY STATION - DAY

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

INT. SUBWAY TRAIN - DAY

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

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

ANGLE - THE OTHER GHOST

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

ANGLE

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

ANGLE

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

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

			GHOST
	Stay off! This is mine!

ANGLE FAVORING WINDOW

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

EXT. ELEVATED SUBWAY STATION - DAY

The train stops at an elevated subway platform in Brooklyn.

OMITTED

SAM'S P.O.V.

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

EXT. BROOKLYN STREETS - DAY

Sam follows the Mugger down a long covered staircase to the 
street.

EXT. 321 PROSPECT PLACE - DAY

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

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

EXT. 321 PROSPECT PLACE - DAY

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

INT. TENEMENT HALLWAY - DAY

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

INT. WILLIE'S APARTMENT - DAY

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

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

			SAM
	Damn!

Willie dials the phone. Someone comes on the line.

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

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

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

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

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

			SAM
		(continuing)
	Stay away from her!

EXT. BROOKLYN STREETS - DAY

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

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

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

			WOMAN'S VOICE
	Sorry 'bout that.

PANNING SHOT

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

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

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

INT. STOREFRONT - DAY

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

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

			WOMAN
	Rosa Santiago.

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

INT. SEANCE ROOM - DAY

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

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

			WOMAN
	Please be seated.

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

			CLARA
	My sister will be with us soon.

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

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

ANGLE FAVORING CLOSET

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

			ODA MAE
	Mrs. Santiago.

			MRS. SANTIAGO
	Buenos dias.

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

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

			MRS. SANTIAGO
	Si. Si.

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

			MRS. SANTIAGO
	Oh, tsank you, tsank you.

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

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

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

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

Mrs. Santiago, utterly fascinated, nods understandingly.

			SAM
	Sure lady!

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

			ODA MAE
	Okay, let's get ready then.

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

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

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

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

			SAM
		(sarcastic)
	Oh my God...

Oda Mae's eyes dart uncomfortably around the room.

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

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

			ODA MAE
	Twenty dollars.

			SAM
	Way to go. Milk her for every penny.

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

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

			CLARA/LOUISE
	Praise the Lord. Thank you, Jesus.

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

			CLARA/LOUISE
		(continuing)
	Have mercy! Have mercy!

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

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

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

			SAM
		(scanning the room)
	Yeah? Where?

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

			MRS. SANTIAGO
	My husband?

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

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

			ODA MAE
	Oh, he is a very handsome man.

			MRS. SANTIAGO
		(surprised)
	Handsome?

			ODA MAE
	In our Father's Kingdom we are all 
	handsome.

			MRS. SANTIAGO
		(understanding)
	Julio!

Sam looks on dismayed.

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

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

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

			SAM
	What a crock of shit!

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

			ODA MAE
	Who's there?

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

			ODA MAE
		(continuing)
	Where are you?

			SAM
		(looking around)
	Who?

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

			MRS. SANTIAGO
	Julio! Julio!

			SAM
	What's going on?

			ODA MAE
	Get out of here! Leave me alone!

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

			SAM
	Who are you talking to?

Clara runs up to Oda Mae.

			ODA MAE
	Keep him away!

Louise looks at the empty room.

			SAM
	Are you talking to me?

			ODA MAE
	Do something. Help me.

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

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

			ODA MAE
	Stop it!

			SAM
	Say my name! Sam Wheat! Say it!

			CLARA
	Talk to me, Oda Mae. Say something.

			ODA MAE
	Sam Wheat!

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

			SAM
	Jesus!

			CLARA
	Samweet?

Oda Mae runs into the closet.

It has a false panel 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.

			CLARA/LOUISE
	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.

			SAM
	Go away. Hell no. I'm stayin' right 
	here!

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.

OMITTED

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.

			SAM
	Someone else? Are you outta your 
	mind?

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

			SAM
	Not till you help me.

			ODA MAE
	Where are you?

			LOUISE
	Where? I'm right here.

			SAM
	I'm standing right beside you.

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

			SAM
	What?

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

Louise looks at her sister and shakes her head.

			SAM
	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 
	her.

			ODA MAE
	Why would she listen to me?

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

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

			SAM
	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 
it.

			MOLLY
	Hello.

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

			MOLLY
	Yes.

			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.

			MOLLY
	Who is this?

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

			MOLLY
		(stunned)
	What?

			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.

			SAM
	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.

			SAM
	"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.

EXT. NEW YORK CITY BUS - ESTABLISHING SHOT - DAY

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.

OMITTED

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.

			SAM
	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'.

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

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

			SAM
		(continuing)
	"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
		(nervous)
	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.)
		(continuing)
	He says remember the starfish at 
	Montego Bay? Remember the picture he 
	took a' you in Reno?
		(pause)
	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.

			SAM
	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?

			SAM
	Four sizes.

			ODA MAE
	Four sizes.

			SAM
	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.

			WORKMAN
	I hear you.

			ODA MAE
	I'm not talkin' to you.

			WORKMAN
	Haven't you ever heard of phones?

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

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

INT. SOHO LUNCHEONETTE - DAY

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

			MOLLY
	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?"

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

			ODA MAE
	And he cain't carry a tune.

			MOLLY
	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 
	death.

			SAM
	Tell her she's wrong.

			ODA MAE
	He says you're wrong.

			MOLLY
	You're talking to him right now?

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

			MOLLY
	Where is he?

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

			SAM
	I'm holding her hand.

			ODA MAE
	He says he's holding your hand.

			MOLLY
	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.

			SAM
	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.

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

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

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

			SAM
		(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.

			MOLLY
	Sam?

INT. LOFT - DAY

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

			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 
			Sam)
	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.

			MOLLY
	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.

			SAM
	Come on Oda Mae, stop rambling.

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

Molly stares at Oda Mae.

			SAM
	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.

			SAM
	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.

			SAM
	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, 
	understand?

			SAM
	Jesus Christ!

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

Oda Mae heads for the door. Molly is confused.

			MOLLY
	I don't believe I'm watching this.

			SAM
	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 
curiously.

			SAM
		(continuing)
	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.

			SAM
	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.

			SAM
	Say it!

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

			MOLLY
	Danger?... What do you mean?

			SAM
	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.

			SAM
	Write it down.

			ODA MAE
	Write it down.

			SAM
	You do it!

			ODA MAE
	Now I'm a secretary.

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

			SAM
	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.

			SAM
	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.

			MOLLY
	In here?

			SAM
		(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 
	police.

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

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

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

			SAM
	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 
shut.

OMITTED

INT. KITCHEN - THAT NIGHT

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

			CARL
	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.

			MOLLY
	It was real, Carl. She was real.

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

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

			MOLLY
	She was in touch with him.

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

			SAM
	Come on, Carl. Open your mind.

Carl sits down beside her.

			MOLLY
	Carl, she knew things.

			CARL
	What kind of things?

			MOLLY
	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.

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

			SAM
	Give him the address, Moll.

			MOLLY
	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.

			CARL
	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.

			MOLLY
	That's what I have to find out.

			CARL
	Find out? What are you talking about?

			MOLLY
	Sam wants me to go to the police.

			CARL
	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.

			CARL
		(continuing)
	I'm sorry. This stuff just really 
	gets to me.

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

			CARL
		(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 
second.

INT. CARL'S CAR - NIGHT

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

INT. WILLIE'S BUILDING - NIGHT

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.

			SAM
	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.

			WILLIE
	Carl, what're you doin' here?

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

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

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

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

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

Sam is staggered. His body is shaking.

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

			WILLIE
	A lot of women know where I live.

Carl is fuming.

			CARL
	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 
	dead.

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

			CARL
	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?

			WILLIE
		(casually)
	I did you a favor. Freebee.

			CARL
	Jesus!
		(sickened)
	These are drug dealers, man.
		(pause)
	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 
	myself.

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 
impact.

			SAM
	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.

			SAM
	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.

			MOLLY
	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.

EXT. BROOKLYN STREETS - ELEVATED TRAIN - DAY

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.

			WOMAN
	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, 
afraid.

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 
excitement.

INT. POLICE STATION - DETECTIVE'S OFFICE - DAY

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 
uncomfortable.

			MOLLY
	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.

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

There is dead silence.

			MOLLY
		(continuing)
	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 
	details.

			WALLACE
	How intimate?

			MOLLY
	Things Sam only said to me.

			WALLACE
		(smirking)
	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, 
	huh?...
		(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.

			MOLLY
	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.

			MOLLY
	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 
	pro.

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
		(continuing)
	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
		(continuing)
	This woman's a charlatan. You can't 
	believe anything she said.

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

			SGT. BEIDERMAN
	They have ways.

			MOLLY
	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 
	much.

Molly turns away.

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

			MOLLY
	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.

			MOLLY
	Oh God, I wanted it to be Sam.

Sgt. Beiderman nods his head compassionately and then turns 
away.

INT. BEDROOM - LATE AFTERNOON (THE SAME DAY)

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.

			CARL
		(excitedly)
	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.

			CARL
		(continuing)
	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.

			CARL
		(continuing)
	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.

			VOICE
	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-
	9580.

Carl writes it all down.

			VOICE
		(continuing)
	Call us when it's done.

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

			VOICE
	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.

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

Suddenly the BELL rings. Molly jumps.

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

			MOLLY
	Who's there?

			CARL
	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.

			SAM
	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.

			CARL
	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.

			MOLLY
	Don't worry. It's okay.

			CARL
	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.

			SAM
	You were never our friend.

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

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

			CARL
	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?

			SAM
	No, Moll. Don't do it. Don't let him 
	in!

			MOLLY
		(hesitating)
	Sure.

OMITTED

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.

			MOLLY
	Are you alright? You look nervous, 
	upset.

			CARL
		(glancing at her thighs)
	What can I tell you. It's been tough. 
	Hell, you know. It still hurts so 
	much.
		(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 
	reeling.

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

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

			MOLLY
	I didn't have time.
		(beat)
	I went to the police, Carl.

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

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

			MOLLY
	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.

			CARL
		(relieved)
	A ripoff artist, huh?

			SAM
		(shocked)
	Molly, no.

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

			CARL
		(relaxing)
	Sometimes we need to believe.

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

Sam is devastated.

			CARL
		(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.

			CARL
		(continuing)
	You were everything to him, Molly. 
	You were his life.

			MOLLY
		(finally crying)
	I feel so alone.

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

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

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

Carl glides his hand slowly, lovingly across her cheek.

			CARL
		(continuing)
	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 
freezes.

			CARL
		(continuing)
	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
	No!!!

OMITTED

ANGLE

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.

			MOLLY
	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.

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

She reaches out and takes his hand.

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

			SAM
	NO!!!

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

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:

OMITTED

ANGLE - SAM

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

ANGLE

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.

			GHOST
	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 
shocked.

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

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

			GHOST
	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.

			GHOST
		(continuing)
	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.

			SAM
	I don't get it.

			GHOST
	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?

			SAM
	How do you focus?

			GHOST
	I don't know how you focus! You just 
	focus!

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

			GHOST
		(continuing)
	It's all in the anger. You gotta 
	direct it. You gotta channel it.

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

			GHOST
	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 
			gesture)
	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.

			SAM
	I did it!

			GHOST
	Way to go.

							CUT TO:

SAM

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

			GHOST
	From your gut. What do I keep tellin' 
	you?

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

			GHOST
		(continuing)
	Give it time! What else have you 
	got?

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

			SAM
	How long have you been here?

			GHOST
	Since they pushed me.

			SAM
	Someone pushed you?

			GHOST
	Yeah, someone pushed me!

			SAM
	Who?

			GHOST
	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.

			GHOST
		(continuing)
	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.

			GHOST
		(continuing)
	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.

OMITTED

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 
station.

OMITTED

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.

ANGLE

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

			SAM
	What the hell?

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

			ODA MAE
	Sam?

			SAM
	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.

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

			ODA MAE
	I don't.

			SAM
	Come on. Look at this. You're doing 
	great.

One of the GHOSTS standing in the background butts in.

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

			SAM
	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.

			SAM
	Give it up? I'm already dead.

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

			SAM
	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.

			ORTISHA
	Are you speaking to me?

			ODA MAE
	Does it look like I'm speakin' to 
	you?
		(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
		(continuing)
	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.

ANGLE

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.

			ORLANDO
		(screaming)
	Ortisha?!

Ortisha and her relatives jump up in amazement.

			ORTISHA
		(excitedly)
	Orlando! Is that you?

			ORLANDO
		(disoriented)
	Ortisha, where are you? I can't see 
	too good.

			RELATIVES
	Here! She's here!

			ORTISHA
	In front of you! I'm right here!

Orlando suddenly zeros in on Ortisha. His eyes widen.

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

Ortisha smiles excitedly.

			ORTISHA
	Orlando, do you like it? It's Autumn 
	Sunrise.

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
		(continuing)
	Lord oh Lord, don't you ever do that 
	to me!

			ORTISHA
		(confused)
	Orlando!?

ANGLE ORLANDO

He is lying on the floor, exhausted.

			ORLANDO
	What happened to me? I can barely 
	move.

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

			SAM
	That was incredible, Oda Mae.

			ODA MAE
	Never again. Never.

			ORTISHA
	Where's Orlando?

			SAM
	He spoke through you. It was amazing.

			ODA MAE
	No more, uh uh, no more.

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

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

			ODA MAE
	I want everybody out.

			ORTISHA
	Orlando?

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

			ODA MAE
	Now!

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.

			SAM
	Oda Mae, what's wrong?

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

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

OMITTED

INT. SEANCE ROOM - NIGHT

Clara knocks on the seance room door and peeks in.

			CLARA
	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.

			WILLIE
	Are you the one that can talk to the 
	dead?

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

			WILLIE
	I said I need to know if you're the 
	one.

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

			WILLIE
	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.

			WILLIE
		(continuing)
	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 
	later.

			WILLIE
	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?

			WILLIE
	Good question. Why don't you tell 
	me?

Oda Mae glares at him.

			WILLIE
		(continuing)
	You're the psychic, right?

			ODA MAE
	This ain't no guessin' game.

			WILLIE
	Then what is it, lady?

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

			WILLIE
	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.

			SAM
	Willie!

			ODA MAE
	Willie!?

Willie sits straight up in his chair, amazed.

			WILLIE
	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.

OMITTED

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.

OMITTED

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
		(continuing)
	Talk to me!

Her sisters start talking but she shoos them away.

			SAM
	Oda Mae, we're in trouble...

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

			SAM
	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 
	kill.

			SAM
	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.

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

			ODA MAE
	Fake ID's? What for?

			SAM
	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'.

			SAM
	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.

INT. MARKET SECURITY BANK & TRUST - DAY

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

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

			ODA MAE
		(paranoid)
	I'm not givin' 'em any money.

			SAM
	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.

			OFFICER
	Can I help you?

			SAM
	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.

			OFFICER
	And do you know your account number?

			SAM
	Yes. 926-31043.

			ODA MAE
	Yes. 926-31043.

			SAM
	Rita Miller.

			ODA MAE
	Who?

			OFFICER
	What?

			SAM
	Tell her Rita Miller.

			ODA MAE
	Rita Miller.

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

			SAM
	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.

			OFFICER
	Ah.

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.

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

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

			SAM
		(continuing)
	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.

			SAM
	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.

			OFFICER
	A what?

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

			OFFICER
		(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
	Thanks.

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.

			CARL
	Hello. Carl Bruner speaking.

			VOICE
	Carl?

			CARL
	Mr. Balsitrari

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

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

He hangs up. His hand is shaking.

INT. MARKET SECURITY BANK & TRUST - DAY

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

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

			ODA MAE
	Lyle Furgeson, please.

			GUARD
	Do you have an appointment?

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

			SAM
	Don't say that! Tell him Rita Miller's 
	here.

			ODA MAE
	Tell him Rita Miller's here.

			GUARD
	Just one moment, please.

			SAM
	Don't embellish.

			ODA MAE
	Yes, Sir.

			GUARD
		(turning around)
	Excuse me?

She waves him on.

			SAM
		(whispering)
	Now listen, this guy Furgeson's a 
	real jerk.

			ODA MAE
	Why are you whispering?

			SAM
		(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.

			SAM
		(continuing)
	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.

			GUARD
	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
		(continuing)
	Oops. Gas.

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

			SAM
	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.

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

			ODA MAE
	A long time.

			SAM
	Ask how Bobby and Snooky are.

			ODA MAE
	How are Bobby and Snooky doin'?

			FURGESON
		(perplexed)
	Why, they're just fine, thank you. 
	Nice of you to ask. And how is your... 
	family?

			ODA MAE
	Couldn't be better.

			FURGESON
	Well, isn't that wonderful.

			SAM
	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?

			FURGESON
		(surprised)
	The Gibraltar securities! Well, it 
	looks like we topped out, huh?

			SAM
	"We sure did!"

			ODA MAE
	We sure did.

			FURGESON
		(impressed)
	That was a wonderful tip.

			SAM
	"Good old Randy".

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

			SAM
	"Her" shoulders.

			ODA MAE
	"Her" shoulders.

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

			SAM
	You're closing an account.

			ODA MAE
	I'm closing an account.

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

			SAM
	926-31043.

			ODA MAE
	926-3143.

			SAM
	31-0-43.

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

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

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.

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

			ODA MAE
	Four million dollars?!

			SAM
	Say "yes"!

			ODA MAE
		(gasping)
	Yes! Four million. That's right. 
	That's right.

			FURGESON
	And how will you want that?

			ODA MAE
	Tens and twenties?

			FURGESON
	Pardon?

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

			ODA MAE
	A cashier's check.

			FURGESON
	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 
	long.

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.

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

INT. MARKET SECURITY BANK & TRUST - DAY

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.

			FURGESON
	I'll just need your signature right 
	here.

			ODA MAE
	Sure.

			SAM
	Sign Rita Miller.

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

			SAM
		(continuing)
	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.

			FURGESON
	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
		(continuing)
	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.

			SAM
	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 
	me.

			FURGESON
	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.

			SAM
	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
		(excitedly)
	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.

			MOLLY
	Lionel?

He is surprised to see her and grows instantly solicitous.

			FURGESON
	Molly. How are you?

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

			FURGESON
	Well, yes. I just took care of her.

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

			FURGESON
		(not understanding)
	Sam? No. Why?

			MOLLY
	Was her name Oda Mae Brown?

			FURGESON
	No, Rita Miller. She just closed an 
	account.

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

			FURGESON
		(continuing)
	Is there a problem?

			MOLLY
		(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.

HALL OUTSIDE CARL'S OFFICE

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

			LEEDEN
	Carl, is something wrong?

			CARL
	Is someone playing with the computers?

			LEEDEN
	What?

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

			LEEDEN
	Which account? What's wrong?

Carl freezes. He doesn't answer.

			LEEDEN
		(continuing)
	You want me to call someone?

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

EXT. MARKET SECURITY BANK & TRUST - DAY

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.

			SAM
	Oda Mae. Take the check out of your 
	purse.

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

			ODA MAE
	Take it out? Why?

			SAM
	Just do it.

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

			SAM
		(continuing)
	Now endorse it. Sign Rita Miller.

			ODA MAE
		(in shock)
	Endorse it? Why?

			SAM
	Do what I say.

			ODA MAE
	No!

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

			ODA MAE
	What are you going to do with it?

			SAM
	We're giving it away.

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

			SAM
	Look to your left.

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

			ODA MAE
	Are you outta your mind?

			SAM
	Do what I tell you.

			ODA MAE
	No!
		(clutching the check)
	I can't.

			SAM
	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.

			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.

			SAM
	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.

			NUN
	Bless you, child.

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

			SAM
	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. 
	Understand?

			SAM
	Come on, we're friends.

			ODA MAE
	Friends? Friends?

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

			SAM
	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, 
smiling.

			SAM
	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.

			CARL
	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.

			CARL
		(continuing)
	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 
breath.

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

			SAM
	You bastard! You goddamn bastard!

Carl grabs his side.

			CARL
	Ah!

He hits Carl again. Carl gasps in inexplicable pain.

			SAM
	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.

			CARL
	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.

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

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

			SAM
	Old Carl had a little trouble at the 
	office.

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

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

Molly eyes Carl with concern as he enters the loft.

			CARL
		(continuing)
	I need to ask you a question.

			SAM
	He needs to borrow four million 
	dollars.

			CARL
	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?

			MOLLY
	Why? What happened?

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

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

			SAM
	Oh shit!

			CARL
		(gulping)
	At the bank?

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

			MOLLY
	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.

			MOLLY
		(continuing)
	What's wrong?

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

			MOLLY
		(worried)
	Sure. Just a second. What's going 
	on?

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.

			CARL
	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.

			CARL
	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.

			CARL
		(continuing)
	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.

			CARL
		(continuing)
	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 
gloat.

			CARL
	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.

			MOLLY
	Oh my God. Is that the gas?

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

			CARL
	You must have left the stove on.

He fiddles with the dials and turns it off.

			CARL
		(continuing)
	Just glad I smelled it.

			MOLLY
		(confused)
	Me, too.

She opens a window.

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

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

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

			MOLLY
	Carl, what's going on? Let me help 
	you.

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

Molly is speechless.

			CARL
		(continuing)
	Eleven!

OMITTED

INT. ODA MAE'S LIVINGROOM - NIGHT

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

			ODA MAE
	Sam!

Clara and Louise jump, too.

			CLARA
	Not again!

			ODA MAE
	What're you doin' here?

			SAM
	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 
	out.

			CLARA
		(afraid)
	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 
up.

INT. LIVINGROOM

			SAM
	It's them.

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

EXT. ODA MAE'S APARTMENT BUILDING - NIGHT

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

INT. ODA MAE'S LIVINGROOM - NIGHT

Sam steps back from the window.

			SAM
	They're heading for the door.

			ODA MAE
		(terrified)
	Jesus have mercy.

EXT. APARTMENT BUILDING - NIGHT

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

INT. APARTMENT HALLWAY - NIGHT

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!

			WOMAN
	Who you kiddin'?

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

INT. APARTMENT STAIRWAY - NIGHT

Carl and Willie climb the stairs two at a time.

INT. APARTMENT HALLWAY - NIGHT

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:

INT. HALLWAY - FISHEYE LENS VIEW

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.

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

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

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

INT. ODA MAE'S LIVINGROOM - NIGHT

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

			WILLIE
	Looks like someone just left.

			CARL
	I'll check the building.

ANGLE

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.

			WILLIE
	Damn!

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.

			WILLIE
		(continuing)
	Who's there? Who's doing that?

ANGLE

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.

			WILLIE
	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.

			WILLIE
		(continuing)
	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.

			WILLIE
	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.

			CARL
	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.

ANGLE

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

INT. OLD LADY'S APARTMENT - NIGHT

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?

			SAM
	He's dead, Oda Mae.

			ODA MAE
	Dead!
		(she utters a sigh of 
			relief)
	Oh, thank God. It's over.

			SAM
	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.

			SAM
	Tell him to hurry!

			ODA MAE
	Can't you hurry up?

			DRIVER
	Listen, lady, I'm going as fast as I 
	can.

Sam leans forward and pushes at the gas pedal. The cab shoots 
forward. The driver seems shocked.

			ODA MAE
	Problems?

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.

			MOLLY
	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 
	in.

Molly tries to slam the door but hits Oda Mae's foot.

			MOLLY
	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.

			MOLLY
	No!

			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.

			MOLLY
		(screaming)
	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.

			SAM
	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:

MOLLY

grabbing hold of her beads. Her hand is shaking.

			ODA MAE (O.S.)
		(continuing)
	See, I'm no fake.

			MOLLY
	Go away!

			SAM
	Gimme a penny quick.

			ODA MAE
	What?

			SAM
	Empty your purse. On the floor. Now.

Oda Mae obeys. A pile of coins falls on the floor.

			SAM
		(continuing)
	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, 
amazed.

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.

			SAM
		(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:

HALLWAY

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.

			MOLLY
	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.

			MOLLY
	What do we do now?

			ODA MAE
	Just wait.

There is a period of awkward silence.

			MOLLY
	Is Sam here?

			SAM
	I'm sitting beside you.

			ODA MAE
		(pointing)
	Right here.

Molly reaches out tentatively. Sam meets her hand. She 
flinches for a second but does not pull back.

			MOLLY
		(fingering the air)
	Can you feel me, Sam?

			SAM
	With all my heart.

			ODA MAE
	With all his heart, he says.

			SAM
	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.

			MOLLY
	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 
	want.

Sam looks oddly at Oda Mae.

			ODA MAE
		(continuing)
	Come on. Before I change my mind.

Suddenly he understands what she means.

							CUT TO:

JUKEBOX

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.

ANGLE

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 
eyes.

							CUT TO:

ANGLE

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 
pain.

The experience is more than he can bear. He pulls back.

			MOLLY
	Sam!

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.

			MOLLY
	I love you so much.

							CUT TO:

ANGLE

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.

			MOLLY
	The police!

Molly heads for the door. Sam calls out. He can barely speak.

			SAM
	No!

			ODA MAE
		(to Molly)
	Wait!

Sam tries to go instead. To his amazement and ours he is 
extremely weak, barely able to move.

			SAM
	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.

			MOLLY
	It's Carl!

			SAM
	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 
open.

INT. LOFT - NIGHT

Carl moves rapidly through the huge space.

			CARL
	Molly!

It is obvious that no one's home.

ANGLE

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.

			MOLLY
	This way!

Molly quickly climbs the scaffolding and makes it to the 
roof.

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!

OMITTED

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 
floor.

			CARL
	I want the check. Just give me the 
	check.

Molly looks down from the scaffolding and begins to scream.

			MOLLY
		(screaming)
	God almighty, Carl! What are you 
	doing? What have you done!?

She descends quickly and runs toward Carl.

			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.

			CARL
		(continuing)
	Keep out of this, Molly!

He grabs Oda Mae by the hair.

			CARL
		(continuing)
	Where is it?

Oda Mae cries out.

			ODA MAE
	In my purse.

			CARL
	Where?

			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.

			CARL
	Where is it, goddamn it? Where is 
	it?

			ODA MAE
	I gave it away.

			CARL
	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.

			CARL
		(continuing)
	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.

			CARL
		(continuing)
	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.

ANGLE

			CARL
	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.

ANGLE

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 
happening.

			CARL
	Sam?

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.

ANGLE

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 
longing.

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.

			SAM
	Goodbye, Moll.

Molly's head lifts up. She looks around.

			MOLLY
	Sam? Is that you?

			SAM
		(stunned)
	Molly?!

			MOLLY
	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.

			MOLLY
		(continuing)
	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.

			SAM
	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.

			SAM
		(smiling)
	I know. Goodbye, Oda Mae.
		(with deep felt 
			gratitude)
	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.

			SAM
	I love you, Molly. I've always loved 
	you.

Molly swallows hard and wipes her eyes.

			MOLLY
	Ditto.

The light inside Sam intensifies. A sweet smile emerges on 
his lips.

			SAM
	It's so amazing, Moll...

His face fills with joy.

			SAM
		(continuing)
	The love inside.

He whispers, almost crying.

			SAM
		(continuing)
	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.

			MOLLY
	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

 
A B C D E F
 
G H I. J K L
 
M N O P R S
 
T U V W Y Z