Creative Spirit with Screenplay Read online

  SYLVA (V.O.)

  That's why I killed him. I pushed him over the railing. For all the things he did. For making me love him. For killing my dreams.

  (beat)

  For killing you.

  End with a P.O.V. from the forest, watching Sylva's cabin.

  CUT TO:

  INT. SYLVA’S CABIN

  Anna. Her eyes are wet. Sylva pokes the fire.

  ANNA

  I'm not dead yet.

  SYLVA

  Close enough. He wants you again, before the cancer gets you. That's why he brung you back.

  ANNA

  I don't belong here.

  CUT TO:

  EXT. SYLVA’S CABIN-NIGHT

  George's Ghost creeps up to the window, holding the amputated hand. The hand wiggles as if anxious to get loose.

  SYLVA (V.O.)

  You gotta belong somewhere, I reckon, even if you're dead. Maybe especially then.

  CUT TO:

  INT. SYLVA’S CABIN

  The hand of George's Ghost crawls across the windowsill.

  SYLVA (CONT'D)

  Korban didn't even fight me when I pushed him. Just grinned like a scarecrow as he went over. Like he knew he needed killing and could hardly wait to cross over.

  ANNA

  What does Korban want with me?

  SYLVA

  He's calling in the fire, honey. And you're the fuel.

  George's Ghost materializes in the corner of the room.

  GEORGE'S GHOST

  Now, don't go getting her all riled up, Sylva. You don't want to make Ephram mad, do you?

  Sylva reaches for a box of salt from the table beside her chair. She tosses a pinch into the fire. George's Ghost sneers.

  SYLVA

  Burnt salt works better than the left hind foot of a graveyard rabbit.

  GEORGE'S GHOST

  Your spells ain't going to keep us away forever.

  George's Ghost voice distorts as he starts to fade.

  SYLVA

  I ain't worried about forever, George. I'm worried about right now.

  (chants)

  Go out frost, go out frost, go out frost.

  George's Ghost disappears. The fire crackles.

  CUT TO:

  INT. MANOR BASEMENT-NIGHT

  Mason hacks madly at the log, chips sticking to his sweaty bare torso. The log is the STATUE of a human figure.

  MASON

  Come on. I know you're in there somewhere. Sing to me, you old bastard.

  Mason strikes a monstrous blow, the statue quivers. On the table, the bust of Korban watches with great interest.

  Roth comes up behind him, photographic equipment and jars of chemicals in his hands.

  ROTH

  What in bloody hell?

  Mason stops, spins, holds the hatchet up as if defending himself, almost swings before he realizes it is Roth.

  ROTH (CONT'D)

  Good lord, man. How did you get so much done already? You're gnawing at it like a pack of beavers.

  MASON

  I promised Miss Mamie it would be lovely.

  ROTH

  (nodding toward the bust)

  You look to be getting into the spirit of the thing.

  MASON

  I just do what he says.

  Roth warily leaves the studio, goes toward a darkened corner.

  Mason turns his attention back to his work. Mason's rhythmic CHOPPING as Roth fades into the dark...

  FADE TO:

  EXT. PORCH OF SYLVA'S CABIN—EARLY MORNING

  Night sky. Sylva and Anna stand on the porch. The first blush of morning is in the east.

  SYLVA

  My Momma once told me that people went up there when they died. I used to believe it, back before I met Ephram Korban.

  ANNA

  The people who die here never get to leave.

  SYLVA

  They ain't even able to die proper. Not until Korban's done with 'em.

  ANNA

  But I got away.

  Sylva puts her arm around Anna.

  SYLVA

  Not for long, honey.

  (beat)

  Now, you'd best get back to the big house before Korban sends something else after you.

  CUT TO:

  INT. MANOR BASEMENT—EARLY MORNING

  Miss Mamie lifts the canvas, uncovering the bust of Korban. She lovingly brushes the back of her hand against Korban's face. In the background is the statue, in rough form.

  MISS MAMIE

  It's going to be beautiful. Better than I dared dream.

  The bust's lips and eyes move, stiffly. It is trying to talk.

  The bust grimaces, concentrates. The statue moves slightly, the arms tremble, the block of head shakes atop the rough shoulders.

  Finally the bust's lips part and it speaks with effort.

  KORBAN

  He's...not...finished.

  MISS MAMIE

  Please, love, come back to me.

  Miss Mamie leans over the table, presses her lips to the lips of the bust. The contact makes a searing, burning sound.

  CUT TO:

  EXT. KORBAN MANOR PORCH—MORNING

  Mason sits on the porch, drinking coffee. Anna comes from the woods, pausing to study the house. They both are tired. Anna drags up the steps.

  MASON

  You look like death warmed over.

  ANNA

  I am.

  MASON

  Joking? I can never tell with you.

  ANNA

  The woman we saw in the painting. She's trying to tell me something.

  MASON

  Like "You're out of your mind"?

  ANNA

  Have you ever heard the phrase "Go out frost"?

  Miss Mamie has been listening from just inside the door. She steps outside.

  MISS MAMIE

  "Go out frost" means the dead stay dead. Didn't your mother ever teach you that?

  ANNA

  I don't have a mother.

  MISS MAMIE

  Then I guess she didn't tell you the other part.

  MASON

  What other part?

  MISS MAMIE

  "Come in fire." The dead come back.

  CUT TO:

  INT. SPENCE'S ROOM—MORNING

  Tears run down Spence's cheeks, though he is smiling.

  Korban's face in the portrait is also crying joyfully. Bridget is asleep in the bed.

  SPENCE

  (to the portrait)

  Words get to the heart of the truth. Just like you told me twenty years ago.

  BRIDGET

  What's that, honey?

  Spence pulls a sheet of paper from the typewriter and reads it aloud, with a flourish.

  SPENCE

  "This is the deeper language, the cracks between sound and thought. This is the gift of the great God Word."

  BRIDGET

  Aren't you done yet?

  SPENCE

  Not until we reach the final page. My favorite words. The end.

  CUT TO:

  INT. MASON'S ROOM—DAY

  Mason lies on the bed with his sculpting tools spread around him like holy relics. He picks up a sharp blade and touches it lightly to his cheek. He looks at the photo of his mother on the bedside table.

  MASON

  (to the photo)

  This is going to be the one, Momma. Dreams are all we got in this world, and this statue is the biggest goddamned dream of them all.

  He walks to the Korban portrait and holds the tool up as if to slash it.

  MASON (CONT'D)

  You'll have your damned statue. Now quit watching me all the time.

  He drops the tool, takes the portrait down, and turns it to face the wall.

  CUT TO:

  EXT. GRAVEYARD ON THE HILL—EVENING

  Anna and Sylva stand beside a worn headstone. The sun is setting, the shadows long across the graveyard. Sylva presses something into Anna's hand. Anna opens her palm. It is a four-leaf
clover.

  SYLVA

  Used to give people the power to see ghosts, way back before it turned into a good-luck charm.

  ANNA

  I don't believe in luck.

  SYLVA

  But you believe in the dead.

  ANNA

  Because they believe in me.

  SYLVA

  (closing her eyes and chanting)

  Go out frost, come in fire, go out frost, come in fire, go out frost, come in fire...

  A SHAPE appears like mist in front of the headstone. The mist becomes Rachel's Ghost. She is dressed in a fine lace gown, holding the bouquet.

  ANNA

  Are you really me?

  Rachel's Ghost's mouth moves slowly, as if it's forgotten how to form words. Finally she speaks.

  RACHEL'S GHOST

  Anna.

  Anna steps backward. Sylva watches.

  RACHEL'S GHOST

  Don't be afraid.

  ANNA

  It's not because you're dead. It's just—

  Anna reaches out, touches the lace of Rachel's gown. Her fingers pass through Rachel. Anna clenches her fist, crushing the clover, angry.

  ANNA (CONT'D)

  —it's just that I've always hated you and didn't know it.

  RACHEL'S GHOST

  I wanted to see you, Anna. I wanted to know that I lived on, in you.

  ANNA

  You're the one that called me back here, not Korban.

  SYLVA

  (to Anna)

  You don't know the pain of being dead.

  ANNA

  I know all about pain.

  RACHEL'S GHOST

  You've got the gift, Anna. But you need to see what it's like from this side. We need you. All of us.

  ANNA

  I can't help you. I'm dying.

  RACHEL

  He's haunting us, Anna. We're dead and he's still haunting us.

  SYLVA

  Rachel must need you mighty bad to sneak out on Korban. And if he catches her—

  ANNA

  (to Sylva)

  Well, Korban can have her. At least she belongs to somebody. I never had the chance.

  Anna tosses the clover at Rachel's grave. She turns and heads for the manor. Sylva shakes her head. Rachel is crying, though her tears evaporate in mist.

  CUT TO:

  EXT. THE ROAD TO THE BARN—NIGHT

  Mason walks along the fence. The moon is out, throwing long shadows on the road. Ransom's voice comes from inside the barn.

  Mason hurries to the barn. A lantern is hanging by the barn door. The horseshoe above the door turns as Mason watches, until it is right-side up.

  RANSOM (O.S.)

  Get away, George. You ain't got no call to be here.

  Mason slides open the barn door.

  MASON

  Ransom?

  CUT TO:

  INT. BARN

  Ransom is crouched behind a carriage, waving the rag ball charm in front of him.

  RANSOM

  Got me a conjure bag, George. You got to leave me alone. I was your friend, remember?

  George's Ghost materializes in the barn. George is smiling, wiping his amputated hand on his face as if it's a handkerchief.

  GEORGE'S GHOST

  Come along, Ransom. I been sent to fetch you over.

  RANSOM

  Get on back, damn you.

  GEORGE'S GHOST

  It only hurts for a second, old buddy, old pal. Ain't so bad inside, once you get used to the dark.

  (drifting closer)

  We got tunnels of the soul, Ransom. Mine's got snakes.

  RANSOM

  I got warding powers. Snakeroot, yarrow, cat bone, lizard powder, and such.

  GEORGE'S GHOST

  You gotta believe in it, though. You gotta have a little faith. Or did Sylva forget to tell you that part?

  Mason crosses the barn, circling behind the wagons.

  GEORGE'S GHOST (CONT'D)

  Come on, Ransom. Take my hand.

  (waves his loose hand, floats toward Ransom)

  Let me take you inside. Korban don't like to be kept waiting.

  Mason reaches Ransom, puts a hand on his shoulder. Ransom screams, then realizes who it is. A rusty creak. In the dark shadows, the metal hayrake moves slightly.

  MASON

  (whispering)

  What in the hell is that thing?

  George's Ghost appears in the seat of the carriage above them. He waves his amputated hand in greeting.

  GEORGE'S GHOST

  Must be me.

  Mason and Ransom make a run for it. The hayrake rolls out of the shadows into the middle of the floor, cutting off their escape. George's Ghost now sits on the hayrake's metal seat.

  GEORGE'S GHOST

  (to Mason)

  You can go. You got work to do. Ransom's got chores on the other side.

  Ransom steps forward. He holds out his conjure bag with a trembling hand.

  RANSOM

  The charms ain't working. How come the charms ain't working?

  GEORGE'S GHOST

  I tried to do it nice, just you and me. But now you made Korban mad.

  Ransom hurls the conjure bag at George's Ghost. The bag busts loose, spilling dust, herbs and feathers on George's Ghost.

  George's Ghost fades slightly, looks stunned and sad. He holds up his amputated hand.

  GEORGE'S GHOST

  They took my hammerin' hand, Ransom. He took it.

  George's Ghost dissolves. Ransom and Mason move toward the open barn door. Suddenly the hayrake rolls forward.

  Mason shouts at Ransom, tries to pull him out of the way, but Ransom makes a run for the door.

  The door slides shut before Ransom gets there. The curving metal rake skewers Ransom and pins him to the door. Ransom's eyes meet Mason's.

  George's Ghost reappears and floats in front of Mason.

  GEORGE'S GHOST

  He had to go and make me do it the hard way.

  MASON

  You're not here. I don't believe in ghosts.

  GEORGE'S GHOST

  Believe what you believe. Ephram Korban believes in you.

  As George's Ghost approaches, Mason sees the trap door in the floor. He opens it and slips into the cellar.

  The trap door falls on him and the hand grabs Mason's leg. Mason tries to kick it loose, succeeds, and falls into the root cellar as the trap door bangs shut.

  CUT TO:

  INT. KORBAN MANOR FOYER—AFTERNOON

  P.O.V. of Korban's portrait. Roth stands by the fireplace, talking to Lilith. We can't hear what he's saying, but Lilith laughs.

  Roth puts his arm around her shoulder, finishes his drink, and puts his glass on the hearth.

  ROTH

  So you'd like to see some of my work, eh?

  LILITH

  I hear you're very good.

  Roth flashes a lewd grin that reflects the firelight.

  ROTH

  Want to come to my darkroom?

  LILITH

  I've got a better idea.

  Lilith takes his hand and leads him down the hall. Lilith looks over her shoulder and smiles at the portrait. Korban smiles back in approval.

  CUT TO:

  INT. LILITH'S BASEMENT ROOM

  Open on darkness.

  ROTH (V.O.)

  Your hair is very soft.

  LILITH (V.O.)

  Mmmm.

  A MATCH is struck and applied to a candle. Lilith kneels before the fireplace in her cramped room, holding the candle. Roth sees that he has been stroking a nest of cobwebs, not Lilith's hair.

  ROTH

  (wiping cobwebs from his hand)

  Christ!

  LILITH

  (giggles)

  Did that scare you, Mr. Roth?

  ROTH

  I hate spiders. Ever since I was nine and got one in me mouth. Had nightmares for a week after.

  LILITH

  You're safe with me.

  The ro
om is dusty, as if it hasn't been used in years. Cobwebs hang in the dim corners.

  There's a large MIRROR above the unkempt bed, tilted so that whoever is on the bed can see themselves.

  ROTH

  You kinky bird. Like to watch, do you?

  LILITH

  No. He does.

  Roth hesitates, then decides to make his move. He kisses her.

  ROTH

  You sure you won't get in trouble, having it on with the guests?

  Lilith slides her dress off one shoulder.

  LILITH

  I'm here to serve. Did you bring your camera?

  ROTH

  Hah, you are kinky.

  Roth leans her back onto the bed, climbs atop her. He slides her dress up. Roth closes his eyes for a moment as their limbs entwine. Lilith moans in pleasure.