GHOST
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The Structure of GHOST
A study of love and trust in amber and blue.
Credits
Swaying camera
Diffused lighting
Dusty images
Bright lights filtering through slits of wood.
Inductively designed shots
Darkness
[Relaxation images and movements of abstract forms. Curiosity. What's going
on?]
Suddenly the ceiling is smashed.
[A shocking image and sound the jolts the audience and forces them to pay
attention. ]
INT: APARTMENT: DAY
"Oh, this is great," says Molly. "There's seven or eight feet up there."
"Eighty years of dust," says Sam.
Three young people are working together as they smash down the walls with a
sledge hammer. "l, 2, 3!" says Molly as they work in unison.
[Images of trust and friendship as the three people work together breaking
down walls. Concretize a metaphor. ]
Some cable tied together in the form of a hangman's noose swings out towards
Sam. He grabs it then lets it go. It swings towards Molly. "Watch it," says
Sam.
[First image of "death" which will effect Sam, but from which he will try to
save Molly. ]
"I think you can sell this tomorrow and double your money," says Carl.
"Carl, you're so obsessed," replies Molly.
[Characterization of Carl as being obsessed with money.]
Sam stands in front of a small "guillotine like" structure standing on a
table. This is another image foreshadowing his death. Sam finds a glass jar
that contains a coin. "An Indian head penny. 1898."
"It's a good omen," says ???
[ The coin becomes an important prop which later will be used to express the
emotional state of Molly. Now it represents "good omen", later it will
represent "dashed hopes". ]
Carl stands behind Sam and Molly, with a sledgehammer on his shoulder, and
watches as they embrace.
[This image foreshadows the destruction that he will wreak on their
relationship.]
EXT: WALL STREET: DAY
An establishing shot with people walking to work. Carl and Sam walk up from
a subway entrance as they discuss their morning business. Sam is concerned
about pitching a financial deal to some Japanese clients. Carl comforts him
by telling Sam that he is going to be great. Carl puts his hands on Sam's
shoulder; a gesture of supportive friendship. Carl then compliments Sam on
his suspenders. Sam tells him that Molly gave them to him.
[This establishes Carl as a supportive friend, and worthy of trust in the
mind of the audience.]
Carl sees a red Testa Rosa parked at the curb. He admires it.
"I think you ought to pay off your mustang first," replies Sam.
[Reconfirms Carl's interest in money and expensive things.]
INT: ELEVATOR: DAY
Sam and Carl enter an elevator filled with business people. Carl plays a
joke on the passengers, with the support of Sam. Carl coughs and talks about
an infection that he has. He comments that his doctor said he shouldn't be
out because it is a highly contagious disease. He shouldn't touch people. He
then touches the man in front of him on the shoulder. Sam and Carl discuss
the rash and the fact that it is spreading to Carl's genitals. Everyone in
the elevator becomes nervous; afraid of catching the disease.
[This was a sick practical joke that made everyone uncomfortable. It reveals
Carl's sense of humor and his lack of concern for the feelings of other
people. It also establishes a comradeship between Carl and Sam, because Sam
plays the straight man to Carl's antics. ]
INT: OFFICE: DAY
Carl and Sam enter the office. Sam flirts with Susan, one of his female
coworkers. The office is decorated with blue carpets. Sam's secretary brings
him his morning coffee, and tells him that his Japanese clients have arrived
early. he also needs to transfer $900,000 to Andy Dillon in Albany by 10:00
that morning. Sam ask,, Carl to help him to transfer the funds because of
the time crunch. Carl agrees to help, but he'll need Sam's computer access
code. Sam gives him the code and says, "Discretion, right?"
"Right," replies Carl.
[ This establishes Sam's trust in Carl. The audience shares this point of
view based upon what they have seen of Sam and Carl's relationship. ]
EXT: APARTMENT: DAY
An angel is being lifted up from the street into the window to Molly and
Sam's new apartment. It is a wooden guardian angel with it's hands clasped
to its chest, with a woeful look on its face. The workers can't pull it into
the window because it is out a little too far. Molly stands on the window
ledge and tries to reach the angel. Sam enters the room carrying some boxes.
[Tension is generated by the jeopardy that Molly has placed herself into.
She could slip and fall to the pavement below. ]
Sam grabs Molly from behind and says "Save your life!" as the angel watches
over them.
[Again, issues of life and death and Sam saving Molly enter into the story.]
Sam jumps up onto the window ledge, swings out, kicks the angel, then pulls
it into the apartment. Carl enters and helps them bring the angel in through
the window. A mover walks into the apartment carrying a full-length mirror.
Within the mirror is the image of Carl looking up at the angel, who is
dismayed. The image looks as if the angel were praying for Carl's soul.
Carl admires the new apartment. Molly shows him her artwork, a wooden
sculpture, which is so different in form and design from the angel. This
makes the angel even more incongruous in this environment.
Molly notices a leather arm chair in the apartment, and asks Sam why he
brought it. "It goes with me," says Sam.
"We'll paint it," replies Molly.
"aint it?" answers Sam.
[Their playful banter reinforces their loving relationship]
INT: BEDROOM: NIGHT
[Amber and blue color patterns. ]
Molly and Sam lie together in bed with the covers over them. Sam is reading
a book. "You okay? What's the matter," asks Molly.
"I don't want the bubble to burst. When ever anything good happens in my
life, I'm just afraid I'm going to lose it," says Sam.
[ Sam expresses his fears and vulnerability, which generates empathy for
him. ]
"I love you. I really love you," says Molly.
"Ditto," says Sam.
As Molly leans over to kiss Sam she accidentally activates the remote
control device which turns on the TV. A news broadcast about a recent
airplane crash is being televised.
"I should cancel my L.A. trip. These things always happen in threes," says
Sam. "Don't watch that, Sam. Get serious. besides, you lead a charmed life,"
answers Molly. "Yeah, so did they. Amazing. Just like that. Blackout," says
Sam, as he snaps his fingers.
[Jeopardy is introduced in the scene to maintain tension. The idea of an
immediate unforeseen death is also introduced to foreshadow Sam's murder.]
INT: APARTMENT: NIGHT
Molly is working on her pottery as the Righteous Brothers record, "Oh My
Love...... starts playing on the jukebox that they have in their apartment.
Molly is molding a phallic sculpture when Sam enters. He sits down behind
Molly, puts his arms around her, and causes her to destroy the clay
sculpture. Together, hands i n hand, they begin to rebuild the phallic clay
image. They embrace and proceed to make love.
[Theme of yearning for a lost love is introduced in the music.] [Sensual and
pleasure enticing images are shown to the audience which generates empathy
for Molly and Sam. We like people with whom we share pleasurable
experiences.]
EX'T: WAILL STREET: DAY
Establishing shot.
INT: OFFICE: DAY
Sam is working on his computer as he attempts to analyze his accounts. He is
frustrated because the numbers don't add up. He has a puzzled expression on
his face as Carl enters the room. "Mac-code doesn't work," says Carl with a
concerned look on his face. "I changed it," says Sam. "Can you keep a
secret?"
"Sure."
"There's too much money in these accounts," says Sam.
"That's impossible," answers Carl.
Carl offers to solve the problem.
"No, no, that's okay. It's like a vendetta now," responds Sam.
Carl becomes afraid, probably triggered by the word "vendetta".
"Listen, I was wondering, what are you and Molly doing tonight?"
"The theater. She wants to see MacBeth. I think she likes the guys in
tights, personally. You want to go?"
"No," answers Carl, but I want a full report in the morning."
EXT: THEATER DISTRICT: NIGHT
Sam and Molly, arm in arm, walk across a street. Sam tells her that he liked
the show, and she said she could tell by the way he snored during the
performance. Molly is an artist on the verge of success. Two of her art
pieces will be displayed in a gallery that will be reviewed by the New York
Times.
"It shouldn't matter what anyone else thinks, just what I think," says Sam.
"I'm going to marry you, Sam," says Molly.
"I've been thinking about it a lot. We should just do it."
"You never wanted to talk about it.?"
"Do you love me, Sam?"
"What do you think?"
"Why don't you ever say it?"
"I say it all the time."
"No you don't. You say 'Ditto'. And that's not the same."
"eople say i love you all the time. It doesn't mean anything."
"You know, sometimes you need to hear it. I need to here it."
[At the peak of an intensely private emotional experience a threatening
stranger intruders. This generates enmity in the audience for this
character.]
A man comes out from the alley and follows Sam and Molly.
"What do you want?" asks Sam.
"Your wallet," says Willy as he points a gun in Sam's face.
"Sam just give it to him," says Molly. Sam and Willy scuffle, Molly gets
involves and Willy slaps her. Sam and Willy then fight and the gain goes
off.
Molly screams, "Somebody help us!"
Willy runs down the street and Sam chases after him.
[Emotionally the audience is relieved to see Sam escape from harm. This
increased positive feeling is then transferred to increased negative
feelings (fear, depression, sadness) once they realize that Sam has been
Murdered. ]
Sam turns and walks back towards Molly. A concerned expression comes across
his face. The audience infers that perhaps Molly has been wounded. Sam runs
towards her. He reaches her, then looks down to see Molly holding his
bleeding body. There is blood all over her hand
"Somebody, somebody help us," screams Molly.
[This is the inciting event: the Murder of Sam.]
Sam tries to touch the face of his bleeding body, but his hand passes
through it. Sam reacts with shock and horror. Two men run towards Molly.
INT: BEDROOM: NIGHT
Sam wakes up in bed. He is sweating. He calls out for Molly. He sees a
covered body in the bed next to him. he pulls off the sheet to reveal the
wooden angel lying next to him. He screams out in terror.
The wooden angel falls from the window of the apartment and breaks apart on
the street below.
[This image expresses the destruction of the guardian angel. Sam plays this
function for the rest of the film. ]
Sam turns back to the bed to see Molly looking up at him.
"What's happening?" asks Sam.
"Is he breathing?" asks Molly.
Sam turns around to see a bright white light over his shoulder.
EX'T: STREET: NIGHT
Sam is back on the street where he was shot. He looks up into the sky, then
back down to Molly on the street holding his body. Beams of white light in a
bluish haze float down from the sky towards him.
Molly and two men are trying to revive Sam. He turns back to look up at the
light beams. "Sam, don't you leave me, Sam. Hold on!" shouts Molly.
[Sam makes a decision to remain with Molly.]
Sam turns away from the beams of light and runs back towards Molly. The
beams of light disappear. Police sirens are heard as a police car turns the
corner. Sam runs back towards Molly and his body.
EXT: STREET: NIGHT
An ambulance races down the street. this is a transition scene.
INT: EMERGENCY ROOM: NIGHT
The camera focuses on the light over the emergency table. A doctor, dressed
in blue and white, leads Molly away from the emergency room.
She is in shock. Sam follows them out of the room. he is confused. An
attendant wheels Sam's body, covered with a sheet, out of the emergency
room. Policemen lead Molly away for questioning.
Sam sits down in a chair next to his body. An old man in a red checkered
shirt approaches Sam. "So, what happened to you?"
"What?"
"You're new here. I can tell. Relax. Whole new ball of wax.," says the old
man.
[Exposition scene. The old man will convey information necessary for the
audience to understand what has occurred. ]
The old man is waiting for his wife who is in the cardiac wing fighting
death. He then sticks his face under the sheet covering Sam's body.
"Shot, huh? That'll do it every time," says the old man. "The doors ain't so
bad as they seem. You'll catch on."
They watch some doctors try to save a man in the emergency room.
"He ain't going to make it," says the old man.
Beams of whitish-blue light shimmer down into the emergency room. "Lucky
bastard. It could have been the other ones."
Sam watches as the spirit of the dead man leaves his body. "Who are you,"
Sam asks, but he old man is gone.
A medical attendant comes takes the cart with Sam's body on it and starts to
push it down the hallway. Sam steps in front of him to try to block him, but
the attendant pushes the body right through Sam.
"Oh God, help me," cries out Sam.
EXT: GRAVEYARD: DAY
A priest is saying some words over the body of Sam Wheat, as Sam walks among
the mourners. He sees Molly, who is grieving. Carl has his hand on her
shoulder. In the distance Sam sees a young female ghost dressed in blue. She
waves to him. He watches her as she walks through a tombstone.
INT: APARTMENT: DAY
The room is filled wife people mourning Sam.
INT: APARTMENT: DAY
Molly works at a pottery urn, but the city form collapses in her hands.
[This reminds the audience of the scene in which Molly and Sam made love.
This increases the audience empathy for her, for is previously they
vicariously shared her pleasure, now they share her sorrow. ]
Sam sits in the corner as he listens to Molly speak to herself "I took your
shirts in today. It's like I can still feel you."
"I'm here, Molly," says Sam.
The cat hears Sam's voice and screeches. Sam reacts to the cat, turns
towards it, and stares into the cat's eyes. The cat screams, then jumps off
the pedestal.
"What's the matter," says Molly. "Crazy cat. Sam?"
Molly then turns and walks through him.
INT: APARTMENT: DAY
Sam sits in the window sill as Molly and Carl pack Sam's belongings. Carl
finds Sam's address book which his the access code he desires. Molly takes
it from him and looks through the book.
[This is Carl's objective. ]
Molly wants to save every little object as a remembrance of Sam, including
rolaids and tickets to a Dave Brubeck Concert. Sam says that they hated that
concert.
Carl walks towards the door with his arms filled with boxes. Molly runs
after him and removes the blue REEBOK box that contains Sam's address book
with the access codes. Carl tries to get her to go outside with him.
"Hey Molly, why don't you come ... Molly, you're not the one who died."
Molly slaps him because of this remark, then she apologizes.
Molly leaves with Carl. Sam tries to follow but can't get a grip on the door
handle.
[Obstacles: interacting with physical objects. Some has to relearn how to
accomplish this.]
Sam tries to put his arm through the door, but then pulls it back when he
hears a key placed in the door lock. The murderer, Willy Lopez, enters the
apartment. "What are you doing here, you bastard?" shouts Sam.
Sam tries to jump on Willy, but falls right through him. He then tries to
hit him with his fists, but the blows are unfelt by Willy. He can't stop
Willy from going upstairs.
Willy searches through the drawers.
"What do you want?" shouts Sam.
Suddenly the door downstairs opens. Willy takes out his gun as Molly enters
the apartment. She picks the REEBOK box up from the table and walks up
stairs to her bedroom. Sam tries to warn her but she doesn't listen to him.
The cat is perched on a column at the top of the stairs. Willy watches from
another room as Molly undresses in front of the mirror. Willy stands next to
the cat. Sam approaches the cat, stares into its eyes, and screams at it.
The cat jumps up and scratches Willy's face. Willy runs down the stairs and
out the front door. Molly hears this and yells out. Sam jumps through the
door in order to follow Willy.
[This is the end of act one. Sam has successfully prevented the antagonist
from getting possession of the love interest and the primary objective: the
booklet with the access code.]
EXT: STREET: DAY
Sam follows Willy through the streets and into the subway station. Willy
places a coin in the slot and goes through the turnstile. Sam, being a
ghost, just walks through. He then follows Willy unto a subway train.
INT: SUBWAY TRAIN: DAY
Sam leans against a post as he watches Willy. A subway ghost notices this,
walks through Willy and approaches Sam. He grabs Sam by the throat and
chokes him. He pushes Sam's head out through the door of the subway train.
Sam struggles as he watches a subway train approach him from the opposite
direction. Sam screams in terror as the other train approaches him, then
quickly pulls his head but inside avoiding the oncoming train.
The subway ghost screams at Sam that this is his train, and that Sam should
get off. He throws Sam across the floor and through the door separating the
two trains. The subway ghost then smashes the window and splatters glass
fragments down onto Sam. "Stay out. This is mine," he shouts at Sam.
[ This establishes that a ghost can interact with the physical world. Sam
will later return to this ghost in order to get help. ]
Sam follows Willy as he leaves the train.
[ Sam's objective is to track Willy in order to discover where he lives and
to protect Molly. ]
Willy enters an apartment building that has the number 303 written on the
door pane. Sam notices the name "WILLY LOPEZ 4D", in red and black colors,
on Willy's mailbox. Sam follows Willy down the hallway into his apartment.
INT: WILLY'S APARTMENT: DAY
Willy makes a phone call.
"It's me. I couldn't get it. She came home. Give me a couple of days. I'll
go back. Relax. I'll get it."
"Get what?" asks Sam. "Who ire You. What do you want from us?
Willy holds up Sam's wallet that contains a picture of Molly.
"No, you stay away from her. Do You hear me? You stay away from her."
[Sam thinks that Molly is the objective of Willy, who he believes to be the
antagonist.]
EXT: STREET: DAY
[ Sam's objective is to protect Molly.]
Sam wanders down the street. He sees a storefront with the sign:
"SPIRITUAL ADVISOR - $20 CONTACR THE DEARLY DEPARTED $20"
Sam enters the storefront. A record is playing spiritual music. The room is
filled with people waiting to speak with the spiritualist. Rose Santiago is
called into the inner room. She sits down at a table with a blue covering.
"Our sister will be with us soon," says one of the two women.
"Sister Oda Mae grant us the gift of your all seeing presence."
Oda Mae Brown (played by Whoppi Goldberg) enters the room and introduces
herself. Mrs. Santiago tells her that she wants to contact her husband. Oda
Mae says that she has to be a believer.
"I believe. I believe."
Oda goes into a trance like state. Oda seems to be having difficulty making
contact. Oda's sister starts to return the $20 to Mrs. Santiago, but Oda
stops her.
"Did he know someone by the name of Anna...Consuelo, Lucita, Julieta,
Hosapheta, Linda, Marie!
"Ci, ci, his momma. She is Marie," says Mrs. Santiago.
[This demonstrates that Oda is a fraud. She pretends to be something that
she isn't. This becomes an instance of the configuration theory of humor
when she finally discovers that she does have the psychic powers that she
always pretended to possess.]
"Yes, praise God. I know he was with his mamma," says Oda Mae.
"Oh my God," says Sam.
Oda heard Sam's voice. She looks Lip from under her eyes and looks around
the room to see who spoke. She requests $20 more from Mrs. Santiago.
"Way to go. Milk her for every penny."
Once again Oda hears Sam's voice and looks around the room to find him. Oda
then places herself back into the trance. Sam laughs at her mannerisms.
"The spirits are shining," says Oda Mae.
"My husband?"
"Have mercy," echo the sisters.
"Oh yeah, where?" says Sam.
"Jueleo," says Mrs. Santiago.
"Yes. I feel his vibrations. I see him," stays Oda Mae.
"How is he? How does he look?"
"Oh, he's a handsome man."
"Handsome?" says Mrs. Santiago.
"Mrs. Santiago, in our father's kingdom, we are all handsome," eplies Oda
Mae.
[Not only is Oda a fraud, but she is also inept. ]
"He's dressed in a black suit," continues Oda.
"Black suit?"
"It could be blue."
"What a crock of shit," says Sam. This freaks out Oda Mae.
"Who is that?" she shouts. "Where are You. Didn't you hear it."
Sam has made contact. "You can hear me?" he says. "I don't believe this. Hey
you, my name is Sam Wheat. Can you hear me. Sam Wheat. Say my name," he says
as he chases her around the room. Finally she blurts it Out, "Sam Wheat!",
as she runs and hides in a closet.
INT: CLOSET: DAY
Oda prays to God, promising to (anything if Sam would go away. Sam sticks
his head in the closet.
"No way," he says.
Oda Mae freaks, then runs Out of the closet screaming. Her sister also
screams, then her customers scream as they all run out of the seance room.
INT: ODA MAE'S APARTMENT: DAY
Oda sits in a chair as she is administered to by her sister. One sister
places a bag of ice on her head.
"My mother had it," says Oda Mae. "My mother's mother had it. They both had
the gift. They always had the gift. They always said that I had it, but I
never did. I never had it."
[Oda admits to her fraud. ]
"Now that I got it I don't think I want it. Oda wants Sam to go away but he
refuses. Sam wants Oda to help him save Molly Jensen, who is in terrible
danger. He wants her to make a phone call.
"Why would she listen to me?" asks Oda Mae.
Sam tells Oda he won't leave until she helps him. "I don't care how long it
takes because I can talk forever."
INT: MOLLY'S APARTMENT: DAY
Molly is cooking when the telephone rings. She calls to say that she has a
message from Sam. Molly hangs up the phone.
INTERCUT: ODA MAE'S APARTMENT
Sam tells Oda that she has to go to Molly's apartment. Oda Mae refuses.
INT: ODA MAE'S BEDROOM: NIGHT
Sam sits in a chair singing "HENRY THE EIGHT" as Oda rolls around in the bed
with a pillow over her ears. Finally she gives in saying that she'll go
anywhere with him if he'll stop singing.
EXT: STREET: DAY
Oda walks through the streets towards Molly's apartment building. She pushes
the buzzer. After a few tries Molly answers. Then when Oda tells her who she
is, Molly hangs up.
Oda yells up at her from the street below. She tries to get Molly to believe
in her. Sam tells Oda to tell Molly about various items: green underwear, a
picture taken in Reno, a sweater in the closet knitted four sizes too big.
A man in the building looks out and asks her if she ever heard of a
telephone. Oda tells him to shut up. She then tells Sam that she will count
to three and then leave if Molly doesn't show up. Oda counts then starts to
leave as Molly comes to the door wearing the oversized sweater that she had
knitted.
"Molly?" says Oda.
INT: RESTAURANT: DAY
Oda and Molly are sitting across from each other.
"I don't know Sam. He kept me Lip all night singing Henry the Eight."
"That's how he got me to go Out with him," says Molly. "I don't believe in
this life after death stuff."
"Tell her she's wrong," says Sam
"Sam says you're wrong," says Oda Mae.
"What are you doing?" says Molly, as she gets up to go.
"Tell her I love her," says Sam.
"Sam says he loves you," says Oda Mae.
Molly laughs. "Sam would never say that," she says as she turns and starts
to leave. "Tell her ditto," Sam says.
"Ditto. Ditto," says Oda.
Molly stops.
INT: MOLLY'S APARTMENT: DAY
Oda, Sam and Molly are sitting in the living room.
"Why did he come back? Why is he still here?" asks Molly.
Oda and Sam bicker over the way that Sam speaks to Oda.
"Molly, you're in danger girl."
Sam starts talking, and Oda repeats what he says to Molly. Sam knows the man
who killed him. His name is Willy Lopez. He also knows where he lives. 303
Prospect Place Apt. 4D. Oda becomes concerned because this is her
neighborhood. Sam says that Willy has his wallet and key. He was in here
watching Molly.
Sam wants Molly to go to the police. It was a setup. Sam was murdered. Oda
becomes afraid. She doesn't want anything more to do with this situation.
She leaves the apartment after wishing Sam a good death.
INT: MOLLY'S APARTMENT: DAY
Sam watches as Molly talks to Carl who tries to persuade her not to believe
Oda Mae. Molly finally tells Carl the name and address of the person who
killed Sam: Willy Lopez, 303 PROSPECTAPT. 4D. Molly tells Carl that Sam
wants her to go to the police. Carl is shaken. he tries to talk her out of
it, but she is persistent. He finally agrees to check this out for her
himself
EXT: STREET: DAY
Carl and Sam exit from Carl's car. Carl enters Willy's building. Sam tells
him to be careful. Carl knocks on Willy's door. Willy opens the door.
"Carl? What are you doing here?"
Sam is shocked that they know each other.
"Who have you been talking to?" asks Carl. "Some woman knows who he is and
where he lives. She knows about the murder. I got $4 million dollars stuffed
in a god-damn computer. If I don't get those codes, if I don't transfer that
money soon. We are dead. We are both dead." "Why don't you tell them that
You only laundry money the first of the month," says Willy.
[Exposition delivered as a joke. ]
"You killed a man," says Carl. " You were supposed to steal his wallet. Is
that a joke?" "I did you a free-bee," shouts Willy as he gets in Carl's
face.
"Look, these guys are drug dealers, okay? Just don't blow this for me,
Willy. I could lose my job, go to jail. $80,000 of that money is mine. Just
give me the keys. I'll get the address book myself"
Sam is extremely upset as he realizes what has happened. He follows Carl out
of the apartment. Sam tries to hit Carl, but his fist go ri(,ht through him
without having any affect. "Why? You were my friend! I had a life, god-damn
you. I had a life!" Carl drives away.
[First major plot twist. The protagonist is betrayed by a friend whom he
trusted. He is helpless in effectively expressing his anger. This generates
audience empathy for Sam. ]
INT: POLJCE STATION: DAY
Molly talks to a policeman and policewoman as she tells them her story.
Neither believe her. "According to this psychic lady there ,ire ghosts and
spirits all over the place, watching us all the time. Hell, I'll never take
my clothes off again," says the policewoman.
[ Molly is ridiculed by an authority figure in her moment of desperation
when she is seeking their help. This humiliation scene generates empathy for
her, especially since the audience knows that she is telling the truth, yet
she is not believed. Instead she is ridiculed.]
Molly asks the policeman to check out if Willy Lopez has a record. He says
he will, and gets up from his desk.
INT: MOLLY'S APARTMENTAY
Carl enters the closet, opens the REEBOK box, takes out the address book
that contains the access code. He tears the page Out of the book, then
leaves.
INT: POLICE STATION: DAY
The policeman returns and drops a folder onto the table. It contains
pictures of Oda Mae Brown with various disguises and aliases. She has a
record of being a con-artist and a fraud. "There is no file for Willy Lopez.
He was probably some old boyfriend that she was trying to get even with.
Psychics read the obits, garbage, old newspapers."
Molly cries. "It was real. She knew things about a sweater I knitted and
songs I sang. A trip to Montego Bay..."
"You can press charges," says the policeman.
"No," says Molly as she leaves.
[Great empathy scene for Molly. ]
INT: OFFICE: DAY
Carl sits at his computer terminal as he enters the access code. He is
relieved when all the accounts appear on the screen. "Yes!" He dials a phone
number and talks to Eddie who gives him further instructions. He is to
transfer the money from the twelve accounts into one account under the name
of Rita Miller.
"Tomorrow, five minutes before closing, at 3:55 PM, transfer the money to
the First Island Bank."
"Tell Mr. Ballesteri no more problems."
"Yeah, I'll do that," says Eddie. They hang up.
Carl opens a new account for Rita Miller as the ghost of Sam stands in front
of the computer watching him. $4 million is transferred into the new
account.
INT: MOLLY'S APARTMENT: DAY
Molly sits on the landing at the top of the staircase. She rolls the jar
containing the Indian Head coin back and forth on the rug in front of her.
She then rolls it down the stairs and watches as it smashes apart on the
staircase.
[Using a prop to represent the emotional state: having one's hopes dashed
apart. A very effective cinematic device. ]
INT: MOLLY'S APARTMENT: NIGHT
Molly is depressed as she lies on the sofa. Sam stands above her.
"Molly, why can't you bear me? I need you."
There is a knock on the door. It's Carl. Sam tells Molly not to open the
door. Carl is a murderer. Molly doesn't hear him. Carl wants Molly to know
that he is her frien
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发表于 2004-12-4 15:14:00
aint it?" answers Sam.
AY