Creative Spirit with Screenplay Page 31
LILITH
Don't worry. He'll be with you in spirit. Will that be all?
Mason nods, already concentrating on the work ahead. He takes his tools from the satchel and spreads them across the table.
He rubs his chin, steps back from the wood, sizing it up. He trips over some junk piled near an old set of shelves.
He finds a painting and holds it to the light. It's a vivid reproduction of the manor. At the top of the canvas, along the widow's walk, is a GRAY SMUDGE.
LILITH
This was one of my favorites.
MASON
It's good. How come it's stuck down here in the dark?
LILITH
Maybe so no one can see it.
Lilith leaves with the lamp. Mason props the painting so he can see it. Then he takes up his hatchet, psyching himself up for his work.
MASON
Come on, you bastard. This is it. Time to make Momma proud.
A soft SHUFFLING in the shadows. Mason pauses and looks around. He shakes his head and stares at the wood. The hatchet's blade catches the lamp light.
MASON
All right, what kind of secrets are you hiding inside you?
(voice rises)
What do you want to become?
(higher, maniacal)
What do you want from me?
Mason angrily sinks the blade into the wood.
CUT TO:
EXT. GRAVEYARD ON THE HILL—AFTERNOON
Anna, on a walk, climbs over the metal fence surrounding the graveyard. Two HEADSTONES dominate, but behind those are some older worn markers.
Anna stands before the largest monument, which reads "Here Lies Ephram Elijah Korban, 1859-1918, In God's Hands." Off to the side is a smaller marker that says only "Margaret. Waiting."
Anna kneels over Korban's grave, closes her eyes, and presses her palms on the grass.
Miss Mamie has been watching from the woods, now comes down and stands beside the fence.
MISS MAMIE
Anybody home, Anna Galloway?
Anna jumps in surprise.
ANNA
I'm just taking a walk.
MISS MAMIE
Most of our guests respect fences.
ANNA
Only the guests that walk instead of float, maybe.
MISS MAMIE
(giggles)
Oh, those silly ghosts stories?
(beat)
"Paranormal researcher." Cute. Is that what you put on all your retreat applications?
ANNA
It's as much of an art form as painting or playing music.
MISS MAMIE
Everything's an art. Living, dying, even being dead. But I suppose you know more about that than I do.
ANNA
All I know is what I see.
MISS MAMIE
And you see more than most. That's why we accepted you. What do they call it? Second Sight?
ANNA
You don't believe in ghosts?
MISS MAMIE
I believe in love eternal. Nothing is scarier than that.
ANNA
Love is one subject I don't know anything about.
MISS MAMIE
You will, if you live long enough. Enjoy your walk.
Miss Mamie heads back toward the Manor. Anna looks at the other headstones. She is drawn to one that reads "Rachel Faye Hartley." Carved on the worn tombstone is a bouquet like the one carried by RACHEL'S GHOST.
CUT TO:
INT. SYLVA'S ONE-ROOM CABIN—DAY
Sylva sits by her hearth, staring into the fire. She wears a ragged dress and a shawl is draped over her shoulders. Ransom stands to one side of the cluttered room.
RANSOM
I need something stronger.
SYLVA
Anybody follow you here?
RANSOM
Not that I could see.
SYLVA
What about them you can't?
RANSOM
They don't stay invisible no more. It used to just be Korban, and you only seen him in the big house once in a while. But the others, they been restless.
SYLVA
Lord knows, it's getting worse.
Sylva looks at her wrinkled hands.
Ransom fumbles in his pocket for the ragball charm.
RANSOM
This ain't working no more.
SYLVA
Charms are about more than just stoneroot and bear teeth and hawk feathers, Ransom. You got to have a little faith.
RANSOM
George Lawson had faith. And you see where it got him. Fetched over. He's one of Korban's now.
(moves from the fire)
What's got Korban so stirred up?
SYLVA
The girl. She come up Beechy Gap last night. She saw them.
RANSOM
Korban's already got her, then.
SYLVA
(nods slowly)
She's gone and just don't know it.
RANSOM
Like we're all going to be, sooner or later.
Sylva looks toward the door as if she hears something outside.
SYLVA
Just pray that it's later.
They are silent, the only sound the crackling of the fire.
Ransom moves toward the door, putting on his hat.
RANSOM
I'd best be getting back. Miss Mamie wants me to fetch some more wood for that sculptor fellow.
He pauses at the door, fingering the charm.
RANSOM (CONT'D)
You sure you'll be okay out here alone?
SYLVA
You ain't never alone in Beechy Gap.
The door closes. In the fireplace, an image of Korban's face forms.
The fire reflects off Sylva's eyes. She touches her lips. After a moment, she spits into the embers.
CUT TO:
INT. MANOR BASEMENT—NIGHT
Mason is sweating, shirt off. Fire roars up a nearby chimney. On the table, surrounded by wood chips, is a crude bust of Korban.
MASON
I don't know how you got here, you bastard, but you're damned good. Maybe the best thing I've ever done.
He wipes his face with his shirt, puts his tools back in his satchel. He finds an old piece of canvas in the corner of the room and starts to cover the bust.
Just before he does, Korban's wooden eyes twitch slightly.
MASON
(shaking his head)
Four fucking a.m.
(drops canvas over the bust)
Sleep tight, Ephram.
CUT TO:
EXT. FOREST. MORNING.
PAUL carries his video camera down a path. GEORGE’S GHOST steps out from the trees, surprising him. George has his left hand in his pocket and a shovel in the other.
GEORGE’S GHOST
Say, fella, can you give me a hand?
PAUL
Sure, I guess so.
GEORGE’S GHOST
Got something to bury but I threw my back out.
(chuckles)
Reckon I’m not much of a handyman, am I?
George’s Ghost points the shovel handle into the woods.
PAUL
Dead animal?
GEORGE’S GHOST
Will be.
PAUL
(entering trees)
As long as I don’t have to say any prayers or anything.
GEORGE’S GHOST
That’s all taken care of.
As Paul turns his back, George’s Ghost raises the shovel and grins.
CUT TO:
EXT. ROAD BEYOND THE MANOR—DAY
Roth is taking photographs of the wooden bridge leading to the manor. He works his way down the road until he is in view of the manor.
Through his lens, the manor is distorted. Roth moves his eye away from the viewer and rubs his face.
ROTH
(under his breath, forgetting British accent)
Christ, I should have slept a little late
r.
Roth hasn't noticed Cris, who is sitting on a nearby stump, busily sketching the house. She stops working when she hears Roth.
CRIS
What did you say?
Roth recovers his poise as well as his accent.
ROTH
Said I'm going a bit daft.
CRIS
Taking pictures?
ROTH
Pictures? Gawps and ninnies take pictures. Roth, me love, immortalizes the beautiful.
(points camera at her)
Let me make you live forever.
Cris looks coyly away, but doesn't protest as he snaps a couple of shots.
ROTH
What are you sketching?
Roth moves closer. Cris pulls her sketch pad to her chest. Roth takes the opportunity to peer down the front of her blouse.
CRIS
The house.
ROTH
Mind if I've a look?
CRIS
I'm not very good.
ROTH
The house is a bit stubborn. I've wasted two rolls on it already. You'd think—
Roth stops talking as he sees Cris's charcoal DRAWING. It's of the manor, all right, but surrealistic, a morbid cross between Goya and Dali.
ROTH
Bloody hell, girl. Where did that come from?
CRIS
I don't know. When I was drawing, it's like the charcoal seemed to move by itself. Like the drawing wanted to be this way.
ROTH
Like hypnotic suggestion, automatic writing, and that rot?
CRIS
(slapping her pad closed)
Everybody's a damned critic. Why don't you just go back to clicking your little buttons?
Cris storms off toward the manor, kicking up leaves. Roth leans against a tree, watching her. A spider lands on his shoulder, and he brushes it away frantically.
ROTH
Blood-sucking bugger.
Cris enters the house. The door is like a mouth that swallows her. Roth blinks and screws the lens cap onto his camera.
CUT TO:
INT. SPENCE'S ROOM-DAY
Spence's face clenched in concentration as he types. Bridget comes up behind him and puts a hand on his shoulder. He flinches in anger.
BRIDGET
Honey?
Spence ignores her, continues typing frantically.
BRIDGET
Jeff?
He pauses, glances at Korban's portrait, then at Bridget.
SPENCE
You know not to bother me when I'm working.
BRIDGET
You didn't come to bed last night.
SPENCE
Did the typewriter keep you awake?
BRIDGET
It's not that. You need your rest.
SPENCE
There's plenty of time for rest when one is deceased. At the moment, I'm feeling singularly alive. So be a dear and let me continue.
BRIDGET
What about lunch?
SPENCE
I have plenty enough fat to burn.
(mock Southern)
Now why don't ya'll make like Scarlett and get yosef gone with the wind?
BRIDGET
Please don't be mean, honey. I want you to be happy.
SPENCE
Then make me ecstatic. Leave.
Bridget closes the door quietly. Spence looks at the painting of Korban. He resumes typing.
His sentence: "Go out frost, come in fire." Spence is very pleased with himself.
CUT TO:
INT. MANOR BASEMENT
Mason and Anna stand in the work area. The log is propped up with lumber and wire so that Mason can sculpt it, like a dead crucified tree.
The lantern and tool satchel sit on the table. A piece of canvas still covers the BUST. Wood chips are scattered on the floor. The roar of the fire is audible through the ducts overhead.
MASON
Thanks for staying. I wanted to show you something.
ANNA
I'll bet that line works on all the girls in art school.
MASON
I just want to be sure I'm not imagining—
(lifts the canvas)
—this.
The BUST is finished, a flawless reproduction of Korban's head.
ANNA
Damn. That's good. Real good.
MASON
Too good. I did it last night. Something like this ought to take three solid weeks of work.
ANNA
You sure you didn't smuggle it down here to impress your critics?
MASON
Do I look like I care about what other people think?
ANNA
Desperately. And your subject matter was definitely designed to please the home crowd.
MASON
That's the thing that makes me wonder if I'm going crazy. I didn't choose Korban. Korban chose me.
ANNA
I think you need more sleep.
Mason picks up his chisel, his knuckles white from squeezing it.
MASON
At least I'm not running around chasing things you can’t see.
ANNA
You poor little suffering artist. At least I know how to end my suffering. Exit, stage left even.
Anna heads for the stairs. Mason goes after her, the chisel in his fist.
MASON
Wait. I'm just a little out of sorts. This place . . .
(indicates the manor above)
—and I haven't shown you the haunted painting yet.
Anna reaches the bottom stair and turns.
ANNA
Great. Don't tell me you're a painter, too? I can scarcely bear the additional suffering.
MASON
Look, I'm sorry. There's just been so much weirdness going on here.
ANNA
Yeah. I thought I was screwed up, until I got here and started feeling perfectly normal.
MASON
This place gives me the creeps. Pictures of Korban in every room, the nonstop fires, all the talk about ghosts.
(waves hand toward the bust)
I hardly even remember doing this.
Anna sees the painting of the manor and lifts it into the lamp light.
ANNA
Not bad.
MASON
(points)
This smudge gets larger and smaller.
ANNA
I've seen this before. The mist, I mean.
MASON
Look. It's moving.
The SMUDGE clarifies and breaks into ghost figures. The GHOST FIGURES begin to move. Rachel's Ghost is being chased by the others. The ghost goes over the edge of the railing and falls.
The ghost figures dissolve and the smudge fades a little.
MASON
I didn't see that. Please tell me I didn't see that.
ANNA
At least she didn't whisper your name. Can I trust you?
MASON
Trust? No. But if we're both crazy, at least we have something in common.
ANNA
That was the woman I saw last night. She led me through the woods.
The smudge returns to its original state.
MASON
No way is this happening.
ANNA
You still don't believe in ghosts?
MASON
I don't know what I believe anymore.
ANNA
They're being haunted.
MASON
They?
ANNA
The ghosts. Haunted by the living.
CUT TO:
INT. MISS MAMIE'S BEDROOM—NIGHT
Lilith puts wood in the fireplace. Miss Mamie sits before the dresser mirror.
MISS MAMIE
Ephram always loved me the best.
LILITH
He loved me, too, until he drowned me in the bathtub.
MISS MAMIE
No. He only loved your paintings. I'm the only one in his heart.
(to the mir
ror)
Isn't that right, Ephram?
The mirror does nothing, but the fire blazes slightly.
LILITH
When will he let us be dead for good?
MISS MAMIE
When he's used you up. You're here to serve, like all the others Ephram has killed.
(to the mirror)
Just like all the artists he summons here. Dreams burn just as brightly as nightmares, in the tunnels of the soul.
Miss Mamie checks her skin in the mirror.
CUT TO:
EXT. BARN BESIDE THE PASTURE—MORNING
Anna by the fence. A HORSE crosses the pasture to her. Anna rubs its nose and ears, whispering to him. Behind her, the jingle and creak of a wagon.
Ransom and Mason come up the road in the horse-drawn wagon, which is full of hay. Ransom nods, Mason smiles at Anna.