Screenplay by
Bruce Joel Rubin
SHOOTING DRAFT
INT. TRIBECA LOFT — DAY
The CAMERA TRACKS slowly through clouds of moving dust. Shafts
of muted light pierce the dense atmosphere. An eerie
netherworld envelops us. Strange ghostly forms appear and
disappear in the distance. They seem like apparitions.
Broken timbers and dangling cables emerge from the smoky
light. We see hints of a huge demolished space.
An old white plaster wall FILLS THE SCREEN. Momentary blips
of light flash across it. SOUNDS of street traffic are heard
dimly in the distance.
With startling impact, the SOUND of a sledgehammer explodes
out of nowhere. The wall shudders.
HAMMER BLOWS assault the audience. They are loud and jarring.
The wall buckles.
Chunks of plaster CRASH to the floor. The air fills with new
swirls of white dust. The SLEDGEHAMMER smashes INTO VIEW.
Beams of sunlight cut through the cracks, piercing the
atmosphere like searchlights in a fog. A huge section of
wall falls toward camera as more plaster billows into the
air. We hear voices talking.
MOLLY (O.S.)
What a mess!
SAM (O.S.)
I told you!
Through jagged holes we can make out three dim figures on
the other side of the wall, all wielding SLEDGEHAMMERS.
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
blasé. 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
Глава 1
Нью-Йорк. Кто не знает этого города? И, хотя некоторые говорят, что «яблоко» с червоточиной, в основном, все жители любят свой город. И правда, разве он не красив? Не элегантен? Не чуден, когда утреннее солнце только начинает заползать в великие каменные каньоны улиц? Кто не восхитится им, глядя со стороны океана на то, как наползают друг на друга дома, становясь все выше и стройней? Кто не прищелкнет довольно языком, любуясь башнями торгового центра или Эмпайр Стейт Билдинг? А Статуя свободы? Великое, вздымающееся из волн, божество миллионов американцев. А Манхеттен? Вечерний, пылающий пожаром рекламных огней Ман хеттен. Разве не начинает учащенно биться сердце тысяч и тысяч туристов, глядящих на это чудо сквозь вечерние сумерки? А Бродвей? Может ли не восхищать Бродвей – сердцевина Яблока – разрезающий его с севера на юг? Разве не раскрывают глаза туристы, глядя на могучего полицейского – символ спокойствия и безопасности?
Одним словом, Нью-Йорк – город Свободы и Равных возможностей.
В этом Нью-Йорке, чистом и аккуратном, жили двое подростков – юноша и девушка. Сэм Вит и Молли Дженсен. Их родители дружили семьями, часто ходили в гости, вместе ездили на пикники, а иногда и в отпуск. Словом, дружили. Неудивительно, что Сэм и Молли, росшие вместе, относились друг к другу, если не как брат с сестрой, то очень близко к тому. Дети довольно обеспеченных родителей, когда подошел срок, они поступили учиться в одну школу, а дальше даже в один колледж. Со временем они так привыкли один к другому, что, расстававшись, пусть даже и ненадолго, оба ощущали странный дискомфорт. Нельзя сказать, что Сэм не увлекался девчонками или что за Молли не ухлестывали мальчишки. Разумеется, без этого не обходилось, но тем не менее, вдвоем им было гораздо уютнее даже в знакомой компании. Они ходили в кино, на вечеринки и танцы. И радовались тому, что впереди еще длинная, полная возможностей жизнь.
В том же Нью-Йорке, только грязном и душном, на окраине жил еще один юноша. Он был сыном эмигранта-немца, и его немногие знакомые относились к нему как к человеку, который чуть-чуть ниже их по происхождению. Его отец жил особняком. Он не любил гостей, никогда никого не приглашал к себе, да и сам ни к кому не ходил. Он прекрасно осознавал, что ему уже ничего не добиться в этой «стране равных возможностей». Но, тем не менее, он упорно откладывал медяки, считая, что деньги -главное, чего может достичь человек в этой стране. «Были бы „бабки“, а возможности всегда найдутся, – учил он сына. – За деньги здесь можно купить все. Помни об этом, малыш». Он очень любил Карла.
Зато его не любили на улице. Часто, застав Карла одного, подростки безжалостно лупили его. Нельзя сказать, что Карл был беззащитным. Трепка, как правило, заканчивалась «потерями» с обеих сторон. Так он на практике постигал смысл отцовских слов: «Главное, сын, деньги и хватка». Он часто выбирался в центр Нью-Йорка, наблюдая за текущей там, совсем не такой, как у него, жизнью. Яркой, веселой и беззаботной. И ему очень хотелось стать похожим на людей, гуляющих по улицам. Подняться до них. Бросить свою жизнь в грязном закутке и выбраться «наверх». Но… для этого были нужны деньги. Уже затемно он возвращался домой, получал очередную трепку на улице от компании подростков и шел спать. Изредка ему доводилось ходить в кино. Карл очень любил фильмы о гангстерах и бан кирах. И у тех, и у других были деньги и власть. Одним эту Власть давали деньги, другим – сила, выражающаяся в кулаках или в массивном «кольте» 45-го калибра. Но, когда он однажды заикнулся, как здорово быть гангстером, отец пришел в жуткую ярость и так всыпал ему, что Карл неделю не мог сидеть, чем вызвал новый град насмешек и тумаков со стороны приятелей по улице.
С этого момента Карл понял, что лучше всего на свете деньги. И лишь один человек был ему достаточно близок. Это паренек с английским именем Вилли и испанской фамилией Лопес, живший в трех кварталах от Брюннеров. Этого Вилли Лопеса боялись все ребята, даже когда были стаей, хотя за глаза называли «полукровкой». Мать его была американкой, отец -испанец. В отличие от Карла, Вилли уважал и деньги, и кольт. Он верил, что вырастет, имея и то, и другое. Проще говоря, будет известнейшим бандитом Америки. Однако все деньги, попадавшие к нему, он быстро спускал, покупая выпивку и сигареты. Карл же свои деньги не тратил. Он их копил. Как и отец. Когда они подросли, Карл пошел в школу, а Вилли остался на улице. Он презирал школу и постоянно повторял: «Для того чтобы держать в руках пистолет, посещать школу необязательно». Позже Брюннер-старший на свои сбережения отдал сына в колледж. И Карл начал свой «путь наверх». Он понимал отца, который хотел, чтобы сын вырос умным человеком, имеющим деньги, славу и власть, и сам хотел того же. Для Карла, решившего стать банкиром и добраться до самого «верха», деньги стали самой главной и самой желанной вещью в жизни. И поэтому он учился как проклятый, день и ночь, стиснув зубы, умудряясь при этом еще и работать. Он твердо решил выбиться в люди, взлететь на гребне волны.
From Wikipedia, the free encyclopedia
| Ghost | |
|---|---|
Theatrical release poster |
|
| Directed by | Jerry Zucker |
| Written by | Bruce Joel Rubin |
| Produced by | Lisa Weinstein |
| Starring |
|
| Cinematography | Adam Greenberg |
| Edited by | Walter Murch |
| Music by | Maurice Jarre |
|
Production |
|
| Distributed by | Paramount Pictures[2] |
|
Release date |
|
|
Running time |
127 minutes[3] |
| Country | United States |
| Language | English |
| Budget | $22–23 million |
| Box office | $505.7 million[4] |
Ghost is a 1990 American romantic fantasy film directed by Jerry Zucker from a screenplay by Bruce Joel Rubin, and starring Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn, Vincent Schiavelli, and Rick Aviles.[5] The plot centers on Sam Wheat (Swayze), a murdered banker, whose ghost sets out to save his girlfriend, Molly Jensen (Moore), from the person who killed him – through the help of the psychic Oda Mae Brown (Goldberg).
Ghost was theatrically released on July 13, 1990, to commercial success, grossing $505 million against a budget of $22–23 million and emerging as the highest-grossing film of 1990 and at the time of its release, was the third-highest-grossing film of all time. The film received positive reviews from critics, with particular praise going towards the score and performances of the cast. Ghost earned five nominations at the 63rd Academy Awards: Best Picture, Best Original Score, Best Film Editing, and winning Best Supporting Actress for Goldberg and Best Original Screenplay for Rubin.
Plot[edit]
Banker Sam Wheat and his girlfriend, artist Molly Jensen, renovate and move into a Manhattan loft with the help of Sam’s friend and co-worker Carl Bruner. One night, after attending the theater with Molly, Sam is killed when a mugger tries to steal his wallet. Sam is shocked to realize he is a ghost, but when angels appear to take his soul to Heaven, he returns to Molly.
Weeks later, in an effort to raise her spirits, Carl takes Molly for a walk. When the mugger enters their apartment in search of something a few minutes later, Sam scares their cat into attacking him and he flees. Sam learns after following the mugger, Willie Lopez back to his apartment that the mugging was not random when Willie makes a call to an unknown person promising to return to Sam and Molly’s apartment to continue looking for what he was trying to find before.
After leaving Willie’s apartment, Sam comes across Oda Mae Brown’s psychic reading parlor where, along with her sisters, she takes people’s money then pretends to contact their deceased loved ones. When Oda Mae hears Sam’s voice, she realizes she must have inherited her mother’s true psychic gift. After Sam’s singing keeps her awake late one night, she agrees to tell Molly about Willie. Molly in turn goes to the police, but after they inform her there isn’t a file for Willie and show her Oda Mae’s lengthy criminal record that includes fraud charges and several aliases, she gives up, believing she has been deceived.
Sam is furious when he finds out it was Carl who had Willie attack him to obtain his book of bank passwords so he can transfer laundered money for drug dealers in several accounts into one account under the fictitious name «Rita Miller».
Determined to protect Molly, Sam enlists the help of a much more troubled and violent ghost (who he encountered earlier when following Willie to his apartment) to teach him how to move ordinary objects. After succeeding, Sam convinces Oda Mae (who is now able to hear other spirits talking) to pose as «Rita Miller» and withdraw the money, which he has her give to charity. Carl, now frantic to find the money, visits Molly after Sam spiritually teases him who reveals that she saw the woman she thought was Oda Mae, but who she thinks is Rita Miller at the bank withdrawing money.
Sam warns Oda Mae and her sisters about Carl and Willie just before they arrive. Sam terrorizes Willie so much that he runs into the street screaming and is hit by a car and killed.
As Carl flees, demons drag Willie’s soul to Hell.
After Molly calls the police, Oda Mae lets Sam possess her body and he slow-dances with Molly, unaware that using her body saps his energy. Carl forces his way into Molly’s apartment while she and Oda Mae flee upstairs to another apartment that is under construction. Carl holds Molly at gunpoint and demands the money Oda Mae withdrew from the bank. Sam, now recovered, frees her and pushes a heavy scaffold onto Carl, crippling him. After Carl swings a metal hook at Sam and it swings back, it shatters a pane of glass that slides down a wooden shaft and impales Carl in the chest, killing him. The same demons that took away Willie’s soul also take Carl’s to Hell.
Sam finds Molly and Oda Mae and asks if they are alright. Both women are surprised and relieved to find they can hear and see him. As heavenly light shines down on him, Sam tells Oda Mae her mother would be proud of her and tells Molly he loves her. They share a kiss and Sam walks into the light to join the angels in heaven.
Cast[edit]
- Patrick Swayze as Sam Wheat
- Demi Moore as Molly Jensen
- Whoopi Goldberg as Oda Mae Brown
- Tony Goldwyn as Carl Bruner
- Rick Aviles as Willie Lopez
- Vincent Schiavelli as Subway Ghost
- Gail Boggs as Oda Mae’s Sister, Louise
- Armelia McQueen as Oda Mae’s Sister, Clara
- Phil Leeds as Emergency Room Ghost
- Augie Blunt as Orlando
- Stephen Root as Police Sgt
- Bruce Jarchow as Lyle Ferguson
Production[edit]
Background and filming[edit]
Ghost was the first film Jerry Zucker directed on his own, as well as his first dramatic film. He had previously been part of the Zucker, Abrahams and Zucker directing team, known for their parody films. Zucker stated that his decision to direct Ghost was not made to distance himself from comedies or to mark a new chapter in his career, but was merely «just looking for a good film to direct.»[5]
Harrison Ford, Michael J. Fox, Paul Hogan, Tom Hanks, Kevin Bacon, Kevin Kline, Alec Baldwin and Tom Cruise were considered for the role of Sam Wheat.[6][7] Bruce Willis turned down the role of Sam Wheat as he did not understand the script and later called himself a «knucklehead» for turning it down.[8] Michelle Pfeiffer, Molly Ringwald,[7] Meg Ryan,[7] Julia Roberts and Nicole Kidman were considered for the role of Molly Jensen. Tina Turner and Oprah Winfrey auditioned for the role of Oda Mae Brown.[9][10][11][12] According to Goldberg, the producers initially were not interested in casting her as Oda Mae and that Swayze advocated for her to be cast.[13]
Zucker credited arguments from radio host Dennis Prager with deciding to «lighten» Rubin’s original script with a moral message.[14]
Rubin noted that he «wanted to tell a ghost story from the ghost’s perspective»: «One day, I was watching a production of Hamlet, which begins with the ghost of Hamlet’s father saying, ‘Revenge my death,’» he recalled. «I thought, ‘Wow, let’s transpose that into the 20th century; it’d be an interesting story.’ And the idea hit me.»[15]
Filming for Ghost began shooting in July 1989. Many of the interior scenes were shot at Paramount in Los Angeles. The interior of Sam and Molly’s loft is a reproduction of the home and studio of artist Michele Oka Doner, built from plans she provided because she declined to allow filming in her loft. It was reconstructed in an unused loft nearby in her Soho neighborhood[16] and featured many of the same details as the actual loft, such as radiators around columns, open stairs and a house-shaped enclosure for the refrigerator. The exterior scenes were shot in New York City, particularly in Bedford–Stuyvesant, Soho, and Wall Street, for about five weeks. The film features about 100 special effects shots.[17]
Demi Moore’s famous ‘boy cut’ in the movie was designed by Manhattan hair stylist John Sahag.[18]
Music[edit]
The music for Ghost was written by veteran French composer Maurice Jarre, whose work was nominated for the 1990 Academy Award for Best Original Score (won by John Barry for Dances with Wolves).[19] The soundtrack also featured the 1955 song «Unchained Melody», composed by Alex North with lyrics by Hy Zaret. In Ghost, the song appears both in instrumental and vocal form, the latter being the version recorded by Bobby Hatfield of The Righteous Brothers in 1965.[20]
The soundtrack album was issued worldwide on Milan Records, but licensed to Varèse Sarabande in North America. It was reissued with two extra tracks in 1995, and later as part of Milan’s Silver Screen Edition series with the extra tracks and an interview with Maurice Jarre.[21]
Release[edit]
Releases and sales[edit]
The film became an unexpected box-office success,[22][23][24][25] grossing $505.7 million on a budget of between $22–23 million.[26][27] It was the highest-grossing film of 1990.[28] Box Office Mojo estimates that the film sold over 51.46 million tickets in the US.[29] It spent eight consecutive weeks at number one at the UK box office[30] and became the highest-grossing film of all time in the UK surpassing E.T. the Extra-Terrestrial with a gross of £23.3 million. That record would last for three years before getting surpassed by Jurassic Park in 1993.[31][32] It also spent six consecutive weeks atop the Australian box office.[33] It was also the highest-grossing film in Indonesia at the time with a gross of $3.6 million[34] and the highest-grossing foreign film in the Philippines.[35]
The film was released on video and LaserDisc in the United States on March 21, 1991, and sold a record 646,000 videos for rental, breaking the record set by Die Hard 2,[36] and a record 66,040 LaserDiscs.[37] The rentals generated a gross of $40 million for Paramount. The video went on sale in the fall and generated sales of $25 million.[36]
Critical response[edit]
Ghost has an approval rating of 75% based on 75 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of 6.9/10. Its critical consensus reads, «Ghost offers viewers a poignant romance while blending elements of comedy, horror, and mystery, all adding up to one of the more enduringly watchable hits of its era.»[38] Metacritic (which uses a weighted average) assigned Ghost a score of 52 out of 100 based on 17 critics, indicating «mixed or average reviews».[39] Audiences polled by CinemaScore gave the film an average grade of «A» on an A+ to F scale.[40]
Roger Ebert gave Ghost two-and-a-half out of four stars in his review for the Chicago Sun-Times, regarding the film as «no worse an offender than most ghost movies, I suppose. It assumes that even after death we devote most of our attention to unfinished business here on Earth, and that danger to a loved one is more important to a ghost than the infinity it now inhabits.» He was also critical of the film’s «obligatory action climax», the «ridiculous visitation from the demons of hell», the «slow study» of the Molly character, and the «single best scene» in which Sam overtakes Oda Mae’s body to caress Molly: «In strict logic, this should involve us seeing Goldberg kissing Moore, but of course the movie compromises and shows us Swayze holding her — too bad, because the logical version would actually have been more spiritual and moving.»[41]
David Ansen of Newsweek, despite finding the ending too sentimental, praised the film as «a zippy pastiche that somehow manages to seem fresh even though it’s built entirely out of borrowed parts.»[42] Variety magazine called the film «an odd creation – at times nearly smothering in arty somberness, at others veering into good, wacky fun.»[43] Goldberg received considerable praise for her performance. In a review for The New York Times, Janet Maslin comments «Ms. Goldberg plays the character’s amazement, irritation and great gift for back talk to the hilt. This is one of those rare occasions on which the uncategorizable Ms. Goldberg has found a film role that really suits her, and she makes the most of it.»[44] Even some writers who gave negative reviews of Ghost extended praise to Goldberg’s work in the film.[45]
Accolades[edit]
| Award | Category | Nominee(s) | Result |
|---|---|---|---|
| Academy Awards[46] | Best Picture | Lisa Weinstein | Nominated |
| Best Supporting Actress | Whoopi Goldberg | Won | |
| Best Screenplay – Written Directly for the Screen | Bruce Joel Rubin | Won | |
| Best Film Editing | Walter Murch | Nominated | |
| Best Original Score | Maurice Jarre | Nominated | |
| American Cinema Editors Awards | Best Edited Feature Film | Walter Murch | Nominated |
| American Comedy Awards[47] | Funniest Supporting Actress in a Motion Picture | Whoopi Goldberg | Won |
| American Society of Cinematographers Awards | Outstanding Achievement in Cinematography in Theatrical Releases | Adam Greenberg | Nominated |
| ASCAP Film and Television Music Awards | Top Box Office Films | Maurice Jarre | Won |
| British Academy Film Awards[48] | Best Actress in a Supporting Role | Whoopi Goldberg | Won |
| Best Original Screenplay | Bruce Joel Rubin | Nominated | |
| Best Make Up Artist | Ben Nye Jr. | Nominated | |
| Best Special Visual Effects | Bruce Nicholson, John T. Van Vliet, Richard Edlund and Laura Buff | Nominated | |
| Dallas–Fort Worth Film Critics Association Awards | Best Supporting Actress | Whoopi Goldberg | Won |
| Golden Globe Awards[49] | Best Motion Picture – Musical or Comedy | Nominated | |
| Best Actor in a Motion Picture – Musical or Comedy | Patrick Swayze | Nominated | |
| Best Actress in a Motion Picture – Musical or Comedy | Demi Moore | Nominated | |
| Best Supporting Actress – Motion Picture | Whoopi Goldberg | Won | |
| Golden Reel Awards | Outstanding Achievement in Sound Editing – Dialogue and ADR for Feature Film | Lee Haxall | Nominated |
| Golden Screen Awards | Won | ||
| Hugo Awards[50] | Best Dramatic Presentation | Jerry Zucker and Bruce Joel Rubin | Nominated |
| Japan Academy Film Prize[51] | Outstanding Foreign Language Film | Nominated | |
| Kansas City Film Critics Circle Awards[52] | Best Supporting Actress | Whoopi Goldberg | Won |
| Mainichi Film Awards[53] | Best Foreign Language Film (Readers’ Choice Award) | Jerry Zucker | Won |
| NAACP Image Awards | Outstanding Supporting Actress in a Motion Picture | Whoopi Goldberg | Won |
| Nikkan Sports Film Awards[54] | Best Foreign Film | Won | |
| People’s Choice Awards | Favorite Dramatic Motion Picture | Won | |
| Sant Jordi Awards | Best Foreign Film | Jerry Zucker | Won |
| Satellite Awards[55] | Best Classic DVD | Nominated | |
| Saturn Awards | Best Fantasy Film | Won | |
| Best Actor | Patrick Swayze | Nominated | |
| Best Actress | Demi Moore | Won | |
| Best Supporting Actor | Tony Goldwyn | Nominated | |
| Best Supporting Actress | Whoopi Goldberg | Won | |
| Best Director | Jerry Zucker | Nominated | |
| Best Writing | Bruce Joel Rubin | Nominated | |
| Best Music | Maurice Jarre | Nominated | |
| Best Special Effects | Bruce Nicholson, John T. Van Vliet, Richard Edlund and Laura Buff | Nominated | |
| TV Land Awards | Favorite Character from the «Other Side» | Whoopi Goldberg | Nominated |
| Writers Guild of America Awards[56] | Best Screenplay – Written Directly for the Screen | Bruce Joel Rubin | Nominated |
| Young Artist Awards[57] | Most Entertaining Family Youth Motion Picture – Comedy/Horror | Won |
Legacy[edit]
The pottery wheel scene became widely known,[58][59] and has been cited as «one of the most iconic moments of ’90s cinema.»[60] It has also frequently been parodied,[59] such as in The Naked Gun 2½: The Smell of Fear (of which Jerry Zucker served as an executive producer; it was directed by his brother David Zucker), the short British animated film Wallace and Gromit: A Matter of Loaf and Death[61] and US TV series Two and a Half Men.[60]
The film inspired a musical stage version, Ghost: The Musical. The show had its world premiere in Manchester, UK, in March 2011[62] before transferring to London from June 2011 and having its premiere on July 19, 2011.[63] On November 13, 2010, Paramount and Shochiku released a Japanese remake of Ghost, titled Ghost: In Your Arms Again (ゴースト もういちど抱きしめたい, Gōsuto Mouichido Dakishimetai).[64] The remake stars Nanako Matsushima, South Korean actor Song Seung-heon, and veteran actress Kirin Kiki.[65] In this film, the ghost is a woman, played by Matsushima.
On January 17, 2023, it was revealed by Vanity Fair that Channing Tatum and his company, Free Association, has the rights to the film from Paramount and announced his plans to produce, and star in, a remake of the film with him playing Swayze’s role.[66]
See also[edit]
- List of ghost films
References[edit]
- ^ Kinn, Gail; Piazza, Jim (December 16, 2014). Academy Awards®: The Complete Unofficial History — Revised and Up-To-Date. Black Dog & Leventhal. ISBN 978-1-5791-2986-6.
- ^ Cieply, Michael; Easton, Nina J. (September 11, 1990). «Paramount Reels in Power Struggle After Hits, Misses». Los Angeles Times. Retrieved November 8, 2010.
- ^ «Ghost (1990)». British Board of Film Classification. Archived from the original on December 13, 2021. Retrieved December 13, 2021.
- ^ «Ghost«. Box Office Mojo. IMDb. Retrieved November 21, 2022.
- ^ a b Honeycutt, Kirk (July 13, 1990). «Director Leaves Laughs Behind to Capture Spirit of ‘Ghost’: Movies: A suspense drama about the afterlife is the last film you’d expect from Jerry Zucker, one of the crazy guys who dreamed up ‘Airplane!’«. Los Angeles Times. Retrieved November 8, 2010.
- ^ Heidenry, Margaret (July 13, 2015). «25 Years of Ghost: Oscar-Winning Screenwriter Bruce Joel Rubin Talks Patrick Swayze, Demi Moore, and Pottery-Wheel Sex». Vanity Fair.
- ^ a b c Swayze, Patrick; Niemi, Lisa (September 29, 2009). The Time of My Life. ISBN 978-1-4391-5858-6.
- ^ Mackie, Drew (July 7, 2015). «Ghost 25th Anniversary: 20 Things You Didn’t Know». People. Retrieved March 27, 2022.
- ^ Maddox, Gary (February 2, 2016). «Writer Bruce Joel Rubin says Ghost could easily have starred Nicole Kidman and Paul Hogan». The Sydney Morning Herald.
- ^ Crean, Ellen (March 13, 2007). «Swayze Tells «Ghost» Stories». CBS News.
- ^ Alter, Ethan (July 17, 2020). «‘Ghost’ at 30: How Tina Turner nearly played Whoopi Goldberg’s part in the 1990 classic». Yahoo! Entertainment.
- ^ Finn, Natalie (July 14, 2020). «30 Timeless Secrets About Ghost». E! News. Retrieved March 27, 2022.
- ^ Dick, Jeremy (October 15, 2020). «Ghost Producers Refused to Hire Whoopi Goldberg Until Patrick Swayze Stepped In». MovieWeb. Retrieved September 17, 2022.
- ^ Engel, Joel (November 17, 1991). «Radio: The Prager Prism: Dennis Prager has eight hours a week to talk on the radio about ‘the great issues of life’; so, what makes him so important?». Los Angeles Times. Archived from the original on January 29, 2020.
- ^ Krug, Kurt Anthony (July 10, 2020). «Native Detroiter who wrote ‘Ghost’ reminisces about film as it turns 30». The Detroit News.
- ^ Michele Oka Doner, retrieved September 5, 2022
- ^ Scapperotti, Dan (July 1990). «Ghost — Airplane’s Jerry Zucker directs Patrick Swayze in a metaphysical comedy / drama». Cinefantastique. 21 (1): 12. Retrieved September 1, 2017.
- ^ Dougherty, Marianne (May 26, 2015). «Feature: Remembering John Sahag, The Mad Professor of Hair». American Salon.
- ^ Clemmensen, Christian. «‘Ghost’ soundtrack review». Filmtracks.com. Retrieved August 24, 2011.
- ^ Garber, Megan (July 13, 2015). «How ‘Unchained Melody’ Broke Free». The Atlantic. Archived from the original on July 14, 2015. Retrieved March 29, 2020.
- ^ Erlewine, Stephen Thomas. «Ghost [Silver Screen Edition] — Review». All Music. Retrieved February 20, 2016.
- ^ Broeske, Pat H. (July 17, 1990). «‘Ghost’ Performing Solidly at the Box Office». Los Angeles Times. Retrieved November 8, 2010.
- ^ Broeske, Pat H. (July 25, 1990). «‘Ghost’: Sentimental Choice as Summer Hit». Los Angeles Times. Retrieved November 8, 2010.
- ^ Broeske, Pat H. (August 7, 1990). «‘Ghost’ Tops Box Office Again». Los Angeles Times. Retrieved November 8, 2010.
- ^ Easton, Nina J. (September 5, 1990). «Hollywood’s Summer of Love : Romantic ‘Ghost’ Outguns Macho Movies to Become Season’s Biggest Hit». Los Angeles Times. Retrieved November 8, 2010.
- ^ «Ghost (1990)«. Box Office Mojo. IMDb. Retrieved December 13, 2021.
- ^ «Ghost (1990)». AFI Catalog of Feature Films. American Film Institute. Retrieved February 19, 2022.
- ^ «1990 Worldwide Grosses». Box Office Mojo. Retrieved November 15, 2013.
- ^ «Ghost (1990)». Box Office Mojo. Retrieved May 31, 2016.
- ^ Swern, Phil (1995). The Guinness book of Box Office Hits. Guinness Publishing. p. 440. ISBN 0-85112-670-7.
- ^ Groves, Don (August 16, 1993). «‘Park’ leader of summer B.O. pack». Variety. p. 11.
- ^ BFI Statistical Yearbook (PDF) (2012 ed.). London: British Film Institute. 2013. pp. 22. Archived (PDF) from the original on December 28, 2013. Retrieved February 4, 2021.
- ^ «International B.O.». Variety. December 10, 1990. p. 45.
- ^ «Erratum». Variety. November 7, 1994. p. 16.
- ^ Groves, Don (December 10, 1990). «‘Ghost’ gains triumph of spirits overseas». Variety. p. 46.
- ^ a b Berman, Marc (January 6, 1992). «Rentals Reap Bulk of 1991 Vid Harvest». Variety. p. 22.
- ^ «Ghost Conjures LaserDisk Record». Daily Variety. April 5, 1991. p. 2.
- ^ «Ghost (1990)«. Rotten Tomatoes. Fandango Media. Retrieved October 10, 2021.
- ^ «Ghost (1990)«. Metacritic. Fandom, Inc. Retrieved December 13, 2021.
- ^ «Movie Title Search». Cinemascore. December 20, 2018. Archived from the original on December 20, 2018. Retrieved July 28, 2020.
- ^ Ebert, Roger (July 13, 1990). «Ghost». Chicago Sun-Times. Retrieved March 2, 2018.
- ^ «Immaterial Affections». Newsweek. Retrieved October 4, 2010.
- ^ «Ghost». Variety. December 31, 1989. Retrieved October 4, 2010.
- ^ Maslin, Janet (July 13, 1990). «Ghost (1990)». The New York Times. Retrieved March 19, 2012.
- ^ Podgorski, Daniel (October 15, 2015). «A Ghastly Script: The Mediocrity of Jerry Zucker’s Romantic Classic, Ghost». The Gemsbok. Your Thursday Theater. Retrieved February 20, 2016.
- ^ «The 63rd Academy Awards (1991) Nominees and Winners». AMPAS. Archived from the original on October 20, 2014. Retrieved October 20, 2011.
- ^ «1991 American Comedy Awards». Mubi. Retrieved July 26, 2021.
- ^ «BAFTA Awards: Film in 1991». BAFTA. 1991. Retrieved September 16, 2016.
- ^ «Ghost – Golden Globes». HFPA. Retrieved July 28, 2021.
- ^ «1991 Hugo Awards». Hugo Awards. July 26, 2007. Retrieved July 28, 2021.
- ^ «The 14th Japan Academy Film Prize Awards». Japan Academy Film Prize. Retrieved July 28, 2021.
- ^ «KCFCC Award Winners – 1990-99». kcfcc.org. December 14, 2013. Retrieved July 28, 2021.
- ^ «The 45th Japan Film Awards». Mainichi Film Awards. Retrieved July 28, 2021.
- ^ «Nikkan Sports Film Awards: Past winners and winners». Nikkan Sports Film Award. Retrieved July 28, 2021.
- ^ «2007 Satellite Awards». International Press Academy. Retrieved July 28, 2021.
- ^ «Awards Winners». Writers Guild of America. Archived from the original on December 5, 2012. Retrieved June 6, 2010.
- ^ «12th Annual Youth In Film Awards». Young Artist Award. Archived from the original on July 16, 2015. Retrieved March 31, 2011.
- ^ a b Cox, Gordon (March 6, 2009). «‘Ghost’ getting musical treatment». Variety. Archived from the original on March 5, 2016. Retrieved March 30, 2020.
- ^ a b «Ghost: 7 parodies de la scène légendaire de la poterie» [Ghost: 7 parodies of the famous pottery scene]. Première (in French). December 12, 2015. Archived from the original on October 7, 2018. Retrieved March 30, 2020.
- ^ a b Hood, Bryan (February 28, 2014). «Kutcher parodies Demi’s iconic ‘Ghost’ pottery scene». New York Post. Archived from the original on October 10, 2015. Retrieved March 30, 2020.
- ^ Simon, Ben (December 18, 2008). «Wallace & Gromit: A Matter Of Loaf And Death». Animated Views. Archived from the original on November 4, 2010. Retrieved March 30, 2020.
- ^ «GHOST The Musical – About — Opening in Manchester 28 March 2011». GHOST The Musical.com. Archived from the original on January 18, 2011. Retrieved January 9, 2011.
- ^ «Ghost The Musical announces Manchester dates pre-West End». The Stage. Retrieved November 8, 2010.
- ^ Shiso (November 14, 2010). «Japanese Remake of Ghost to Be Released in 5 Different Countries». Tokyohive. Retrieved March 19, 2011.
- ^ Fischer, Russ (June 9, 2010). «Paramount to Remake Ghost in Japan». /Film. Retrieved March 19, 2011.
- ^ Grobar, Matt (January 17, 2023). «Channing Tatum Reveals He Has Rights To Patrick Swayze Classic ‘Ghost’, Plans To Produce & Star In Remake». Deadline Hollywood. Retrieved January 17, 2023.
External links[edit]
- Ghost at IMDb
- Ghost at the TCM Movie Database
- Ghost at AllMovie
- Ghost at Rotten Tomatoes
- Ghost at Box Office Mojo
From Wikipedia, the free encyclopedia
| Ghost | |
|---|---|
|
Theatrical release poster |
|
| Directed by | Jerry Zucker |
| Written by | Bruce Joel Rubin |
| Produced by | Lisa Weinstein |
| Starring |
|
| Cinematography | Adam Greenberg |
| Edited by | Walter Murch |
| Music by | Maurice Jarre |
|
Production |
|
| Distributed by | Paramount Pictures[2] |
|
Release date |
|
|
Running time |
127 minutes[3] |
| Country | United States |
| Language | English |
| Budget | $22–23 million |
| Box office | $505.7 million[4] |
Ghost is a 1990 American romantic fantasy film directed by Jerry Zucker from a screenplay by Bruce Joel Rubin, and starring Patrick Swayze, Demi Moore, Whoopi Goldberg, Tony Goldwyn, Vincent Schiavelli, and Rick Aviles.[5] The plot centers on Sam Wheat (Swayze), a murdered banker, whose ghost sets out to save his girlfriend, Molly Jensen (Moore), from the person who killed him – through the help of the psychic Oda Mae Brown (Goldberg).
Ghost was theatrically released on July 13, 1990, to commercial success, grossing $505 million against a budget of $22–23 million and emerging as the highest-grossing film of 1990 and at the time of its release, was the third-highest-grossing film of all time. The film received positive reviews from critics, with particular praise going towards the score and performances of the cast. Ghost earned five nominations at the 63rd Academy Awards: Best Picture, Best Original Score, Best Film Editing, and winning Best Supporting Actress for Goldberg and Best Original Screenplay for Rubin.
Plot[edit]
Banker Sam Wheat and his girlfriend, artist Molly Jensen, renovate and move into a Manhattan loft with the help of Sam’s friend and co-worker Carl Bruner. One night, after attending the theater with Molly, Sam is killed when a mugger tries to steal his wallet. Sam is shocked to realize he is a ghost, but when angels appear to take his soul to Heaven, he returns to Molly.
Weeks later, in an effort to raise her spirits, Carl takes Molly for a walk. When the mugger enters their apartment in search of something a few minutes later, Sam scares their cat into attacking him and he flees. Sam learns after following the mugger, Willie Lopez back to his apartment that the mugging was not random when Willie makes a call to an unknown person promising to return to Sam and Molly’s apartment to continue looking for what he was trying to find before.
After leaving Willie’s apartment, Sam comes across Oda Mae Brown’s psychic reading parlor where, along with her sisters, she takes people’s money then pretends to contact their deceased loved ones. When Oda Mae hears Sam’s voice, she realizes she must have inherited her mother’s true psychic gift. After Sam’s singing keeps her awake late one night, she agrees to tell Molly about Willie. Molly in turn goes to the police, but after they inform her there isn’t a file for Willie and show her Oda Mae’s lengthy criminal record that includes fraud charges and several aliases, she gives up, believing she has been deceived.
Sam is furious when he finds out it was Carl who had Willie attack him to obtain his book of bank passwords so he can transfer laundered money for drug dealers in several accounts into one account under the fictitious name «Rita Miller».
Determined to protect Molly, Sam enlists the help of a much more troubled and violent ghost (who he encountered earlier when following Willie to his apartment) to teach him how to move ordinary objects. After succeeding, Sam convinces Oda Mae (who is now able to hear other spirits talking) to pose as «Rita Miller» and withdraw the money, which he has her give to charity. Carl, now frantic to find the money, visits Molly after Sam spiritually teases him who reveals that she saw the woman she thought was Oda Mae, but who she thinks is Rita Miller at the bank withdrawing money.
Sam warns Oda Mae and her sisters about Carl and Willie just before they arrive. Sam terrorizes Willie so much that he runs into the street screaming and is hit by a car and killed.
As Carl flees, demons drag Willie’s soul to Hell.
After Molly calls the police, Oda Mae lets Sam possess her body and he slow-dances with Molly, unaware that using her body saps his energy. Carl forces his way into Molly’s apartment while she and Oda Mae flee upstairs to another apartment that is under construction. Carl holds Molly at gunpoint and demands the money Oda Mae withdrew from the bank. Sam, now recovered, frees her and pushes a heavy scaffold onto Carl, crippling him. After Carl swings a metal hook at Sam and it swings back, it shatters a pane of glass that slides down a wooden shaft and impales Carl in the chest, killing him. The same demons that took away Willie’s soul also take Carl’s to Hell.
Sam finds Molly and Oda Mae and asks if they are alright. Both women are surprised and relieved to find they can hear and see him. As heavenly light shines down on him, Sam tells Oda Mae her mother would be proud of her and tells Molly he loves her. They share a kiss and Sam walks into the light to join the angels in heaven.
Cast[edit]
- Patrick Swayze as Sam Wheat
- Demi Moore as Molly Jensen
- Whoopi Goldberg as Oda Mae Brown
- Tony Goldwyn as Carl Bruner
- Rick Aviles as Willie Lopez
- Vincent Schiavelli as Subway Ghost
- Gail Boggs as Oda Mae’s Sister, Louise
- Armelia McQueen as Oda Mae’s Sister, Clara
- Phil Leeds as Emergency Room Ghost
- Augie Blunt as Orlando
- Stephen Root as Police Sgt
- Bruce Jarchow as Lyle Ferguson
Production[edit]
Background and filming[edit]
Ghost was the first film Jerry Zucker directed on his own, as well as his first dramatic film. He had previously been part of the Zucker, Abrahams and Zucker directing team, known for their parody films. Zucker stated that his decision to direct Ghost was not made to distance himself from comedies or to mark a new chapter in his career, but was merely «just looking for a good film to direct.»[5]
Harrison Ford, Michael J. Fox, Paul Hogan, Tom Hanks, Kevin Bacon, Kevin Kline, Alec Baldwin and Tom Cruise were considered for the role of Sam Wheat.[6][7] Bruce Willis turned down the role of Sam Wheat as he did not understand the script and later called himself a «knucklehead» for turning it down.[8] Michelle Pfeiffer, Molly Ringwald,[7] Meg Ryan,[7] Julia Roberts and Nicole Kidman were considered for the role of Molly Jensen. Tina Turner and Oprah Winfrey auditioned for the role of Oda Mae Brown.[9][10][11][12] According to Goldberg, the producers initially were not interested in casting her as Oda Mae and that Swayze advocated for her to be cast.[13]
Zucker credited arguments from radio host Dennis Prager with deciding to «lighten» Rubin’s original script with a moral message.[14]
Rubin noted that he «wanted to tell a ghost story from the ghost’s perspective»: «One day, I was watching a production of Hamlet, which begins with the ghost of Hamlet’s father saying, ‘Revenge my death,’» he recalled. «I thought, ‘Wow, let’s transpose that into the 20th century; it’d be an interesting story.’ And the idea hit me.»[15]
Filming for Ghost began shooting in July 1989. Many of the interior scenes were shot at Paramount in Los Angeles. The interior of Sam and Molly’s loft is a reproduction of the home and studio of artist Michele Oka Doner, built from plans she provided because she declined to allow filming in her loft. It was reconstructed in an unused loft nearby in her Soho neighborhood[16] and featured many of the same details as the actual loft, such as radiators around columns, open stairs and a house-shaped enclosure for the refrigerator. The exterior scenes were shot in New York City, particularly in Bedford–Stuyvesant, Soho, and Wall Street, for about five weeks. The film features about 100 special effects shots.[17]
Demi Moore’s famous ‘boy cut’ in the movie was designed by Manhattan hair stylist John Sahag.[18]
Music[edit]
The music for Ghost was written by veteran French composer Maurice Jarre, whose work was nominated for the 1990 Academy Award for Best Original Score (won by John Barry for Dances with Wolves).[19] The soundtrack also featured the 1955 song «Unchained Melody», composed by Alex North with lyrics by Hy Zaret. In Ghost, the song appears both in instrumental and vocal form, the latter being the version recorded by Bobby Hatfield of The Righteous Brothers in 1965.[20]
The soundtrack album was issued worldwide on Milan Records, but licensed to Varèse Sarabande in North America. It was reissued with two extra tracks in 1995, and later as part of Milan’s Silver Screen Edition series with the extra tracks and an interview with Maurice Jarre.[21]
Release[edit]
Releases and sales[edit]
The film became an unexpected box-office success,[22][23][24][25] grossing $505.7 million on a budget of between $22–23 million.[26][27] It was the highest-grossing film of 1990.[28] Box Office Mojo estimates that the film sold over 51.46 million tickets in the US.[29] It spent eight consecutive weeks at number one at the UK box office[30] and became the highest-grossing film of all time in the UK surpassing E.T. the Extra-Terrestrial with a gross of £23.3 million. That record would last for three years before getting surpassed by Jurassic Park in 1993.[31][32] It also spent six consecutive weeks atop the Australian box office.[33] It was also the highest-grossing film in Indonesia at the time with a gross of $3.6 million[34] and the highest-grossing foreign film in the Philippines.[35]
The film was released on video and LaserDisc in the United States on March 21, 1991, and sold a record 646,000 videos for rental, breaking the record set by Die Hard 2,[36] and a record 66,040 LaserDiscs.[37] The rentals generated a gross of $40 million for Paramount. The video went on sale in the fall and generated sales of $25 million.[36]
Critical response[edit]
Ghost has an approval rating of 75% based on 75 professional reviews on the review aggregator website Rotten Tomatoes, with an average rating of 6.9/10. Its critical consensus reads, «Ghost offers viewers a poignant romance while blending elements of comedy, horror, and mystery, all adding up to one of the more enduringly watchable hits of its era.»[38] Metacritic (which uses a weighted average) assigned Ghost a score of 52 out of 100 based on 17 critics, indicating «mixed or average reviews».[39] Audiences polled by CinemaScore gave the film an average grade of «A» on an A+ to F scale.[40]
Roger Ebert gave Ghost two-and-a-half out of four stars in his review for the Chicago Sun-Times, regarding the film as «no worse an offender than most ghost movies, I suppose. It assumes that even after death we devote most of our attention to unfinished business here on Earth, and that danger to a loved one is more important to a ghost than the infinity it now inhabits.» He was also critical of the film’s «obligatory action climax», the «ridiculous visitation from the demons of hell», the «slow study» of the Molly character, and the «single best scene» in which Sam overtakes Oda Mae’s body to caress Molly: «In strict logic, this should involve us seeing Goldberg kissing Moore, but of course the movie compromises and shows us Swayze holding her — too bad, because the logical version would actually have been more spiritual and moving.»[41]
David Ansen of Newsweek, despite finding the ending too sentimental, praised the film as «a zippy pastiche that somehow manages to seem fresh even though it’s built entirely out of borrowed parts.»[42] Variety magazine called the film «an odd creation – at times nearly smothering in arty somberness, at others veering into good, wacky fun.»[43] Goldberg received considerable praise for her performance. In a review for The New York Times, Janet Maslin comments «Ms. Goldberg plays the character’s amazement, irritation and great gift for back talk to the hilt. This is one of those rare occasions on which the uncategorizable Ms. Goldberg has found a film role that really suits her, and she makes the most of it.»[44] Even some writers who gave negative reviews of Ghost extended praise to Goldberg’s work in the film.[45]
Accolades[edit]
| Award | Category | Nominee(s) | Result |
|---|---|---|---|
| Academy Awards[46] | Best Picture | Lisa Weinstein | Nominated |
| Best Supporting Actress | Whoopi Goldberg | Won | |
| Best Screenplay – Written Directly for the Screen | Bruce Joel Rubin | Won | |
| Best Film Editing | Walter Murch | Nominated | |
| Best Original Score | Maurice Jarre | Nominated | |
| American Cinema Editors Awards | Best Edited Feature Film | Walter Murch | Nominated |
| American Comedy Awards[47] | Funniest Supporting Actress in a Motion Picture | Whoopi Goldberg | Won |
| American Society of Cinematographers Awards | Outstanding Achievement in Cinematography in Theatrical Releases | Adam Greenberg | Nominated |
| ASCAP Film and Television Music Awards | Top Box Office Films | Maurice Jarre | Won |
| British Academy Film Awards[48] | Best Actress in a Supporting Role | Whoopi Goldberg | Won |
| Best Original Screenplay | Bruce Joel Rubin | Nominated | |
| Best Make Up Artist | Ben Nye Jr. | Nominated | |
| Best Special Visual Effects | Bruce Nicholson, John T. Van Vliet, Richard Edlund and Laura Buff | Nominated | |
| Dallas–Fort Worth Film Critics Association Awards | Best Supporting Actress | Whoopi Goldberg | Won |
| Golden Globe Awards[49] | Best Motion Picture – Musical or Comedy | Nominated | |
| Best Actor in a Motion Picture – Musical or Comedy | Patrick Swayze | Nominated | |
| Best Actress in a Motion Picture – Musical or Comedy | Demi Moore | Nominated | |
| Best Supporting Actress – Motion Picture | Whoopi Goldberg | Won | |
| Golden Reel Awards | Outstanding Achievement in Sound Editing – Dialogue and ADR for Feature Film | Lee Haxall | Nominated |
| Golden Screen Awards | Won | ||
| Hugo Awards[50] | Best Dramatic Presentation | Jerry Zucker and Bruce Joel Rubin | Nominated |
| Japan Academy Film Prize[51] | Outstanding Foreign Language Film | Nominated | |
| Kansas City Film Critics Circle Awards[52] | Best Supporting Actress | Whoopi Goldberg | Won |
| Mainichi Film Awards[53] | Best Foreign Language Film (Readers’ Choice Award) | Jerry Zucker | Won |
| NAACP Image Awards | Outstanding Supporting Actress in a Motion Picture | Whoopi Goldberg | Won |
| Nikkan Sports Film Awards[54] | Best Foreign Film | Won | |
| People’s Choice Awards | Favorite Dramatic Motion Picture | Won | |
| Sant Jordi Awards | Best Foreign Film | Jerry Zucker | Won |
| Satellite Awards[55] | Best Classic DVD | Nominated | |
| Saturn Awards | Best Fantasy Film | Won | |
| Best Actor | Patrick Swayze | Nominated | |
| Best Actress | Demi Moore | Won | |
| Best Supporting Actor | Tony Goldwyn | Nominated | |
| Best Supporting Actress | Whoopi Goldberg | Won | |
| Best Director | Jerry Zucker | Nominated | |
| Best Writing | Bruce Joel Rubin | Nominated | |
| Best Music | Maurice Jarre | Nominated | |
| Best Special Effects | Bruce Nicholson, John T. Van Vliet, Richard Edlund and Laura Buff | Nominated | |
| TV Land Awards | Favorite Character from the «Other Side» | Whoopi Goldberg | Nominated |
| Writers Guild of America Awards[56] | Best Screenplay – Written Directly for the Screen | Bruce Joel Rubin | Nominated |
| Young Artist Awards[57] | Most Entertaining Family Youth Motion Picture – Comedy/Horror | Won |
Legacy[edit]
The pottery wheel scene became widely known,[58][59] and has been cited as «one of the most iconic moments of ’90s cinema.»[60] It has also frequently been parodied,[59] such as in The Naked Gun 2½: The Smell of Fear (of which Jerry Zucker served as an executive producer; it was directed by his brother David Zucker), the short British animated film Wallace and Gromit: A Matter of Loaf and Death[61] and US TV series Two and a Half Men.[60]
The film inspired a musical stage version, Ghost: The Musical. The show had its world premiere in Manchester, UK, in March 2011[62] before transferring to London from June 2011 and having its premiere on July 19, 2011.[63] On November 13, 2010, Paramount and Shochiku released a Japanese remake of Ghost, titled Ghost: In Your Arms Again (ゴースト もういちど抱きしめたい, Gōsuto Mouichido Dakishimetai).[64] The remake stars Nanako Matsushima, South Korean actor Song Seung-heon, and veteran actress Kirin Kiki.[65] In this film, the ghost is a woman, played by Matsushima.
On January 17, 2023, it was revealed by Vanity Fair that Channing Tatum and his company, Free Association, has the rights to the film from Paramount and announced his plans to produce, and star in, a remake of the film with him playing Swayze’s role.[66]
See also[edit]
- List of ghost films
References[edit]
- ^ Kinn, Gail; Piazza, Jim (December 16, 2014). Academy Awards®: The Complete Unofficial History — Revised and Up-To-Date. Black Dog & Leventhal. ISBN 978-1-5791-2986-6.
- ^ Cieply, Michael; Easton, Nina J. (September 11, 1990). «Paramount Reels in Power Struggle After Hits, Misses». Los Angeles Times. Retrieved November 8, 2010.
- ^ «Ghost (1990)». British Board of Film Classification. Archived from the original on December 13, 2021. Retrieved December 13, 2021.
- ^ «Ghost«. Box Office Mojo. IMDb. Retrieved November 21, 2022.
- ^ a b Honeycutt, Kirk (July 13, 1990). «Director Leaves Laughs Behind to Capture Spirit of ‘Ghost’: Movies: A suspense drama about the afterlife is the last film you’d expect from Jerry Zucker, one of the crazy guys who dreamed up ‘Airplane!’«. Los Angeles Times. Retrieved November 8, 2010.
- ^ Heidenry, Margaret (July 13, 2015). «25 Years of Ghost: Oscar-Winning Screenwriter Bruce Joel Rubin Talks Patrick Swayze, Demi Moore, and Pottery-Wheel Sex». Vanity Fair.
- ^ a b c Swayze, Patrick; Niemi, Lisa (September 29, 2009). The Time of My Life. ISBN 978-1-4391-5858-6.
- ^ Mackie, Drew (July 7, 2015). «Ghost 25th Anniversary: 20 Things You Didn’t Know». People. Retrieved March 27, 2022.
- ^ Maddox, Gary (February 2, 2016). «Writer Bruce Joel Rubin says Ghost could easily have starred Nicole Kidman and Paul Hogan». The Sydney Morning Herald.
- ^ Crean, Ellen (March 13, 2007). «Swayze Tells «Ghost» Stories». CBS News.
- ^ Alter, Ethan (July 17, 2020). «‘Ghost’ at 30: How Tina Turner nearly played Whoopi Goldberg’s part in the 1990 classic». Yahoo! Entertainment.
- ^ Finn, Natalie (July 14, 2020). «30 Timeless Secrets About Ghost». E! News. Retrieved March 27, 2022.
- ^ Dick, Jeremy (October 15, 2020). «Ghost Producers Refused to Hire Whoopi Goldberg Until Patrick Swayze Stepped In». MovieWeb. Retrieved September 17, 2022.
- ^ Engel, Joel (November 17, 1991). «Radio: The Prager Prism: Dennis Prager has eight hours a week to talk on the radio about ‘the great issues of life’; so, what makes him so important?». Los Angeles Times. Archived from the original on January 29, 2020.
- ^ Krug, Kurt Anthony (July 10, 2020). «Native Detroiter who wrote ‘Ghost’ reminisces about film as it turns 30». The Detroit News.
- ^ Michele Oka Doner, retrieved September 5, 2022
- ^ Scapperotti, Dan (July 1990). «Ghost — Airplane’s Jerry Zucker directs Patrick Swayze in a metaphysical comedy / drama». Cinefantastique. 21 (1): 12. Retrieved September 1, 2017.
- ^ Dougherty, Marianne (May 26, 2015). «Feature: Remembering John Sahag, The Mad Professor of Hair». American Salon.
- ^ Clemmensen, Christian. «‘Ghost’ soundtrack review». Filmtracks.com. Retrieved August 24, 2011.
- ^ Garber, Megan (July 13, 2015). «How ‘Unchained Melody’ Broke Free». The Atlantic. Archived from the original on July 14, 2015. Retrieved March 29, 2020.
- ^ Erlewine, Stephen Thomas. «Ghost [Silver Screen Edition] — Review». All Music. Retrieved February 20, 2016.
- ^ Broeske, Pat H. (July 17, 1990). «‘Ghost’ Performing Solidly at the Box Office». Los Angeles Times. Retrieved November 8, 2010.
- ^ Broeske, Pat H. (July 25, 1990). «‘Ghost’: Sentimental Choice as Summer Hit». Los Angeles Times. Retrieved November 8, 2010.
- ^ Broeske, Pat H. (August 7, 1990). «‘Ghost’ Tops Box Office Again». Los Angeles Times. Retrieved November 8, 2010.
- ^ Easton, Nina J. (September 5, 1990). «Hollywood’s Summer of Love : Romantic ‘Ghost’ Outguns Macho Movies to Become Season’s Biggest Hit». Los Angeles Times. Retrieved November 8, 2010.
- ^ «Ghost (1990)«. Box Office Mojo. IMDb. Retrieved December 13, 2021.
- ^ «Ghost (1990)». AFI Catalog of Feature Films. American Film Institute. Retrieved February 19, 2022.
- ^ «1990 Worldwide Grosses». Box Office Mojo. Retrieved November 15, 2013.
- ^ «Ghost (1990)». Box Office Mojo. Retrieved May 31, 2016.
- ^ Swern, Phil (1995). The Guinness book of Box Office Hits. Guinness Publishing. p. 440. ISBN 0-85112-670-7.
- ^ Groves, Don (August 16, 1993). «‘Park’ leader of summer B.O. pack». Variety. p. 11.
- ^ BFI Statistical Yearbook (PDF) (2012 ed.). London: British Film Institute. 2013. pp. 22. Archived (PDF) from the original on December 28, 2013. Retrieved February 4, 2021.
- ^ «International B.O.». Variety. December 10, 1990. p. 45.
- ^ «Erratum». Variety. November 7, 1994. p. 16.
- ^ Groves, Don (December 10, 1990). «‘Ghost’ gains triumph of spirits overseas». Variety. p. 46.
- ^ a b Berman, Marc (January 6, 1992). «Rentals Reap Bulk of 1991 Vid Harvest». Variety. p. 22.
- ^ «Ghost Conjures LaserDisk Record». Daily Variety. April 5, 1991. p. 2.
- ^ «Ghost (1990)«. Rotten Tomatoes. Fandango Media. Retrieved October 10, 2021.
- ^ «Ghost (1990)«. Metacritic. Fandom, Inc. Retrieved December 13, 2021.
- ^ «Movie Title Search». Cinemascore. December 20, 2018. Archived from the original on December 20, 2018. Retrieved July 28, 2020.
- ^ Ebert, Roger (July 13, 1990). «Ghost». Chicago Sun-Times. Retrieved March 2, 2018.
- ^ «Immaterial Affections». Newsweek. Retrieved October 4, 2010.
- ^ «Ghost». Variety. December 31, 1989. Retrieved October 4, 2010.
- ^ Maslin, Janet (July 13, 1990). «Ghost (1990)». The New York Times. Retrieved March 19, 2012.
- ^ Podgorski, Daniel (October 15, 2015). «A Ghastly Script: The Mediocrity of Jerry Zucker’s Romantic Classic, Ghost». The Gemsbok. Your Thursday Theater. Retrieved February 20, 2016.
- ^ «The 63rd Academy Awards (1991) Nominees and Winners». AMPAS. Archived from the original on October 20, 2014. Retrieved October 20, 2011.
- ^ «1991 American Comedy Awards». Mubi. Retrieved July 26, 2021.
- ^ «BAFTA Awards: Film in 1991». BAFTA. 1991. Retrieved September 16, 2016.
- ^ «Ghost – Golden Globes». HFPA. Retrieved July 28, 2021.
- ^ «1991 Hugo Awards». Hugo Awards. July 26, 2007. Retrieved July 28, 2021.
- ^ «The 14th Japan Academy Film Prize Awards». Japan Academy Film Prize. Retrieved July 28, 2021.
- ^ «KCFCC Award Winners – 1990-99». kcfcc.org. December 14, 2013. Retrieved July 28, 2021.
- ^ «The 45th Japan Film Awards». Mainichi Film Awards. Retrieved July 28, 2021.
- ^ «Nikkan Sports Film Awards: Past winners and winners». Nikkan Sports Film Award. Retrieved July 28, 2021.
- ^ «2007 Satellite Awards». International Press Academy. Retrieved July 28, 2021.
- ^ «Awards Winners». Writers Guild of America. Archived from the original on December 5, 2012. Retrieved June 6, 2010.
- ^ «12th Annual Youth In Film Awards». Young Artist Award. Archived from the original on July 16, 2015. Retrieved March 31, 2011.
- ^ a b Cox, Gordon (March 6, 2009). «‘Ghost’ getting musical treatment». Variety. Archived from the original on March 5, 2016. Retrieved March 30, 2020.
- ^ a b «Ghost: 7 parodies de la scène légendaire de la poterie» [Ghost: 7 parodies of the famous pottery scene]. Première (in French). December 12, 2015. Archived from the original on October 7, 2018. Retrieved March 30, 2020.
- ^ a b Hood, Bryan (February 28, 2014). «Kutcher parodies Demi’s iconic ‘Ghost’ pottery scene». New York Post. Archived from the original on October 10, 2015. Retrieved March 30, 2020.
- ^ Simon, Ben (December 18, 2008). «Wallace & Gromit: A Matter Of Loaf And Death». Animated Views. Archived from the original on November 4, 2010. Retrieved March 30, 2020.
- ^ «GHOST The Musical – About — Opening in Manchester 28 March 2011». GHOST The Musical.com. Archived from the original on January 18, 2011. Retrieved January 9, 2011.
- ^ «Ghost The Musical announces Manchester dates pre-West End». The Stage. Retrieved November 8, 2010.
- ^ Shiso (November 14, 2010). «Japanese Remake of Ghost to Be Released in 5 Different Countries». Tokyohive. Retrieved March 19, 2011.
- ^ Fischer, Russ (June 9, 2010). «Paramount to Remake Ghost in Japan». /Film. Retrieved March 19, 2011.
- ^ Grobar, Matt (January 17, 2023). «Channing Tatum Reveals He Has Rights To Patrick Swayze Classic ‘Ghost’, Plans To Produce & Star In Remake». Deadline Hollywood. Retrieved January 17, 2023.
External links[edit]
- Ghost at IMDb
- Ghost at the TCM Movie Database
- Ghost at AllMovie
- Ghost at Rotten Tomatoes
- Ghost at Box Office Mojo
Доп. материалы
Привидение. Сценарий
13 апреля 2011 г. в 15:44
СценарииКомментарии: 0
Привидение [1990] (фильм)
«GHOST»
Screenplay by Bruce Joel Rubin SHOOTING DRAFT
Скачать: Файл ZIP
Отрывок:
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.
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Сегодня исполняется 30 лет «Привидению» Джерри Цукера – фильму о любви настолько сильной, что она пошла наперекор устоявшемуся “пока смерть не разлучит нас” и подарила возлюбленным ещё одну, прощальную встречу. Над картиной рыдала – без преувеличения – вся планета: «Привидение» стало невероятным кассовым хитом и было широко признано в профессиональной среде, собрав букет наград. Что, впрочем, не отменяет череды препятствий на пути к статусу культовой картины. В честь юбилея фильма вспоминаем, как была сделана и чем интересна одна из самых пронзительных историй в истории кино.
Фильм снял автор культовых кинопародий – сценарист до последнего отвергал его кандидатуру.
Сценарист фильма Брюс Джоэл Рубин подготовил первый вариант трогательной истории о призраке, вставшем на защиту своей вдовы, ещё в ’84-м году. Источником вдохновения для автора стал эпизод постановки «Гамлета», в котором призрак убитого короля требует от сына отомстить за свою смерть. Готовый сценарий получился довольно шекспировским – серьёзным и драматичным. Сценарист мечтал, что его постановкой займётся не менее серьёзный режиссёр вроде Стэнли Кубрика или Милоша Формана. Неожиданно для Рубина внимание на сценарий обратил Джерри Цукер – автор культовых кинопародий «Голый пистолет», «Аэроплан!» и «Совершенно секретно». Рубин опасался, что его историю превратят в фарс, и до последнего сопротивлялся, но после личной встречи с Цукером убедился, что сценарий в безопасности.
Фильмы «Голый пистолет» и «Совершенно секретно» сделали Цукера звездой кинопародий
Вопреки опасениям, Цукер поставил задачу сделать сценарий идеальным и в следующие месяцы он помог написать 19 вариантов истории, прежде чем исходник превратился в итоговый сценарий с чёткой структурой. Разумеется, Цукер привнёс в сценарий юмор, но сделал это максимально аккуратно. Например, именно он предложил сделать Оду Мэй Браун – сыгранную Вупи Голдберг – не настоящим медиумом, а шарлатанкой, которая неожиданно для себя начинает слышать голос призрака. Такой подход, по словам Цукера, позволил столкнуть мистическую и пугающую стороны фильма с его романтичной и смешной стороной: идеальный рецепт в духе американских горок, когда зрителю поочерёдно страшно и весело.
Но несмотря на креативную подготовительную работу, актёры смотрели на проект с пренебрежением.
И вот почему.
Фильм никто не воспринимал всерьёз – актёры отказывались от роли сами и отговаривали от участия других
После завершения работы над сценарием, авторы «Привидения» начали поиск исполнителя главной роли и неожиданно столкнулись с проблемой – в их фильме никто не хотел сниматься. Все популярные актёры конца ’80-х – от уже устоявшихся звёзд до совсем ещё молодых актёров – не воспринимали фильм всерьёз. Предложение исполнить главную роль получил Кевин Бейкон, Алек Болдуин, Николас Кейдж, Кевин Костнер, Том Круз, Джонни Депп, Дэвид Духовны, Мэл Гибсон, Харрисон Форд, Том Хэнкс, Кевин Клайн, Деннис Куэйд, Микки Рурк и Джон Траволта, но никто из них предложение не принял. Среди кандидатов также был Брюс Уиллис, но и он посчитал роль призрака не самой лучшей идеей. Кроме того, Уиллис – будучи мужем Деми Мур – активно уговаривал жену отказаться от роли. К счастью, безуспешно.
Николас Кейдж и Джонни Депп отказались от главной роли
Как же в фильме появился Патрик Суэйзи?
С самого начала на его кандидатуре настаивал сценарист Брюс Джоэл Рубин – его покорило интервью, в котором Патрик Суэйзи говорил о своём почившем отце и, к большому удивлению Рубина, неожиданно расплакался. Несмотря на недавний успех романтической ленты «Грязные танцы», Суйэзи слыл голливудским мачо, далёким от сантиментов. Выход в 1989-м году сразу двух криминальных экшен-драм – «Придорожная закусочная» и «Ближайший родственник» – ещё больше укрепили его в этом статусе, но Рубин настаивал на своей правоте и добился для Суэйзи прослушивания – позже актёр признался, что и сам мечтал сыграть не свойственную для своего амплуа роль. Джерри Цукер был уверен в провале Суэйзи, но кинопробы покорили режиссёра так сильно, что Патрик незамедлительно получил роль.
Съёмки стартовали летом ’89-го, а на широкие экраны «Привидение» вышло ровно через год. Но в прессе его релиз встретили в штыки.
Фильм громили видные кинокритики
Роджер Эберт – один из столпов журналистской кинокритики – прошёлся по фильму катком, “влепив” ему 2,5 звёздочки из 4. С его слов, «Привидение» не предлагает ровным счётом ничего в сравнении с другими схожими картинами. Идею о том, что чью-то душу, стоящую у порога вечности, будут беспокоить какие-то незаконченные земные дела, он поднял на смех. Воплощение тёмных сил Эберт назвал нелепым, экшен – натужным. Также критик разгромил сцену поцелуя героев Деми Мур и Патрика Суэйзи, который в тот момент буквально находился в теле женщины-медиума: по словам Эберта, зрителю в этот момент показали героя Суэйзи, тогда как надо было показать целующихся Мур и Вупи Голдберг – по его мнению, такой подход сделал бы сцену более чувственной и правдоподобной.
Критики всерьёз считали, что поцелуй Мур и Вупи Голдберг смотрелся бы лучше
Крупные издания не отставали: обозреватель Newsweek назвал ленту “бодрым попурри”, в которое авторы натаскали всего понемногу. Variety отозвалось о фильме, как о смеси удушающей мрачности и вздорного веселья.
К счастью для «Привидения», летом ’90-го года о таких отзывах знали только зрители с оформленной подпиской на модный глянец, поэтому прохладные ревю нисколько не остудили их желание увидеть фильм на широком экране.
И было это желание столь горячим, что «Привидение» возглавляло американский кинопрокат на протяжении 4-х недель!
Фильм стал неожиданным хитом в прокате
При бюджете в $22 млн., «Привидение» стал огромным хитом – фильм Цукера/Рубина собрал в одних только США 10 своих бюджетов, оставив далеко позади «Вспомнить всё» и второй «Крепкий орешек», у которых сборы едва достигли половины сборов «Привидения».
Джерри Цукер, Патрик Суэйзи и Деми Мур на съёмках фильма
Ещё $300мл. картина собрала в остальных странах, что не только сделало её самой коммерчески успешной по итогам года, но и вознесло на третье место в списке самых кассовых лент в истории. Без учёта инфляции, по состоянию на 1990-й год впереди были только «Инопланетянин» Спилберга и «Новая надежда» Лукаса.
Вслед за зрителями, своё признание фильму выразило профессиональное сообщество.
Фильм собрал колоссальное число номинаций на всевозможные кинопремии по обе стороны океана
Фантастика, хоррор и другие “несерьёзные” жанры очень редко попадает в поле зрения главных кинопремий. Например, «Назад в будущее», почитаемый ныне в числе значимых явлений Голливуда ’80-х, в год выхода получил только один Оскар – за монтаж звука! – а Золотым Глобусом и Бафта был проигнорирован полностью.
«Привидение» стало здесь приятным исключением.
Лента удостоилась двух Оскаров, трёх премий Сатурн, премий Бафта, Золотой глобус, People’s Choice Awards, American Comedy Awards, Golden Screen Awards. Всего в копилке фильма оказалась 42 номинации и 19 побед.
Деми Мур, Патрик Суэйзи и Вупи Голдберг. Промо-фото к фильму
Безусловный триумфатор сезона наград – Вупи Голдберг. Она стала первой актрисой в истории Голливуда, получившей за свою второстепенную роль премии Оскар, Золотой глобус и Бафта. Примечательно, что роль медиума Оды Мэй Браун писалась не под неё: первоначальным вариантом была 33-летняя Джеки Хэрри. Но на кандидатуре Голдберг настоял Патрик Суэйзи – страстный поклонник её комедийного таланта.
Фильм стал хитом на VHS и увеличил сборы на 13%. В магазинах видеопроката фильм арендовали чаще других весь 1991-й год
До наступления эпохи Netflix или Video-on-Demand – т.е. Видео по запросу – единственным вариантом посмотреть фильм вне кинотеатра была покупка/аренда физического носителя – лазерного диска или видеокассеты. На Западе уже в начале ’80-х этот сегмент рынка был развит достаточно сильно во многом благодаря успеху ленты Стивена Спилберга «Инопланетянин», кассеты с которой разлетались быстрее горячих пирогов и принесли студии дополнительные $250 млн (!).
Видеокассета с фильмом включала эксклюзивное интервью с актёрами
После завершения кинопроката, по уже проторенной Спилбергом дорожке пошли авторы «Привидения» и закрепили коммерческий успех своего детища выпуском фильма на CD и VHS. Взять «Привидение» напрокат можно было с весны ’91-го, а купить – с осени.
Экспансия на видеорынок принесла студии дополнительные $65 млн., что увеличило сборы на немалые 13%.
Фильм сделал Патрика Суэйзи частью хип-хоп культуры
Иногда судьба произведения складывается весьма причудливо. Постановщик сиквела «Кошмара на улице Вязов», например, с большим удивлением обнаружил, что его работа с годами стала иконой лгбт-культуры, хотя ничего такого он – по крайней мере, нарочно – в фильм не вкладывал.
Похожая история случилась и с «Привидением».
Патрик Суэйзи в клипе «Murder Reigns» рэпера Ja Rule
Есть в английском языке сленговое выражение “I’m Ghost”, которое дословно переводится как “Я привидение”, но используется в значении “Я сваливаю”. Его частенько использовали в своих песнях хип-хоп исполнители, но популярность фильма Джерри Цукера неожиданно внесла кое-какие коррективы и вместо “I’m Ghost” исполнители стали активно заменять на “I’m Swayze” и его производные, в том числе на имя самого Патрика Суэйзи. Едва ли не главным популяризатором модного нововведения был Notorius B.I.G. – друг Паффа Дэдди и один из самых известных рэперов ’90-х.
В 2002-м году Патрик Суэйзи снялся в видеоклипе на песню “Murder Reigns” хип-хоп исполнителя Ja Rule, что стало неожиданным, но логичным продолжением этой забавной истории.
У фильма есть 2 ремейка
До любого популярного кинопродукта прошлого рано или поздно добираются продюсеры и запускают в производство ремейк или сиквел. «Нечто» Карпентера, «Муха» Кроненберга, «Лицо со шрамом» Де Пальмы – всё это ремейки, правда, технически новаторские и глубоко переосмысленные, что и делает их особенными. Спустя 20-30 лет после релиза, кинопром закономерно выходит на новый виток производства ремейков – подрастает новое поколение зрителей, которым можно “продать” новый старый фильм. Так появляются «Конан» (2011), «Вспомнить всё» (2012), «Робокоп» (2014) и «Охотницы за привидениями» (2016), которые не становятся кассовыми хитами, но позволяют авторам новодела заработать на добром имени оригинала.
К большой радости киноманов, есть вещи почти сакральные – вроде «Назад в будущее» – и «Привидение», похоже, тоже относится к их числу: неувядающая популярность оригинальной законченной истории и трагичная судьба Патрика Суэйзи заставляют приличных людей – по крайней мере, в это хочется верить – держаться подальше от идеи снять ремейк.
Но это в Голливуде. А как дела обстоят в других частях света?
Кадр из японо-корейского ремейка 2010-го года
Совершенно неожиданно оказалось, что у «Привидения» есть сразу 2 ремейка. Один из них вышел по горячим следам уже в 1991-м году и был снят в Болливуде. Сюжет приблизительно тот же, но адаптированный под индийские реалии. Из ярких отличий – убийцей в этой версии оказывается не коллега и друг, а родной брат главного героя, который хотел остаться единственным наследником поместья их общего дяди. На 20-ю годовщину со дня релиза вышел второй, японо-корейский ремейк «Привидения». Фильм получил подзаголовок «Хочу снова тебя обнять» и его авторы позволили себе гендерсвап – привидением в этой версии истории становится не мужчина, а женщина.
Фильм стал частью поп-культуры
Подобно другим феноменам большого кино, «Привидение» в том или ином виде быстро проникло в нашу повседневность. Яркие элементы фильма стали очень узнаваемыми и научились жить вне контекста. Образ Суэйзи в кумачовой рубашке, стрижка Дэми Мур (которую придумал известный нью-йоркский парикмахер Джон Сахаг), пронзительная заглавная музыкальная тема, сочинённая Морисом Жарром на основе «Unchained Melody» Алекса Норта – всё это визитные карточки, по которым мы легко узнаём фильм.
И едва ли не главной такой “визиткой” стала сцена с гончарным кругом.
Издание New York Times назвало её в числе самых памятных моментов в кино ’90-х, а отсылки к неё можно найти в кино, популярных телешоу, вроде «Два с половиной человека» и даже семейных мультфильмах, вроде «Уоллес и Громит: дело о хлебе и смерти».
Интересна история появления этой сцены.
Сцена с гончарным кругом появилась волей случая
Поначалу героиня Дэми Мур должна была работать в мастерской с гранитом, а гончарный круг возник в сценарии почти случайно. Цукер справедливо решил, что зубило в кадре идёт вразрез нежным отношениям героев, поэтому гранит заменили на пластичную глину. Чтобы смотреться в кадре максимально убедительно, Мур брала уроки гончарного мастерства.
Результат в каких-то комментариях не нуждается. Добавлю лишь, что сам Патрик Суэйзи считал сцену самым чувственным, что с ним когда-либо случалось на съёмочной площадке.
Вместо послесловия
Патрика Суэйзи не стало в сентябре 2009-го: одной из ярчайших звёзд поколения было всего 57 и столь ранний уход актёра из жизни, естественно, сильно отразился на восприятии его роли в фильме «Привидение». Смотреть, как душа героя прощается со своей любимой и растворяется в лучах яркого света, почти невозможно без щемящей грусти – каждый раз глаза на мокром месте.
Но чтобы не завершать статью на минорной ноте – расскажу про случай, который немного гиперболизирует ситуацию и переворачивает её с ног на голову – что, в конце концов, как не ироничное отношение и смех помогают прогнать печаль?
Когда «Привидение» показывали в мексиканском городе Монтеррей, один из кинотеатров вручал каждой посетительнице сеанса конверт, который украшала надпись “Sólo para mujeres”, т.е. “Только для женщин”. Внутри такого конверта лежал платок как идеальное послание администрации кинотеатра: расставаться больно, но плакать – это нормально.
И почему-то есть железная уверенность, что уже на следующий день этот кинотеатр в спешке заказывал конверты с надписью “Sólo para hombres”. По крайней мере, я бы от такого конверта точно не отказался.
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А Брюс Уиллис все равно отказался в нем сниматься
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В июле исполняется 30 лет со дня выхода на экраны мистической мелодрамы «Привидение». Картина стала культовой и лидером по кассовым сборам в 1990 году. В Мексике зрительницам даже выдавали в кинотеатрах платки, чтобы вытирать слезы. Успех стал большой неожиданностью даже для ее создателей.
Месть мертвых
По признанию сценариста Брюса Рубина, идею сюжета он почерпнул у Шекспира. В трагедии «Гамлет» отец принца тоже возвращается с того света в виде тени, чтобы отомстить своим убийцам. А развил идею буддист Рубин благодаря тибетской «Книге мертвых». Агент Брюса отказался даже пытаться продать сценарий — считал, что «истории о призраках никому не интересны».
Первый вариант сценария Рубин написал еще в 1984 году.
Заставила жена
Брюс Рубин мечтал, чтобы фильм снимал маститый режиссер. Но студия Paramount отдала его комедиографу Джерри Цукеру. На его послужном счету уже были две успешные картины — «Аэроплан!» и «Безжалостные люди».
Цукер оказался весьма требователен и забросил сценарий куда подальше. К счастью, его прочитала жена Джерри и заставила мужа взяться за работу. Рубин был не на шутку обижен выбором киностудии. Он считал, что Джерри превратит его глубокую историю в дешевый балаган. «Когда мне сказали, что будет снимать парень, снявший «Аэроплан!», я заплакал, — вспоминал бедный Рубин. Сценарист ошибся: режиссер перевел сюжетные линии с криминальных разборок на любовные отношения и сделал события более интригующими. В итоге первоначальный сценарий подвергся 20 редакциям.
В первую очередь авторы делали ставку на женщин, поэтому демонстрировали полуобнаженное мужское тело, когда это было возможно.
Трудный выбор
Исполнителя главной роли предложил сценарист. Рубин увидел Суэйзи по ТВ, где тот со слезами на глазах рассказывал о смерти в 1982 году своего отца. Брюс решил, что такой и нужен: мужественный, но сентиментальный, симпатичный и с телом танцора — Патрик к тому времени успел сняться в мелодраме «Грязные танцы». Рубин вместе с Цукером пошли смотреть боевик «Дом у дороги», где Суэйзи изображал провинциального вышибалу. Выходя из кинотеатра, режиссер бросил: «Только через мой труп!»
Однако согласился устроить пробы. Патрик заставил расчувствоваться одного из продюсеров картины — Лайзу Вайнштейн и получил роль. По признанию Суэйзи, эта роль стала самой сложной в его карьере, так как в большинстве сцен он лишь сторонний наблюдатель.
Кроме того, ему трудно давались любовные сцены с Деми Мур. В период съемок он старался завести ребенка с женой — актрисой Лизой Ниеми и представлял на месте партнерши по фильму свою благоверную.
На признания в любви герой Суэйзи всегда отвечал героине Мур: «Взаимно». Как делал и сам Рубин в старших классах.
Плач по команде
На роль главной героини претендовали многие. Цукеру понравились пробы Николь Кидман, но австралийка в то время была мало известна в США. В итоге роль получила Деми Мур — тогдашняя жена Брюса Уиллиса. Режиссера подкупило умение актрисы плакать по его команде. «Вау, это какая-то адская смесь. Это будет либо что-то потрясающее, либо полный провал», — делилась Деми позднее своими сомнениями. Съемки приходилось часто прерывать, так как Мур страдала от болезни почек и то и дело отпрашивалась в туалет. До «Привидения» она сыграла в 17 фильмах, а в начале 90-х стала первой актрисой с гонораром $10 млн. За «Привидение» она получила 750 тыс.
Добрый друг
Поиски актрисы на роль медиума оказались самым сложным. Ее хотели сыграть буквально все чернокожие женщины Голливуда, а Цукер видел в своей картине поп-звезду Тину Тернер или телезвезду Опру Уинфри. Кандидатуру Вупи Голдберг даже не рассматривали, так как режиссер считал, что та превратит мелодраму в примитивный фарс. Утверждена она была лишь перед самым началом съемок, когда все убедились, насколько тонко она сочетает юмор и драматизм. А больше всех настаивал на Вупи ее добрый друг Суэйзи. За роль медиума Голдберг удостоилась «Оскара» в номинации «Лучшая актриса второго плана», «Золотого глобуса» и BAFTA. Выход картины на экраны совпал с разводом с оператором и фотографом Дэвидом Классеном.
Роли по блату
Главного злодея сыграл Тони Голдуин, родственник Сэмюэла Голдуина — основателя студий Paramount и MGM. А пристроила мужа в картину художник-постановщик Джейн Маски. Цукер оценил, что Тони выглядит светски и при этом в нем чувствуется затаенная угроза. Персонаж получил фамилию Брюнер — так звали нелюбимую училку Цукера. До «Привидения» Тони засветился лишь в трех фильмах. Зато после снялся в 39 и 16 фильмов и сериалов поставил как режиссер.
Старенькую монахиню сыграла мать Рубина, а в эпизодах заняты близкие Цукера. «Я тут главный, поэтому моей родни в фильме больше!» — пошутил режиссер.
Цитата
Роджер Эберт, крупнейший американский кинокритик:
Воплощение темных сил — нелепое, экшен — натужный, фильм смешон и не предлагает ничего нового.
Злые духи
Три группы занимались спецэффектами. Использовали комбинированные съемки, цветовые манипуляции и компьютерную графику. Нарисованные аниматорами демоны накладывались на кадры каскадеров на роликах. Рубин был недоволен, что злых духов показали с руками и лицами. По его мнению, они должны быть бесформенными тенями. Жуткие звуки, которые издают в фильме призраки, — это прокрученная в обратном порядке запись плача младенца.
Погоню снимали в морозном Нью-Йорке. Изо рта у героев идет пар. Так как Суэйзи в этот момент был призраком, он был вынужден держать во рту лед, чтобы не дышать.
Каприз Деми
Культовую впоследствии короткую стрижку Деми Мур сделал модный парикмахер Джон Сахаг. Пробы актриса проходила с длинными волосами. Увидев ее с новой прической, Цукер страшно разозлился. Однако потом признавал, что образу героини такая стрижка идеально подошла.
Лучше хором
Музыку написал Морис Жарр — отец Жан-Мишеля Жарра. Финальная песня — это композиция Unchained Melody. Написана она была для фильма 1955 года «Спущенные с цепи». Ее исполняли, в частности, Элвис Пресли, Рой Орбисон и U2. Для «Привидения» ее записал дуэт The Righteous Brothers. «Одинокие реки вздыхают: жди меня, я вернусь, жди меня», — вселяет надежду светлый конец фильма.
Прикинь!
- У американского «Привидения» есть индийский ремейк 1991 года (тут злодей не коллега, а брат главного героя) и японо-корейский 2000-го (здесь привидение — женщина).
- В базе данных Голливуда — около 150 фильмов о привидениях, в том числе такие популярные, как «Охотники за привидениями», «Звонок» и «Шестое чувство».
- «Привидение» было номинировано на пять «Оскаров». Взяло два: «За лучший оригинальный сценарий» и «Лучшая актриса второго плана».
