The Witching Hour Screenplay by ANNE RICE FADE IN: EXT. A SCOTTISH MOOR - NIGHT - 1670 A.D. Far off, a massive stone castle looms. Trees silhouetted an the horizon against the star-dotted, qreen-purple sky. The branches of one tree seem to reach for the stars... TRACKING IN - the 'tree' is A HOODED FIGURE: SUZANNE - 20, golden hair spilling from her hood, dazzling green eyes. Nestled in the folds of her cloak is DEBORAH - 5, scarlet curls, green eyes glowing. She peeks up at the bizarre sky. DEBORAH (a thick Scottish accent) Mum - I'm so scared. Look at the color... SUZANNE (a thick Scottish accent) (entranced. soothing) Deborah, be still. And listen... (a beat. in a chant...) Wind, you are a thousand eyes - but never seen. A thousand caresses - but never touched. A thousand voices - but never a word. Always with me, never ....... DEBORAH (fearful) Mum... Oh Mum, God will surely strike us - SUZANNE Wind - I love you with that which is endless within me. Bring me your eyes - your touch - your voice... A WIND gathers force, The grass sways. Leaves twirl. SUZANNE Send me your soul. Come to me NOW! The ferocious WIND HOWLS. Trees bend. The sky darkens.. SUZANNE'S hood is whipped of her head. A dagger of LIGHTNING cuts the sky open. Then - a sound, like a HOWL of birth. A VOICE (melodic. wondrous) Suzanne, the door is open! Call me! Bring me to you with a name! SUZANNE (ecstatic. shouting above the ROAR) For the wind that lashes the trees that brings you to your lover... You are --- Lasher. LASHER!! THUNDER rocks her to the ground. Rain pours down. VOICE I am through, my love! I have come! (a beat. joyful) Lasher.. SUZANNE thrusts her arms out as if to embrace the wind. DEBORAH peeks out from her mother's cloak. She looks at the ground - wide-eyed - and reaches out. ECU - DEBORAH'S CLENCHED FIST The tiny fist opens - a NUGE EMERALD glistens in her palm. FADE TO BLACK FADE UP TO DAY. ECU - THE CURVED RUNNER OF A ROCKING CHAIR Rocking on a wooden floor. A large horned beetle skitters INTO FRAME - antenna flicking. Above it, the chair's runner reaches its highest point - descends --- and just misses it. WOMAN'S VOICE (OC) (a southern accent. cool) Do you see the lillies, Deedee...? Big as soup ladles. TILT UP to a pale hand on the chair-arm. inside a faded pink sleeve - and UP to ECU - A FACE, SKOCKING IN ITS MELANCHOLY VISAGE A WOMAN - 50, a gaunt, shattered beauty. Not a flicker in her green eyes. Her hair is stringy - in need of a wash. ANGLE - THE PORCH OF A LARGE GOTHIC MANSION CARLOTTA MAYFAIR - 80, cane in hand, rocks DIEDRE MAYFAIR on the porch. Her white hair is pulled back severely. Skin tight on her skull. Green eyes keen and focused. The house was magnificent - once: Tall columns.Stained glass. But it is a dying house. Rotted wood. Peeling paint. You can almost hear it wheeze... ANGLE - THE GADEN BEYOND THE PORCH Thick. Lush. Huge flowers flourish. A flagstone walk leads to a swimming pool filled with brackish water and lily pads. A wrought-iron fence encircles the grounds. on the other side, the street seems like another world. BACK TO CARLOTTA AND DIEDRE ON THE PORCH CARLOTTA takes a syringe from a bag and injects DIEDRE, who shows no reaction. CARLOTTA feels her pulse... CARLOTTA We numb the body and the mind...but we haven't found a needle yat that can prick your soul. That belongs to him, doesn't it, my beautitul Deedee...? A BREEZE suddenly rises. The trees and long grass stir. CARLOTTA smiles privately - and surveys the garden. Something there, for a moment, behind the waving branches...? BEYOND THE WROT-IRON FENCE A MAN - 60, white suit, fedora and an ivory walking stick - comes down the sidewalk. He tips his hat to the women, and walks on. CARLOTTA watches him go. CARLOTTA (dry. caustic) Well, well, Deedee. Both your admirers have paid a call. CARLOTTA looks down at the huge beetle -- and crushes it with her shoe. The BREEZE dies. The trees come to rest. But DIEDRE'S hair still flutters, as if stroked by a lovinq hand. INT. ECU - A PAIR OF HANDS REST ATOP AN IVORY WALKING STICK The stick's top is carved into a pair of angel's wings. The left hand wears an ivory ring - with a gold T set in it. MAN'S VOICE (OC) (an English accent. calm. sonorous) Diedre was silent - still - as always.... TILT UP to AARON LIGHTNER (the white-suited Man who strolled past the Mayfair mansion). AARON ..but there is no question about it she is dying. WIDE OF SCENE - A MAGNIFICENT SITTING ROOM AARON stands at a mahogany table, where a dozen MEN and Women - ages 25 to 60, elegantly dressed - sit and exchange sober locks at his pronouncement. They all wear the same ring. AARON (taps his chest lightly) Her vibrations were unmistakable. I felt them quite clearly. (sighs) Strange to think after thirty years...I shall walk by the porch and find the chair empty. WOMAN AT THE TABLE What of the child, Aaron...? AARON The child's life will take its inevitable turn. (pause) we will watch and wait... and soon - our waiting will be over INT. CLOSE-UP - A PAIR OF WHITE DOORS In bold letters EMEAGENCY ONLY - KEEP CLEAR The doors fly open - PARAMEDICS barrel through, pushing a gurney with a bleeding WOMAN. We TRACK behind it A WOMAN suddenly races INTO FRAME, into the gurney's path. The gurney veers off - but we fallow the WOMAN. ROWAN MAYFAIR - 30, surgical garb and gloves, golden hair. piercing green eyes, stunning, focused. She enters: AN EMERGENCY ROOM where two NURSES and a young DOCTOR flank a gurney that holds a BOY - 7, unconscious. ROWAN is pure, efficient motion - in coumand. As she nears the Boy - ROWAN Let's have it. Fast. DOCTOR Parents say he - uh - fell - ROWAN Anybody got a BP yet...? NURSE # 1 Seventy over ninety. ROWAN Pupils...? NURSE # 1 Unequal. DOCTOR - and he seemed okay. Just banged his - ROWAN FAST. DOCTOR (a bit rattled) uh - then he - be just - ROWAN (hovering over the boy. Stating a fact) He just went out like & light- The DOCTCR nods meekly- ROWAN raises the BOY'S eyelids. ROWAN Massive subdural hamatoma. We have to evacuat it - right now. DOCTOR I'll tell OR we're bringing - ROWAN He's herniating! Forget OR. He's dead batore he's oft the elevator Get me a trephine tray - (Nurses shift into motion) Anesthesia - stat! We need him intubated and blow down! An anesthesia mask goes on the BOY. His head is shaved and iodined. A NURSE sets a tray. beside ROWAN. she picks up a small drill. All ayes settle on her. She starts to drill a hole in the BOY'S sku1l. Deeper. Deeper. And suddenly - blood spurts... ROWAN Get me a bolt... A srnall pressure gauge is handed to her. She screws it into the BOY'S skull. Takes a reading. ROWAN Dress it. Get him to ICU... As action goes on all around her, she steps back - and seems to take a breath for the first time since she entered. ROWAN (softly. to no one in particular) He'll be okay... INT. A HOSPITAL SCRUB ROOM. MINUTES LATER ROWAN washes at a sink. She looks up to her retlection in the mirror. A strange look - hard to decipher. NURSE # 1 enters, untying her bloody smock. She grins. NURSE # 1 So, doctcr - what do you see.. (Rown' gives her a crocked grin) I see somebody spending nineteen hours a day in this hole. (pause) This isn't even your shift is it...? ROWAN (drying her bands. deadpan) If 'd been home, I would've missed out on using the drill. NURSE # 1 Take up woodworking. ROWAR flashes a wry grin. NURSE (warm - but serious) You just can't bear to lose one - can you...? you just won't 1et them die. ROWAN' (stares. smiles warmly) No - I guess I won't. INT. POV' - THROUGH AN UNFINISHED WINDOW FRAME. NIGHT A view of the San Francisco skyline. FALL BACK to REVEAL MICHAEL CURRY - 40, denim shirt baggy corduroys, melancholy wisp of a smile. Gettle eyes staring into the night. A drag on his cigarette. And he rubs the cleft of his chin with the tip of his thumb - a life-long unconscious habit. He is in the top floor of a renovation. The room is almost finished, carved moldings, high-angled ceiling, random-peggad floors and huge windows. A stunning work of design. MAN'S VOICE Right on schedule, Mikey. Finished - MICHAEL (an intentionally overdone Tony Bennett) 'I left my heart --- in Ran Sanfriscio...' MAN'S VOICE (OC) (louder) - in three weeks, tops, like it or not. MICHAEL (grins. louder - without turning) 'And the light's always onnnnn in Massachuaetts...' WIDE OF SCENE STU - 35, overalls, short, squat, dusty - stands at a table draped with blueprints - beer in hand. grinning. STU Ve-ry funny. But lilk. it or not - MlCHAEL (hollerinq now) 'There is - a house - in New Orleans - STU'S grin widens. He gives up and joins in: MICHAEL AND STU (screaming) 'THEY CALLLLLLLLL THE RISING SUN....!' They break up in laughter, out of breath. STU joins MICHAEL at the window. they stare out at the city. STU sooner Or later you're gonna run out of things to change. You always do. MICHAEL (shrugs. looks round the room) I just - hate it when they're - finished. STU searches MICHAEL'S fact. His grin slowly dissolves. STU well - Donna made dinner tonight. so I gotta go. (pause) Wanna come..? (MICHAEL shakes his head NO) Gotta date...? (MICHAEL shakes his head NO) Ever gonna have another date...? MICHAEL eyes him with an affectionate scowl. This is old territory. STU shrugs and gives up. STU See ya Monday then. STU winks - and leaves. MICHAEL turns back to the skyline - staring - and sighs. His thumb rubbing his cleft. EXT. THE PACIFIC OCEAN. DAY A sailboat drifts lazily on the flat water - its sails limp in the windless sky. San Francisco looms in the BG. ANGEL - 0N THE SAILBOAT'S DECK ROWAN - in sweater and shorts - looks at the sky, searching for wind, and frowns. She strips down to a bikini, stretches out on the deck and points her face to the sun... EXT. THE SAN FRANSISCO COAST - A JETTY. LATER THAT DAY MICHAEL sits out on the rocks, sketching a house on a pad. the WIND picks up, the surrounding waters turn choppy. He draws his collar up. A seagull lands near him. MICHAEL starts sketching the gull. MICHAEL 'The soaring larks lift up aloft with them the sky that to our shoulders was heavy. (grins) YOU like Rilke...? The bird starts preening. A wave smacks against the rocks spraying MICHAEL. He looks around at the sea and frowns. The WIND tugs at him. Another wave sprays him. He rises. MICHAEL Dame weatherman said - The gull SCREECHES - and suddenly takes off - coming right at him. MICHAEL ducks out of the way, slips on the slippery surface - and falls. His head strikes the rocks. A wave pounds the jetty and sweeps him into the sea. MICHAEL falling in the water. Losing ccnsciousness. Being swept out to tea. His eyes closing. he's going under - Sinking.. BENEATH THE SEA MICHAEL floats downward. A stream at bubbles squirts from his mouth then they stop. MOVE IN to his peaceful face. IN TIGHTER - into his closed eyes - and through them... POV - SPEEDING THROUGH A BLACK NIGHT SKY WITH A ZILLION STARS A fierce ROARING. Hair-pin ttrrns around stars - the cosmic Daytona 500. Racing toward a huge, white-hot star... SMASHING through into - SILENCE. Freefalling through the richest, thickest GREEN imaginable. Then, seeping out off the GREEN, PHANTOMS - shapeless - but the GREENESS is giving them form: SUZANNE with the emerald round her neck - and DEBORAH - a woman now, with the scarlet curls - and OTHERS - drifting, saturated, gleaming. Whispering, entreating: SUZANNE Go back, MICHAEL... Go Back DEBORAH The door, Michael. find the key... SUZANNE Help us. Do what you can. ANGLE - MIHAEL. MOTIONLESS IN THE GREEN suspended above a vast BLACKNESS. phantoms all around him. And MICAEL starts floating down toward it... SUZANNE Michael - NO! Go Back EXT. ROWAN'A. SAILBOAT IN THE OCEAN ROWAN is asleep on the deck. The sea is choppy. A sudden gust fills the mainsail. It swings across the deck. CRACK! ROWAN wakes and rises. delighted. ROWAN Alright! A little speed. she starts pulling in the mainsail - stops and squints- Something is out there, in the waves- She dives into the sea bobbing up to take a look every few strokes... Now, she's reaching out --- grabbing MICHAEL's lifeless body. Her arm slings round him - now she's backstroking. one-armed. They reach the boat- she grabs the rope ladder - and with remarkable strength - pulls him up. They sprawl on the deck She rips his shirt open - pressing her ear to his chest. Cursing, she starts mouth-to-mouth. Nothing- switching to CPR - pressing down on his chest - rhythmically. forcefully- ROWAN one - two - three - four - five-.. To fifteen. Nothing- she grabs his face - and slaps him. ROWAN Breathe, goddamnit- (slaps him again) BREATHE! She starts on his chest again - her pumping is violent now. ROWAN You're not - (pump) - gonna - (pump) - DIE - (pump) - you sonuvabitch nothing- Shee slumps back- Gasping. fury rising- suddenly, she rises on her knees - raises a fist - and brings it down - striking his chest with all her might- And MICHAEL's body jerks eerily. water spurts from his south. A rasping cough erupts from him. And his eyes open. MICHAEL (hacking- mumbling) They - they wanted me to come back... And his eyes close. Out cold. She nods, exhausted - and strokes the matted hair from the gash on his forehead- then - cocking her head. starinq intently at him - the manner of her gesture changes - her fingers slide down his cheek --- almost a caress... EXT. ROWAN'S SAILBOAT AT SEA. LATER ROWAN stands motionless at the railing, a blanket wrapped round her - watching MICHAEL, on a stretcher, being taken below on the Coast Guard cruiser alongside her boat. It speeds off. ROWAN watches until she can't see it anymore- INT. A HOSPITAL - THE INTENSIVE CARE UNIT ATTENDANTS lift MICHAEL from a gurney onto a bed- Two NURSES hustle about as a DOCTOR 50, silver-haired - looks on DOCTOR He had a major M.I. two years ago. Get an EKG and see if this did anything to his heart- MICHAEL'S clothes are cut away - and - he opens his eyes. One NURSE raises his arms while another slides a blanket onto him. The DOCTOR leans to MICHAEL with warm concern-- DOCTOR Michael - it's Geoffrey- MICHAEL with a weak nod of DOCTOR recognition The blanket now in place, a NURSE you just made the Guinness lowers MICHAEL's arms book of records, friend - under miracles. - and MICHAEL's hands come to rest on the blanket... MICHAEL'S POV The DOCTOR'S face disappears in a blure of WHITE. Then, with a ROAR. The FRAME FILLS with INT. A LAUNDRAY ROOM [AS IF MICHAEL WHRE THERE] Washing machines and dryers whirring Three. BLACK WOMAM in hospita1 greens. folding blankets and laughing- - and then, instantaneously - BACK TO SCENE - THE DOCTOR STILL LEANING OVER MICHAEL MICHAEL - freaked - DOCTOR raises his hands- - ...close to an hour. Mike. ...and MICHAEL grasps the bed's handrails tightly. Again - the room explodes inWhite INT. MICHAEL'S POV - THE ROOM [AS IF MICHAEL WHERE THERE] A diffirent DOCTOR - defibrilator pads in both hands - is in GEOFFREY's place. He lunges To CAMERA - DOCTOR Clear!! THE POV SWIVELS to REVEAL a YOUNG WOMAN in the bed. The Doctor shocks her --- her liveless body jerks. DOCTOR Give me the atropeen! A NURSE gjves him a huge hypodermic - and the DOCTOR plunges it into the Woman's heart... Suddenly - BACK TO SCENE MICHAEL lets go at the handrail - as if shocked - and clasps his hands together. He locks round the room, saucer-eyed. GEOFFREY eyes him carefully as he gives him an injection. MICHAEL What the HELL IS GOING...?! DOCTCR (GEOFFREY) (soothing) You where - in the water - a long time. MICHAEL No! Geoffrey, I'm seeing...seeing... There was a - a dead woman - she was - GEOFFREY The shot's kicking in. Sleep now. HE takes MICHAEL'S hands in his... Suddenly - a FLASH of WHITE - INT- A DOCTOR'S office [AS IF MICHAEL WERE THERE] A WOMAN sits on an examination table, her smock down around her waist. GEOFFREY puts a stethoscope on her breast and listens- She qrins, draws her to him - they kiss And then, with a ROAR - BACK TO SCENE GEOFFREY, hands behind his back, stands at the bedside as MICHAEL, groggy from the injection. Starts to go under. MICHAEL (slurred. losing consciousness) I - I didn't think You - You fooled around with your patients, Geoffrey... GEOFFREY cocks his head - stunned - as MICHAEL's eyes close. DISSOLVE TO A COMPLETELY WHITE FRAME Then --- the whiteness swings on an axis TOWARD CAMERA--- a refrigeretor has been opened - revealing an interior filled with beer. A gloved hand reaches in and grabs one. WIDE OF SCENE - A KITCHEN - bar MICHAEL closes the fridge. A Wreck in a bathrobe - dark circle. ander his eyes, unshaven and snug, leather gloves on his hands. The garbage can overflows with beer cans. The phone RINGS. MICHAEL tries to bend back the cans, pop-top - but tbe gloves make it tough. Me smiles grimly. Takes a knife, price the pop-top back, and take. a long swig. Wobbly, he shuffles cut on bare feet- Down a HALL. Through a LIVING ROOM. Everywhere, stunning excecution of design. OC, the phone stops ringing. He enters AN EXQUISITELY DESINGED BEDROOM There is clutter evetywhere: newspapers, magazines, books, beer cans. MICHAEL plops on the dishevelled bed. Glances at a magazine. A story title reads: LIFE AFTER DEATH EXPERIENCES: AN ANALYTIC APPROACH Other magazines and books deal with paranormal events, ESP, hands-on healing. Across the room, a TV shows the end of an A T & T coamercial- A voice warmly delivers the tagline: 'REACH OUT AND TOUCH SOMEONE.' MICHAEL grins sardonically - MICHAEL Fuck you. OC, the doorbell rings MICHAEL No more freak shows! LEAVE ME ALONE! STU'S VOICE (OUTSIDE) Mike - it's me! Let me in! MICHAEL rises - walks to the window - and leans out. STU stands below - at the front door - looking up- MICHAEL Go home, Stu (pause) I'll call you. STU Bullshit! Let me in! (pause) Mikey - there are people who can help figure this ont. MICHAEL On which planet...? STU You can't just - MICHAEL Go away, GODDAMNIT! He slams the window down and heads tack to the bad. INT. MICHAEL'S BEDROOM. A WEEK LATER - DUSK MICHAEL sits before the TV-VCR, stacked with cassettes. On screen, Peter Lorre - wild-eyed, fingers glowing radioactive and deadly - stalks a victim. OC, the HOWL of a fire engine. MICHAEL cocks his head and with a dreamy look, he stands. INT. AN ATTIC. MINUTES LATER MICHAEL, gloved and wobbly, digs through dusty boxes. His face softens - and he pulls out an old. singed Fireman's helmet with the insignia N.0. 17. He lays it down - hesitates - pulls his gloves off reaches out with his hands --- and grabes the helmet... A SEARING FLASH OF WHITE AND A ROAR INT. A FIERY, FLAMING BUILDINGG [AS IF MICHAEL WERE THERE] A FIREMAN - his he1met labelled N.O. 17 - races to an open window vith a GIRL in his arms. Down in the street - other FIREMEN, buffeted by a strong wind. look up, holding a satety net. The FIRMAN tosses the child down to safety. Suddenly - the window is blown in, shattering. The FIREMAN falls to the floor - cut and dazed. Above hirn - the flames dance - and then everything comes down on top of him- BACK TO MICHAEL IN THE ATTIC as he is jolted to the floor, one hand grasping the helmet. EXT - A TREE-LINED STREET [ AS IF MICHAEL WERE THERE] A battalion of FIREMWN at attention as PALLBEARERS carry a coffin. Seated at a reviewing stand, draped with a black cloth that reads NEW ORLEANS FIRE DEPARTMENT is a WOMAN - 30, siIently weeping, dressed in widow's black - and A SMALL BOY (STRONGLY RESEMBLING MICHAEL) - 8, in a black suit - holding a singed fireman's helmet with an N.O. 17 insignia. He watches the coffin pass, fascinated. THE BOYS POV A tall, wavy-haired MAN in ninteent-century garb walks solemnly beside the coffin. The Pallbearers don't seem to notice. He gives the Boy a melancholy smile. THE BOY Pokes his Mother and points to the man. But she just pats his hand solemnly. She doesn't see what he sees... BACK TO MICHAEL ON THE ATTIC FLOOR as he drops the helmet - and weeps INT. A CHILDREN'S HOSPITAL WARD. DAY Filled with KIDS. Bandages, casts. eye patches. Playing, reading, watching TV. ROWAN strolls in. smiles at the scene - and approaches the BOY she saved - his head bandaged, he snaps together plastic Lego pieces creating a race car. ROWAN So - how fast does it go...?' BOY (looking up smiles) Reallll fast. Seven hundred miles an hour... Mmmmm... A minute ROWAN Wow! That's almost as fast as my car. The BOY squints at her- figuring out if she's kidding- ANGEL - MICHAEL STANDING IN THE DOORWAY He's watching ROWAN. He is hollow-eyed. gaunt - but clean- shaven in clean clothes. ROWAN is unaware at his presence. ROWAN (crouches beside the BOY. quite serious) That's if I turn on the retro-burners. (pause) Of course, I only do that if r'm being chased. (the BOY'S eyes pop he's hooked) Never been caught yet. She offers her palm - and he slaps her five. ROWAN How's your head, Terry--? Feel anything - like a balloon in there...? He shakes his head NO. She affectionately rubs his cheek then rises and beads toward the door. MICHAEL puts his gloved hands behind his back. And - their alec meet. Almost palpable electricity. A long beat. MICHAEL Dr. --- Mayfair...? She nods - but her face betrays her shock at his appearance. ROWAN Mr. Curry- - - She otters her hand. He hesitates brings a gloved hand from behind his back - and they shake hands. She watches him as he stares at the BOY. MICHAEL They like you ------- kids. ROWAN (smiles) I guess so. The trick is remembering how to act like one. (a beat. soberly) I'm glad you called, Mr. Curry. I wanted to see you. (pause) Why don't we go to my office... She gestures toward the hall. He nods hesitantly - and they walk OUT OF FRAME. INT. ROWAN'S OFFICE. MINUTES LATER Shelves lined with texts on children's diseases and prenatal, postnatal, and infant genetics. MICHAEL stands perusing the books. ROWAN sits at her desk. ROWAN I've read the stories - and seen the news coverage. MICHAEL (turns to her- scowls) 'Freak at the week.' That's what the TV crew. call it- (a grim smile) people come right to the house. They have a husband or wife who skipped town - or a missing kid- They bring a sweater or a toy - and ask me to touch it. so I can teel them where they are.. Looks her straight in the eye. A wave of current flows. MICHAEL I don't remember you at all- (pause) You - you saved my life- Bizarre thing to say, isn't it...? ROWAN (her warm smile) I'm glad you're around to say it. MICHAEL (dark) My jury's still out on that, ROWAN (turns almost sharp) Then call it in. Mr. Curry. Whatever's happeninq to you - death is not the preferable alternative. (softening. a grin) I'm in the life business - remember..? H musters a weak smile. Tugs at his gloves. She rises. ROWAN (Warm. soothing) Let's see what we can find out- EXT. A BOAT DOCK. DAY - AN HOUR LATER ROWAN and MICHAEL walk down toward her boat. She glances at his gloves. ROWAN Do they keep everything 'out' ...? MICHAEL As far as touching things, yes. But the vision - that keeps pouring into my head- (stark) It won't go away God - if I could just understand it. They step onto the boat's deck. ROWAN walks to the spot where she revived him, and kneels. ROWAN You had no pulse-.. You were gone. MICHAEL - tightly-wound - kneels beside her. Squeezes his eyes shut- A deep sigh. ROWAN Don't be afraid, Michael. Her tone - and the use at his name - opens his eyes. An electritied sock between them. He peels his gloves off steels himself, flattens his palms on the deck - and waits... ROWAN What do you see...? MICHAEL (his face is a blank) Nothing. Absolutely nothing- EXT. AN OUTDOOR DECK. DAY - LATER MICHAEL stands staring down at the dock and ROWAN'S boat- The ocean beyond shimmers. He turns and walks through open glass doors, inside to A KITCHEN-LlVING ROOM AREA Rustic, unadorned. Half-walled by the glass doors. MICHAEL sits at a choppinq-block island, and scares at his gloved hands- ROWAN pours him a scotch and sits across from him. ROWAN Just one. The bar's closed. MICHAEL (gulps down the drink) The one time I want it to work... ROWAN You know - doors and keyholes are common signposts in out-of-body - MICHAEL (bristles) You're not gonna give me the textbook analysia, are you doctor...? My vision was just the chemical reaction of an oxygen-starved brain - and nobody - ROWAN No. I'm not. (a beat- enigmatic) Doctors should be the first ones to admit utter ignorance about some things. MICHAEL nods in surprise. He tries to pull a cigarette from his pack, his gloved fingers fumbling. ROWAN reaches out and stills his hand with hers. She takes out a cigarette, puts it in his lips - and lights it. Their eyes lock. ROWAN Touch me. (MICHAEL'S brow creases) My hands were all over you. Maybe something will come from me. (soft. soothing) Touch me Michael- She holds her hands out to him. He hesitate- staring at her offering. He strips off his gloves - reaching for her hands - and takes them in his... A FLASH OF WHITE MELTS TO EXT. ON THE DECK OF THE BOAT as ROWAN slams her fist into MICHAEL'S chest - and he jolts to life. she caresses his cheek in unmistakable longing. THE IMAGE IS SUCKED THROUGH A HOLE IN ITSELF TO INT - ROWAN'S KITCHENN [AS IF MICHAEL WERE THERE] where a MAN - 50, in a bathrobe - lies twitching on tfle floor, eyes glazing into death- ROWAN is crouched beside him, weeping, fists clenched, mumbling Graham...? ROWAN'S VOICE (OC) OWWWWWWW....! SUDDENLY BACK TO ROWAN'S KITCHEN as ROWAN - with a yelp - wrenches her hands free or MICHAEL'S vise girp. He tumbles backwards onto the floor. ROWAN races round to him and kneels - cradling his head geritly MICHAEL (eyes opening- weakly) My gloves... She grabs them, and slips them on his hands. Her lush hair is tussled by a stadden BREEZE that blows in from the deck. MICHAEL (softly. awestruck) I saw it. On the boat, I was - dead. (pause) you brought me back... Enongh electricity to light a city. He takes her hands gently in his.. - MICHAEL ...with these. The BREEZE sends some papers into the air. ROWAN bends to him. Their lips meet in a soft brush or a kiss - and then the gates open. Lips searching- hands tearing at clothes. Limbs entwining. A whirlwind of flesh finds a rhythm. Two pounding; themselves into one- Rough, on-the-edge- ROWAN Harder... MICHAEL Rowan... ROWAN HARDER! MICHAEL Like this...? LIKE THIS...?! ROWAN Yessssss... INT. ROWAN's LIVING ROOM. LATER ROWAN AND MICHAEL lying entwined, naked, before the in the firepalce in the LIVING ROOM- They watch the.flames... MICHAEL you're very --- different. ROWAN I'll bet you say that to all the women who bring you back to life and then seduce you. she rises on an elbow - with that enigmatic. look. ROWAN What else did you see- Michael...? MICHAEL (a curious grin) What're you - a mindreader...? (a beat. turns solemn) Who was the man on the kitchen floor. ~.? ROWAN'S brow knits - stunned. Not what she expected. ROWAN (stiff. softly) My uncle. Graham. He and my Aunt, Ellie raised me. (pause) He - he - had a stroke- Just before Ellie died - of cancer. Last year. MICHAEL You knelt there, helpless- You couldn't save him. (pause) There was so such anger in you-. Death infuriates you... she puts her head back down on his chest. A long beat. ROWAN It's unbelievable that you can do that. MICHAEL (a beat. turns dark) It - it feels like - like I'm being filled up. crowded out of myself. (pause) Like I'm fading away- ROWAN' slides up face to face. Her eyes filled with warmth ROWAN You're here, Michael. All of you. She leans in and kisses him deeply. And they start again. EXT. CLOSE-UP - MICHAEL'S FACE FLOATING UNDERWATER - the water stretching it eerily. PULL BACK to reveal MICHAEL LYING ON HIS STOMACH ON THE DOCK - DAYTIME his head out over the edge, staring at his reflection MICHAEL I've always loved them. (pause) New Orleans has these great old houses. When I was a kid, I'd look at them, thinking - 'somebody dreamed them up, put something where there was nothing...' it amazed me. He turns to ROWAN, who suns herself on her back on the dock. MICHAEL My mother and I used to take long walks and make up stories about the houses and the people who lived inside. (pause) The Queen's house-. the Gangster's house-. the clown's house- Like that. ROWAN And whose houses do you design...? MICHAEL Oh. The Green underwater Ghost's... The Man With The Eyes In His Hands... ROWAN (a beat. watching him) You still feel that crazy...? He passes. Then smiles and shakes his head. MICHAEL No. Not vith you. A long beat. ROWAN I was born, in New Orleans, too- MICHAEL Really...? Your family there...? ROWAN Nope- My father died before I was born. My mother died in childbirth. El1ie was my only blood relation. so she brought me here... the day after I was born. MICHAEL'S brow creases- He reaches out and strokes her ankle - but she sits up. pulling her legs away from him. Staring out to sea silently. He stares at her back. MICHAEL Too much... too fast...? ROWAN Mm-hmm. (pause) Scared- I feel a little like the moth and the flame. MICHAEL (a beat. softly) So do I. She hesitates - turns round to him. And - she stretches her ankle out to him - and he grins and runs a finger across it. INT. A DOCTOR'S OFFICE. A WEEK LATER Geoffrey sits at his desk, phone to his ear. GEOFFREY (INTO THE PHONE) ...always concerned about his heart - so the fact he isn't drinking is great. ROWAN (INTO THE PHONE) I'll keep you up to date Geoffrey. Goodbye. PULL OUT to reveal ROWAN, naked, stradaling MICHAIL on his back in bed in Rowan's BEDROOM, naked except tor his gloves. He looks better - color in his face the circies gone- She hangs up the phone and leans over him- ROWAN He's very pleased with your response to the surroundings. MICHAEL He fools around with his patients too. He points at his gloved hand and wiggles his eyebrows slyly. ROWAN you touched him --- and saw him...? What was he doinging. Kinky...? MICHAEL It's come to that, huh...? Three weeks - and you need a psychic skin flick to perk up our sex life...? She leans to hit, hair cascading into his face reaches behind her - finds him - and puts him inside her. ROWAN (velvety) It would appear that's not the case... INT. ROWAN'S LIVING ROOM. NIGHT MICHAEL and ROWAN sit on the floor playing SCRABBLE. She taps the board impatiently as he stares at her letters. He eyes her tapping finger, and looks up at her. ROWAN You come back from the dead and you can't make one dumb word...? He makes a face at her- And looks back down at his letters, his thumb in his cleft. she cocks her head and watches him. ROWAN You look very deep when you do that. (he stops doing it) It's interesting. We're Complete opposites- I'd never just sit and wait for insparation. I'd skip my turn and swap some letters. MICHAEL Ms. yin, and Mr. yang (suddenly inspirea) Aha! He places some letters on the board. She watches and recites the letters one by one, befuddled. ROWAN Y-U-H-E-E-Y-A-H. Yu-hee-yah...? No way, busters use it in a sentence. MICHAEL Okay. (a southern drawl) y'all make sure and come back now, reeeeal soon - yu'heeyah. She breaks out laughing. He takes a pencil - leans to the score-pad. She lunges for the pencil ROWAN Hey - no fair! That's not a word! They go rolling on the ground, laughing, wrestling... INT. ROWAN'S SAILBOAT. DAY Moving swiftly across the ocean. MICHAEL sits - gloved hands on the rudder - watching ROWAN pull in the mainsail. MICHAEL Why don't you let at do that...? ROWAN Just sit there and soak up the vitamin D. MICHAEL Doctor's orders- - -? ROWAN Captain's orders. She ties off the lanyard and sits beside him. Staring out at the scene- A dreamy, contented look. ROWAN Perfect. MICHAEL (watching her. a beat) You sure are. His tone turns her head to him. Her smile dissolves. ROWAN Far from it, Michael... Don't put me up there. MICHAEL All I meant was - ROWAN You don't know what you meant - because you don't know me. She stares at him- sighs and shaking her head - ROWAN Christ, Michael - what the hell are we doing...? We don't even know - MICHAEL (his grin blooms) Is this the part where you try and talk yourself out of how good this is...? ROWAN (refusing to smile back) I'm serious. You don't - MICHAEL (not letting it go) Let's see... Next you tell me all the terrible things about you - and prove that we're doomed to fail - right...? (pause) you hate kittens and puppies, you've drivin all your lovers to suicide --and those mysterious deaths at the hospital were really - ROWAN (simmering) Stop it. MICHAEL (his grin dissolves) You stop it. (pause) you're loving, and gentel.. You're the most remarkable woman I've ever met --- so stop telling me I don't know what I feel just cause you're scared. Cause it won't work. Their gazes lock- And --- ROWAN'S eyes suddenly fill with tears- MICHAEL'S face creases with concern. He reactres for her - but she rises- Starts pacing. MICHAEL Ro --- what is it...? A long beat. She finally turns to him - ROWAN What you 'saw' --- me in the kitchen - with Grahm - when he was dying...? (MICHAEL nods) My anger wasn't frustration Michael. (pause) It was hatred. (MICHAEL winces, stunned) He tried to molest me while his wife lay half-dead in the hospital! (pause) Ellie's love was the one thing that connected me to the world. Sha was all I ever had. (chilling) At that moment, I hated Graham with a fury you could never imagine... pause)... and that's when he had his stroke. (a long beat. softly) I wanted him to die. (pause) Howqs that for 'perfect' ...? A tear slides down her cheek- The mainsail SNAPS loudly as it fills with WIND. Her tears come full-force. sobbing, she lunges into his arms. Se holds her tightly. A long beat. ROWAN (pained. ashamed) I'm a doctor, Michael, and I wanted him to die. DISSOLVE TO INT. MICHAEL'S HOUSE. DAY ROWAN wanders wide-eyed, stunned by its beauty. She enters the bedroom, where MICHAEL stands, staring at the mess. MICHAEL Seems more like a year than a month. ROWAN Michael - this place is increadible. You - you're brilliant... (goes to him) The things you created... He nods slowly - and shrugs. She takes his hands in hers. ROWAN I called Dr. Styles at the Neurological Institute In L.A., remember...? (MICHAEL nods) He said he'd see you. He was intrigned. MICHAEL (deadpan) God knows, I'm intriguing. ROWAN (stern) Michael, do you want to wear those for the rest of your life...? MICHAEL (stares at his gloves. a lonq beat) ROWAN You could fly down tomorrow. I could be there the next day (her warm smile blooms) I think I can last that long without you. He slowly nods. Searching each other's eyes. Then a crooked smile curls at ROWAN'S lips. She shakes her head. ROWAN We're quite a pair, you and I. MICHAEL (matching her grin) Mad. for each other. INE. A BEDROOM. LATE NIGHT Moonlight on a dusty floor. DIEDRE lies motionless in an old brass bed - her open eyes welling with tears. Her wrists and ankles in leather restraints. The window curtains flutter. CLOSE-UP - DIEDRE'S FACE IN THE MOONLIGHT as a tear rolls down her cheek - then changes direction - moving across her cheek, and disappears - as if someone had brushed it away. A haunting smile blooms - her eyes close... INT. AN OPERATING ROOM ROWAN works feverishly on an OUT OF FRAME patient. Thirteen FIGURES - faces hidden by surgical masks - encircle the operating table - watching silently. ROWAN throws her hands up in despair, her confidence failing. ROWAN I - I can't do it! The others urge her on - imploring, encouraging her. ROWAN (pointing OUT OF FRAM. frantic) But look! LOOK! How can I do it...? ROWAN SHOOTS UP IN HER BED AT NIGHT jolted awake by the rain whipping at her windows. The clock says 3 A.M. The rain is like a WHISPER. Every nerve-end at attention. She reaches under the bed and brings up a bat. Heart pounding. Stepping into the hall, reaching THE DARKENED LIVING ROOM The WIND MOANS. The rain flows thickly down the glass walls, giving the sky and ocean beyond a weird, melted look. ROWAN (tense - but brave) It somebody's here --- She whirls round. There - on the deck, is A MAN - wavy hair, achingly handseme, Victorian clothes - THE MAN AT THE FUNERAL PROCESSION IN MICHAEL'S VISION. His hands rest on the glass. The rain seems to go through him. ROWAN raises the bat - ROWAN I'll take your goddamn head off.' she dashes to the glass doors - yanks them open and steps out. But the deck is empty. Drenched. she reaches out - and touches the glass where the man's hands had been- She snatches her hand away quickly - and stares at her fingertips. incredulous. INT. ROWAN'S KITCHEN. PRE-DAWN The storm is over. ROWAN sips from a wine glass, staring at her fingertips. she rubs them together, deep in thought. The phone RINGS once - and the answering machine kicks on ROWAN'S VOICE (ON THE MESSAGE) you've reached 555-2lO1. ROWAN comes out of her fog - stands - and heads toward the phone. The caller clears its voice. A WOMAN'S VOICE (ON THE PHONE MACHINE) (a southern accent. hesitant) Ellie...? Ellie - are you there...? Dammit. (pause) 555 - 2 - 1 - 0 - 1 (pause) Ellie --- this is Carlotta. ROWAN stops - cocks her head. Who...? CARLOTTA (ON THE PHONE MACHINE) (a sigh. cool measured) E11ie - Diedre died at five o'clock this morning. (pause) Obviously, there are 1egal matters. Your discretion will be - ROWAN (snatching up the phone) Hello...? Who is this...? CARLOTTA (ON THE PHONE) (beat. cool) Who is this...? ROWAN Rowan Mayfair. Who's calling...? CARLOTTA (ON THE PHONE) (a long beat. cool) I wish to speak to Ellie Mayfair. ROWAN' Ellie Mayfair is --- dead. CARLOTTA (ON THE PHONE) Dead...? (pause) Why was I not notified of Ellie's death...?! ROWAN I beg your par--- CARLOTTA (ON THE PHONE) (brusk. In command) When did she die...? ROWAN (getting angry) Who is this...? CARLOTTA (ON THE PONE) (a long beat. very cool) This is your aunt. Carlotta Mayfair. In New Orleans. ROWAN stares at the phone, dumbfounded. My aunt...? ROWAN I don't have any aunts - and I've never heard of a 'Carlotta' - or, for that matter - a 'Diedre'! Just who - CARLOTTA (ON THE PHONE) (like a cold blade) Diedre Mayfair was your mother. The sky falls on ROWAN she reels. A long beat. ROWAN (hushed) My...mother...? CARLOTTA (ON THE PHONE) (cold. no sympathy) Yes. (pause) Listen carefully, Rowan. Have your attorney contact me at once. There are matters of immediate - ROWAN (reeling) But my mother... Ellie said she died - CARLOTTA (ON THE PHONE) (curt. annoyed) I under5tand. All the same ROWAN -Ellie said she died when I was BORN! She's been alive...? ALL THIS TIME...? Why have I been lied to when - CARLOTTA (OM THE PHONE) I had you sent away. ROWAN (astonished anger) Who the hel1 - CARLOTTA (ON THE PHONE) It was quite warranted by the - situation. (pause) I realize this is a shock, but really, Rowan - you never even knew her. It's not as if you've suffered some great - ROWAN (anger exploding) What's the matter with you...?! What kind of person are you...?! CARLOTTA (ON THE PHONE) A very tired one. I've been up all night - and I would .like to rest before the funeral. (pause) Have your lawyer - ROWAN When is the funeral...? (SILENCE) I am coming to my mother's funeral!! CARLOTTA (ON THE PHONE) (out of control - for a moment) Out of the question (pause) Rowan, coming here will not change the - ROWAN I'm coming down there!! And it you put my mother in the ground betore I arrive, you'll wish you'd never seen my face! IS THAT UNDERSTOOD...?! ROWAN is revving. shaking. A long beat. CARLOTTA (ON THE PHONE) (weary. resigned) Lenigan's Mortuary. St. Charles and Carondolet. One o'clock. (long pause) You should not do this Rowan. A CLICK on the line.. A dial tone drones... Rowan slowly hangs up. Trembling. Her world spinning off its axis. INT. ROWAN'S BEDROOM. DAWN ROWAN'S shoving clothes into a suitcase, grabs the phone and pushes re-dial. RING. CLICK. A RECORDED voice comes on... INT. A HOSPITAL ROOM. SAME TIME MICHAEL lies in bed sleeping. A VOICE RECORDING wires and contacts connected You have reached the Sayles to his forehead and hands. Neurollogical Institute. Patients are reachable by BACK TO ROWAN IN HER BEDROOM phone from eight A.M. to Rown tosses the phone on the seven P.M. if you are - bed - and continues packing... INT. SAN FRANCISCO AIRPORT TERMINAL. EARLY THAT MORNING ROWAN at a payphone, phone to her ear, tapping her finger nervously. An airline ticket in her other hand- RING- RING MICHAEL (ON' THE LINE) Hello...? ROWAN Michael! Jesus I've been trying - MICHAEL (ON THE LINE) Rowan...? ROWAN Listen. Last night - oh Christ, this'1l take forever to explain. God, Michael... MICHAEL (ON THE LINE!) (alarmed) What's wrong..? Over the P.A. system - "Last boarding call for flight 6-0-4 to New Orleans..." ROWAN winces ROWAN Michael - I have to go - to New Orleans. I'll - I'll call yati when I - MICHAEL (ON THE LINE) (alarm rising) What about you coming down here...? A long beat. ROWAN makes up her mind. ROWAN Go to LAX and get on a flight to New Orleans. Go to the Ponchartrain Hotel and wait for me. I'll call you there. MICHAEL (0N THE LINE) Wait a minute. Rowan - what is going on...? ROWAN Goodbye, Michael. (long pause) I love you. She hangs up. And dashes toward the gate with her ticket. INT. AN AIRLINER ABOVE THE CLOUDS. LATER THAT MORNING ROWAN alone in her row, asleep. MOVING IN TIGHT, the sounds of the plane fade... Her tongue darts across her lips sensually. A soft, silky moan. Her body moves - shifting. accommodating. Her breath catches. Her head arches back. ROWAN'S VOICE [IN HER HEAD] Harder... MAN'S VOICE [IN HER HEAD] (it is not MICHAEL'S voice) Rowan... ROWAN'S VOICE [IN HER HEAD] Harder... MAN'S VOICE [IN HER HEAD] Like this... LIKE THIS...? ROWAN'S VOICE [IN HER HEAD] Yessss... MAN'S VOICE [IN HER HEAD] Always loved you. Rowan. Always... She shudders - coming in her sleep. Her eyes open hazily... She straightens up - and winces. Her face creases. Huh...? She feels herself between her legs. Her eyebrows arch... INT. A FUNERAL HOME. THAT AFTERNOON Sunlight spilling through high, ornate windows. A hundred people - drinking, smiling. The air is thick with familial intimacy. Floral arrangements have taken the place over. SNAKING SLOWLY THROUGH CROWD. We hear. WOMAN #1 God-Only-knows what went on in her head... MAN #1 Been in back yet...? Lonigan did quite a job. Best she's looked since the baby. (pause) Sixty-three...? WOMAN #1 Sixty-one... I remember, cause Julien was still alive. The camera clears the crowd and HOLDS on ROWAN IN THE MAIN ENTRANCE - suitcase in hand. bewilderment clouding her face. A MAN - 45, black suit, somber - approaches her. BEATRICE MAYFAIR - 40, a lush figure in a satin dress - turns and stares. MAN Good afternoon. I'm Jerry Lonigan. May I ask who - BEATRICE (sudden realization) Oh my god... Is it...? Mother of Christ - she's here... Heads turn. Voices fall silent. BEATRICE - eyes welling up - steps to ROWAN. BEATRICE You are, aren't you...? You're Rowan! She hugs a startled ROWAN. In the crowd, SILENCE shifts to an astonished MURMUR. "Deedee's little girl...?" "It must be. Those are Mayfair eyes" "Does Carl know...?" BEATRICE Rowan - I'm Beatrice Maytair. Your cousin. Deedee...you'r mother and I - we - we grew up together. ROWAN (fuzzy) I want to see my mother. MAN (JERRY LONIGAN) (a beat. almost defensive) We - uh - we did what we could. The skin was... I mean - Diedre had really --- BEATRICE Be quiet, Jerry. (takes ROWAN by the arm) come with me, darling. She leads ROWAN away. Curious eyes watch. Hands reach out. "Welcome home, cousin" "She's with her maker, sweetheart" ROWAN clutches BEATRICE'S hand. "we're glad you'r here..." BEATRICE You hold on tight as you want. They near a doorway. A smaller room is visibe. Soft voices inside. Shadows move on the walls. And -CARLOTTA steps IMTO VIEW - cane in hand, whizzened and stiff - but peerless. ROWAN freezes. She knows this woman no mistake about it. Their eyes locked on each other. CARLOTTA (a cold frost of a smile) You came. (a long pause) I'm your Aunt Carlotta, my dear. ROWAN (glacial) I want to see my mother. Where is she...? CARLOTTA (a hint of a grin) In the coffin, my dear. where else...? CARLOTTA looks for a flinch or a wound, but there is none - ROWAN is steel. CARLOTTA turns to the doorway. CARLOTTA Hush up, now. all of you. Deedee's little girl is here. All the way from San Francisco. Give her some peace with her mother. Go on. Get a bourbon up in the front there. I said MOVE. People come out of the room, eyeing ROWAN CARLOTTA Bea - let go of the girl's hand. BEATRICE glares - but steps aside. ROWAN comes forward and halts at the doorway. She can see the edge of the gleaming coffin. A deep breath, and she walks into THE ROOM She is alone. Slow steps toward the coffin. ROWAN halts. Standing above the coffin... Looking down... Diedre lies in a bed at flowers. Folded hands on a pale blue gown. ROWAN'S hand hesitates, lightly touchs the gown - and then drops to her side. She stares, expressionless. INT. A BACKSEAT OF A TAXI. SAME TIME New Orleans' Garden tistrict passes by outside the window. Splendid, old houses of pink and lavender. And now - the MAYFAIR MANSION, in all its tragic glory comes INTO FRAME. MICHAEL (OC) Pull over! ANGLE - MICHAEL IN THE BACKSEAT OF THE TAXI He leans to the window and stares at the house, seized with melancholy. The CABBIE pulls over. MICHAEL They - they let it. die. (the saddest of smiles) God, I loved this house. Used to walk by, rattle a stick across tbe fence... MICHAEL opens the door and steps out. CABBIE Meter's running, mister. MICHAEL WALKS TO THE GATE Runs his finger across it and grins. On the other side, blood-red camellia blossoms lie in the grass. He kneels, reaches in and gathers up a few. The rest skirt away in a sudden BREEZE. He rises - and comes face to face with 'The Man' - standing on the other side of the fence - smiling faintly in his Victorian clothes. MICHAEL drops like a stone A hand grasps his shoulder. He YELPS - turns to see Aaron Lightner kneeling beside him - then everything goes BLACK. INT. A STRETCH LIMOUSINE. LATER THAT AFTERNOON ROWAN stares out from the back seat at the Garden District. Beside her is BEATRICE then RYAN MAYRAIR - 50, elegant, thin. cool afflluence. Facing ROWAN is GIFFORD MAYFAIR - 65, corpulent, a face veined from years of bourbon. BEATRICE Down here. darling, we figure: If you're taking a trip to God knows where - might as well have one hell of a going-away party. GIFFORD (a gruff chuckle) In certain cases, hell is the operative word. BEATRICE Giff - shuttup. (pause) you're mother was a sweet child, Rowan... A lost little girl in a world too full at things SILENCE. Sad glances are exchanged by the relatives. RYAN (kind. measured) Rowan - we're glad you're with us now. Carlotta has always done what's best for the family. We don't always understand, but she's the anchor. Anchors are hard and blunt by nature - GIFFORD - and they hurt like hell if they fall on you. BEATRICE Gif-ford ROWAN still stares out the window. A long beat. ROWAN I've been lied to my whole life. Throats clear. Bodies shift in seats. INT. A BEDROOM. SAME TIME MICHAEL sleeps in a mahogany bed. Eyes opening, squinting. He sits up. His suitcase on an antique bench - clothes on a valet - a robe at the foot of the bed. He gets up - wobbly - puts on the robe and wanders into A BEAUTIFUL MAOGANY AND MARBLE PARLOR where the white-suited AARON LIGHTNER sits on a lush leather sofa, staring benignly, ivory walking stick at his side. AARON How do you feel, Michael...? MICHAEL is still unsteady, off-balance - about everything. AARON I'm Aaron Lightner - and this is the Talamasca Retreat in New Orleans. MICHAEL squints at him. AARON grins. AARON Tal - a - mas - ca. From the French. MICHAEL wobbles - and AARON rises and gently steadies him. So benevolent. patient. MICHAEL It was you - on the sidewalk... suddenly, MICHAEL'S eyes widen - remembering something. MICHAEL Jesus I've got - to get to the ho-- AARON (calm. even) Rowan's already called the hotel, Michael. (MICHAEL squints at him - stunned) At the cemetery by now, I would guess. Suspicion darkens MICHAEL'S face. MICHAEL How do you know about Rowan ...? I didn't --- Cemetery...? AARON With her family. Rowan's mother died yesterday. MICHAEL (scowls) Rowan's mother died at childbirth. And she doesn't have. any family. ARRON Lies, Michael. Desperate decptions. (sighs) Rowan has stepped into a world that's waited centuries for her. MICHAEL You know what, mister...? You're nuts. And I'm getting out of here. He starts back unsteadily toward the bedroom... ARRON We know about the visions, Michael... MICHAEL freezes. And slowly turns round. ARRON nods wisely. AARON there is great danger... MICHAEL stares - dumbfounded, shaken, searching AARON'S eyes. such clear benevolence... AARON I ask only that you stay here, long enough to be - educated. A few hours. MICHAEL You sound certifiable. Yon know that. ARRON (his wise smile) Should I think you certifiable if you told me that hours ago, you saw a phantom materialize before your eyes... (BULLSEYE. MICHAEL'S jaw drops) I've seen him too, Michael. MICHAEL blanches. Haunted thoughts racing in his memory. MICHAEL I - r saw him as a child. Lots of times... But no one else did. AARON (nodding) Come. There is a lot to read EXT. A CEMETERY. SAME TIME - AFTERNOON ROWAN AND CARLOTTA STAND SIDE BY SIDE at the front of the mourners before an enormous flower-laden crypt with twelve vaults. carved into the top of the crypt is MAYFAIR - and NEVER DIE. Four MEN slide the coffin inside the one open vault. A BREEZE kicks up, sending flowers into the air. one lands between CARLOTTA and ROWAN. The old woman bends stiffly and picks the huge flower up. She smells it and a private smile blooms. The crowd begins to drift apart. ROWAN (simmering anger. whispers) She was alive all these years... You NEVER let me know her. Who gave you that right...?! CARLOTTA (a narrow smile) A Mayfair it ever I saw one. ROWAN I might as well be Rowan Smith - or Jones! you cut me off from every - CARLOTTA I'm tired. I need to rest. ROWAN There are things I have to know! CARLOTTA nods slowly - turns - and starts away. CARLOTTA Come to the house tonight. She tosses away the flower. The BREEZE swirls it across the ground - and it come. to rest at ROWAN'S feet. INT. A ROOM. THAT NIGHT A rounded gallery. Windowless. An antique desk and two chairs. On the walls - twelve, large, old portraits. MICHAEL and ARRON enter the room. AARON gestures... ARRON All copies. but most are by the original artists. Suzanne was the first. MICHAEL looks up at the portrait of SUZANNE MAYFAIR, golden hair spilling from her hood. the pendant round her neck... SUZANNE [IN MICHAEL'S HEAD] Go back, Michael... do what you can... He whirls to anotner portrait - DEBORAH, with the scarlet curls and pendant. MICHAEL's hands going to his ears. DEBORAH [IN MICHAEL'S HEAD] Help us, Michael... The door... He's swirling in a circle. Voices crowding in... And --- ARRONN suddenly grabs MICHAEL'S face tightly in his hands. AARON You've seen them...? when you drowned...? MICHAEL nods frantically. AARON gently takes MICHAEL'S hands from his ears. AARON Gone...? MICHAEL nods. AARON leads him to the chair. MICHAEL sits, dazed. On the desk art three, thick, leather-bound volumes. AARON A nexus, Michael. Rowan - the visions - and the Man... Lasher. (suddenly stern) I must know this now: Do you love Rowan...? MICHAEL nods. AARON nods, satisfied. A beat. AARON The Talamasca is a world-wide... ahhh - organization - but we do not - (grins)- 'publicize.' (pause) We observe and record... the extraordinary. Since the Knights Templar...for eight hundred years (points at the book) A history of the Mayfairs. Eyewitness accounts. The original handwritten documents. From 1683 till now. (pause) I am the eighth observer of the family. ECU - ONE OF THE LEATHER COVERED MAYFAIR HISTORY VOLUMES It reads: THE MAYFAIR HISTORY - VOLUME ONE BY PETYR VAN ABEL AARON (OC) Petyr Van Abel was the son of Jan van Abel - a brilliant pioneer of genetics. WIDE OF SCENE AARON But Petyr was a troubled soul, with paranormal gifts. He renounced science, wandered for years, and met Suzanne of Mayfair in Scotland. They fell in love, but she would not marry. Petyr went to France - and soon joined the Talamasca. MICHAEL stares at the book, his mind stretching at the seams. MICAEL You - you want me to read all this...? AARON No. (pause) If you trust me - if you can be strong -- I want you to touch it. Like a sucker-punch. EXT. THE MAYlAIR MANSION. MIDNIGHT ROWAN stands at the wrought-iron gate. She walks to the door - raises a hand and - CREAK - the door opens There is CARLOTTA, cane in hand. Inside, a few candles set shadows dancing. A large white CAT strolls up to ROWAN and rubs against her leg. CARLOTTA looks up to the sky - CARLOTTA A moon, but no stars. (grins) Clever. And she walks back into the house. ROWAN steps inside following CARLOTTA down a long hall. Up ahead, a door is opening. ROWAN catching up - and stepping through - onto A PATIO THAT WRAPS AROUND THE OUTSIDE OF THE HOUSE Two chairs. A table with an oil lamp, where CARLOTTA sits, the cat in her lap. ROWAN sits. CREAK. Everything so old. CARLOTTA lights the lamp. It makes her face an amber skull. CARLOTTA The house is yours. ROWAN (surprised. simmering) I don't want the - CARLOTTA Other properties as well - here and in Europe. And vest holdings - in sugar, oil, gold, electronics. Liquid funds over eighty million. tmpcssible to put a figure on it all. All yours now. ROWAN (disbelieving) Eighty million doll --- ? CARLOTTA And this - if you decide to take the rest. She puts a velvet jewelry box on the table. ROWAN opens it. The emerald pendant catches the lamplight. ROWAN's eyes rise from the stone and study CARLOTTA closely. A long beat. Then the old woman grins - and shakes her head. CARLOTTA No, my dear. older than that. I'm eighty-six - next month. ROWAN recoils from her - stunned. Her thoughts were read. CARLOTTA That's right Everything you think, Rowan. Simply a matter of will and practice (pause) You'll learn. ROWAN shifts in her chair. CREAK. spooked. ROWAN Why was I taken from my mother...?! And why have I been deceived...? CARLOTTA raises, herself on her cans. And takes up the lamp. CARLOTTA Come. INT. ECU - THE OPEN MAYFAIR HISTORY OF PETYR VAN ABLE very old, yellowed parchment - with a faded, neat script. TILT UP to the portrait VO NARRATIVE of SUZANNE in the TALAMASCA (a European accent) GALLERY. MOVE IN and HOLD I, Petyr Van Abe1, begin this on her beautiful face and her deep, account for the Talamasca - green eyes. May fifth, 1683. I arrived in Donnelaith at dawn, eignteen years since my leaving... WIDE OF SCENE - THE TALAMASCA GALLERY ARRON sits beside MICHAEL at the desk. He places a syringe next to the open manuscript. AARON In case it becomes too powerful. (pause) I'll be right beside you, Michael MICHAEL turns a page. Removes his gloves - rubs his hands. ECU - THE PAGE PETYR VAN ABLE'S VO Michael's bare hands come All that I feared is true - INTO FRAM and hover... the lady in question is my His fingertips descend - Suzanne. And she is to be and touch the page... burned at the stake as a witch... I was permitted to see her in her cell... A FEROCIOUS ROAR - AND A FLASH OF BLINDING WHITE TURNS TO INT. A DUNGEON. MORNING - 1683 [AS IF MICHAEL WERE THERE] PETYR VAN ABEL - 35, scar1et hair, grey coat and large black hat - stands in a hall as a HOODED FIGURE unlocks a door. PETYR steps in. The door shuts. He squints in the darkness. WOMAN'S VOICE You'll have no confession from me! Leave - (laughs) - or I'll turn your teeth into mushrooms! PETYR Suzanne - it is Petyr. Chains rattle and suddenly, SUZANNE - ragged, fettered in chains - is before him. They embrace passionately. SUZANNE Oh my love... My sweet loving Petyr. PETYR I should never have left you. Never. SUZANNE But you are here now. All the years apart are washed away. They sink into a deep, long kiss. He holds her at arm's length. His face grave and pained. PETYR What have you done, Suzanne...? They say - SUZANNE (her defiance returns) No! NOT what they say! (pause) The Baron was beyond medicine. My - prayer was to save him, not kill PETYR Prayer...? Who did you pray to, my love...? A smile washes over her. She caresses his cheek. SUZANNE They are already piling the sticks. There is no time. (pause) But Petyr - you must know this now. I have a daughter... We have a daughter. PETYR freezes with astonishment. She smiles sadly. PETYR My God, Suzanne... where - where is - She silences him with a gentle finqer to his lips. Ssshhh... SUZANNE Across the sea in St. Domingue. Free from the grasp of fearful men. The CLINK of a key in the lock. She clutches PETYR to her. SUZANNE It is good to have the one you 1ove with you - when it is time to die. (pause) It will be a special day. The door opens. Light pours in and BURNS EVERYTHING TO WHITE. INT. THE MAYFAIR MANSION. LATE NIGHT ROWAN follows CARLOTTA down a HALL, the walls hung with portraits like those in the Ta1amasca gallery. CARLOTTA points at a WOMAN - 40, a blood-red gown. wearing the pendant - standing before a pristine version of the mansion. CARLOTTA Marquerite. Your great-grandmother. Something of a practitioner herself, Rowan. She points at another portrait: DEBORAH - 20, fiery red hair. a bare-shouldered blouse and pants, with the pendant, holding a riding crop - stands before a large house in the tropics. CARLOTTA Deborah, Suzanne's daughter. She started the family fortune. Her plantation covered half ot Haiti. Her crooked finger stabs at another portrait: a MAN - handsome, black-eyed, in elegant long coat and ruffled shirt. CARLOTTA Julien. Your great grandfather. Clever, charming Julien... we had our moments he and I... You are forever in his debt. ROWAN glances at Julien. Lamplight dances on him. Did his smile curl - the black eyes wink...? Her breath catches. CARLOTTA What is it...? ROWAN (spooked. edgy) The lamplight. That's all. They reach a winding staircase at the hall's end. A gust of WIND blows the lamp out. DARKNESS. CARLOTTA You can see well in the dark, Rowan. ROWAN (stiff. simmering) Better than most, I suppose. CARLOTTA Put your hatred for me aside, so you can clearly see what is ahead- A match light - and it burns out the FRAME to a HOT WHITE... INT. AN INN. DAY PETYR, hellish and gaunt, PETYR VAN ABEL's VO writes feverishly at a table I am lost to all, forever... How to tell what I've seen on fresh parchment. and not sound a madman? If only I were... A sailor PETYR glances out the window shall shepherd these pages at a ship in the harbor. to you. I dare not board the ship, fearing he will suddenly, he whirls round. follow and send innocents to looking straight TO CAMERA their doom in my wake. I have cause for my dread... THE IMAGE SHATTERS INTO EXT. A SEVENTEENTH CENTURY TOWN SQUARE. MORNING Encircled by shops. A stake at the center, sticks piled at its base. A torch burns in a stanchion. A church spire towers above it all. PETYR is among the large CROWD watching two columns of PRIESTS near the stake. Between them is SUZANNE - in a white robe, holding a large candle. The procession halts. She scans the crowd and finds PETYR. She smiles at him. Then - her face turns fierce. SUZANNE I never did any of you harm! I am UNJUSTLY CONDEMNED! I have no love for Satan! The crowd jeers. "Burn her!" "Witch!" "Send her ashes to Hell!" She hurls the candle down. SUZANNE Witch, is it...?! (growls) Come now, Lasher! COME! A RUMBLING, like thunder, fills the air- A WIND begins to swirl. The sky darkens. Curses from the crowd, as they raise arms and cloaks against the swirling dust. SUZANNE My beautiful Lasher - strike down those who would come to see me die! The WIND howls. Shutters break free. windows shatter. And from the rooftops, tiles - a storm of them - shower down on the terror-stricken CROWD. The town is being ripped apart - and at the eye of the storm. SUZANNE watches, eyes burning. PANIC. people rush madly, arms over heads, trampling those who've fallen. Cries in the WIND. Blood puddles the ground. Shops burn. Bodies piled at every doorway. Armageddon. PETYR stands in the center of the chaos, near a frantic PRIEST. PRIEST Where is she...?! FIND HER! SUZANNE (OC) Petyr! SUZANNE IS HIGH UP ON THE CHURCH PARAPET She leaps off - flying down, robe rippling in the stort and crashes down atop the Priest. PETYR - tears flowing - kneels at her broken body - and gently takes her hand in his. A MAN'S VOICE (UNSEEN) (powerfull. booming) Petyr Van Abel...! PETYR looks up - and races away - just as the looming church tower sways - and comes crashing down... INT. DIEDRE'S ROOM. LATE NIGHT CARLOTTA and ROWAN appear in the doorway. CARLOTTA This was her room. ROWAN cocks her head and sniffs. She gags... ROWAN My god... She approaches the brass bed - its leather restraints hanging loose, its grimy, stained mattress is bare. ROWAN You kept her in this filth in restraints...?. CARLOTTA She didn't feel them ROWAN (through gritted teeth) You're a monster. CARLOTTA is at a window, pointing to the patio below. CARLOTTA Antha...your grandmother...her life ended there, on the stones. Head split open like a melon. ROWAN Why are you doing this...? Handing out these horrors! Why...?!! CARLOTTA (turns and looks ROWAN over) You have the Mayfair eyes. (pause) Tell me, Rowan --- what have those eyes seen that the mind can't fathom...? Their eyes 1ock. The lamp's flame dances in the BREEZE. CARLOTTA (knowing. chilling) He's shown himself to you... on the deck. In the storm. ROWAN (really spooked now. a beat) 'He'...? CALOTTA (reading her mind) And on the plane - he touched you! ROWAN (stunned. off-balance) Shut up! CARLOTTA Lasher touched you and you loved it. ROWAN It wes a dream...! CARLOTTA Just like your mother - and all the others that felt him - and used his power - and went to hell with a smile! ROWAN Stop it! CARLOTTA Witches. Rowan. that is what we are. ROWAN ENOUGH!!! ROWAN slams the wall. Her fury rises. Trembling. CARLOTTA suddenly flinches. A hand to her forehead. A deep breath. CARLOTTA Ahhh... You are strong. ROWAN starts for the door. CARLOTTA shuffles after her. CARLOTTA Save your anger for him! Let it keep you strong - as I have I've fought his all my life... used my power and anger to turn him away! (pause) Diedre was not so strong. That is why I kept your mother a morphined, mindless shadow. ROWAN freezes at the door - and turns back to CARLOTTA. CARLOTTA And that is why I pushed your grandmother onto the stones - even as she had him inside her... ROWAN You're mad! Your mind is sick! CARLOTTA ...and why I put thirty years between you and the beautiful monster. To kill the legacy! (pause) you are the sum of his desires - ROWAN (a hateful hiss) You - are - a - murderer. CARLOTTA (a beat. a chilling grin) But I had to use my hands. None before you could kill with their mind. (ROWAN stands frozen) Graham, my dear. Your uncle...? BULLSEYE. ROWAN steps back in horror. The curtains flutter. ROWAN backing up, unsteady, down the hall. Furious. Haunted. CARLOTTA advancing something falls OC. CRASH! ROWAN No! You're wrong! you're wrong! She has backed up to the staircase. She trips aver the cat YOWL - and grabs the bannister. CARLOTTA comes face to face. CARLOTTA Did you like it...? Looking down at Graham and knowing what you could do...? ROWAN (erupting. out of control) I'm NOT like you! I'm NOT! You're cruel - CARLOTTA suddenly winces- Eyes squeezing shut in pain. ROWAN - twisted - (a jagged moan from CARLOTTA) - vicious ! You vile, old - CARLOTTA'S hands fly to her head. Her cane topples and RAT-TA-TAT'S down the staircase. She wobbles - equilibrium going... ROWAN comes out of her blind fury and grabs her. ROWAN Oh my god... I - I --- (pause) Are you alright...? (shakes CARLOTTA) Carlotta...? Carlotta!! And CARLOTTA - wounded, stunned - slowly opens her eyes. CARLOTTA You're more dangerous than I knew... You're strength will make him more than he has ever been. (cold. piercing) I should have killed you. ROWAN, releases her - pierced, rocked by the words. And she races down the stairs into darkness CARLOTTA I SHOULD HAVE KILLED YOU WHEN YOU WHERE BORN!!! WHACK! The door to Diedre's room SLAMS shut. CARLOTTA whirls round toward it. The WIND MOANS. ON THE FIRST FLOOR LANDING - AT TNE BOTTOM OF THE STAIRS ROWAN freezes in her tracks at the sounds. BACK ON THE SECOND FLOOR A gust of WIND whips at CARLOTTA'S dress. She grabs the bannister for support. A piercing WHISTLE in the WIND. CARLOTTA winces. Grabs her head. The cat MEOWS. CARLOTTA So it's now- when I'm weakened.. (pause) you wretched obscenity... Blood trickles from her nose and mouth. An inner cataclysm jolts her - her grip slips - she topples down the stairs... ON THE FIRST FLOOR LANDING - THE BOTTOM OF THE STAIRS ROWAN is frozen. KATUNK-KATUNK-KATUNK... - out of the DARK, CARLOTTA tumbles down the stairs to ROWAN'S feet. ROWAN stares wide-eyed - then quickly kneels beside CARLOTTA, grabbing her limp wrist, checking for a pulse. She puts her ear to CARLOTTA's chest... she's dead. ROWAN stares in horror --- then something shifts in her face. Something unknowable suddenly known. Suddenly believed. ROWAN You're here. SILENCE. She walks slowly down the hall past the portraits. Stopping with her back to a huge mirror in an ornate frame. ROWAN I know you're here. (pause) You killed her, didn't you... (pause) Come out, you bastard! Behind her, in the mirror - a foggy phantasm drifts across the glass - and is gone. ROWAN looks down. At her feet is the emerald pendant. She picks it up. OC, down the hall - the TINKLE-TINKLE-TINKLE of glass. ROWAN walks into THE LIVING ROOM Dust and decay. Cracked leather chairs. A chadelier of a hundred cut-glass pieces. Does it sway slightly...? ROWAN What did she call you --- Lasher...? She whirls round. There in the corner - the shimering, transparent specter - handsom, angular. Rowan is stunned - but still. They eye each other. ROWAN What are you...? The specter flickers - and disappears. Sfle dashes to where it was... And then --- hands are clutching; her from behind. She SHRIEKS --- she is twisted round --- and she looks into MICHAEL'S face - and violently clings to him. MICHAEL What is it...?! Tell me! She tries to find words. suddenly - her head swivels from here to there - looking round the room... ROWAN There's something - someone --- here. He stiffens - and glances round the room MICHAEL Where's Carlotta...? ROWAN shivers - and slowly, she points to the hall. He takes her hand. she's like a mule. holding her ground. He has to pull her with him, out into THE DARK HALL and down to the foot of the stairs. There lies CARLOTTA. MICHAEL stares drop-jawed. MICHAEL Jesus christ... (a beat) was it --- a man...? ROWAN (stunned) But how did - how could you --- From the DARK at the top of the stairs - FFFTT-FFFTT-FFFTT. They freeze, and peer into the BLACKNESS. FFFTT-FFFTT... MICHAEL picks up CARLOTTA's cane. names it high. It's coming down the steps... closer... And - something LEAPS out at that trot the DARK... ROWAN Michael...! MICHAEL swings lethally - and the cat soars past him - YEEOWWLLL! - and scampers away. They both exhale with spent fear - and look at each other. ROWAN (a long beat) You know...? MICHAEL (a slow nod) I know. It's not possible --- but I know. A long beat. ROWAN is starting to tremble. She looks down at CARLOTTA'S crumpled body. ROWAN She - she said I - I was a --- MICHAEL - a witch. ROWAN looks back up at hit --- and nods. INT. THE MAYFAIR MANSION PORCH. AN HOUR LATER. ROWAN sits hollow-eyed in the rocking chair. MICHAEL stands behind her, his gloved hands on her shoulders. ROWAN (quiet astonishment) A whole town...? Me nods gravely. He starts to pace, desperate for legic. MICHAEL It could've been a tornado - or a - a hurricane. Maybe - ROWAN Michael - I saw him! Twice! (a long beat. very softly) Carlotta said I --- killed Graham - with - with my anger. MICHAEL Ro - you can't really believe that. Nobody can murder someone with their feelings. I mean --- that's CRAZY. ROWAN (an eyebrow arches) Is it more or less crazy than dying and coming back to life with hands that can see...? (that silences him. a beat) God, Michael --- what am I...? A CORONER comes out the front door with GIFFORD. PARAMEDICA carry a body bag out toward an ambulance. GIFFORD walks to ROWAN and MICHAEL. They watch the ambulance pull away. GIFFORD (sighs. somber) Likely a stroke. (pause) we all got used to thinking she'd live forever. (pause) Well - she made it clear No ceremony, just cremation. pause) Diedre. . now Carl... (pause) You get some sleep now. Both of you. He kisses ROWAN - and he walks off toward a Cadillac at the curb. A long beat. MICHAEL takes ROWAN by the hand. MICHAEL C'mon. Let's go to the ho--- ROWAN (jabs a finger at the house) He's in there! (whirls to the garden) Or are you out for a stroll in the garden ...?! where are you, goddamnit...?! MICHAEL grabs her firmly - and shakes her. MICHAEL Even if it's all true - that doesn't make you a witch! It's 1992, Rowan! ROWAN (her shoulders sag) But it scares the hell out of you, doesn't it. Michael...? He hesitates - and takes her by the hand. TRACK with them as they go down the walk and - HOLD on the swinging gate as they walk OUT OF FRAME. TRACK back along the walk, up the steps, to the motionless rocking chair, where the cat has curled up. The chair starts to rock. RRMMFF-SQUEAK-RRMMMFF... INT. THE OPERATING ROOM IN ROWAN'S DREAM ROWAN works feverishly on an OUT OF FRAME patient. The MASKED FIGURES watch silently. ROWAN throws her hands up in despair, her confidence failing. ROWAN I - I can't do it! The FIGURES urge her on - imploring, encouraging her. ROWAN (pointing OUT OF FRAME frantic) But look! LOOK! How can I do it...? OC - a muffled CRY. TILT DOWN SLOWLY - the edge of the operating table comes INTO FRAME - and on it, a tiny hand... ROWAN IS A HOTEL ROOM writhing in a bed. It is MORNING. She screams - ROWAN LOOK! MICHAEL lunges INTO FRAME. grabbing her, shaking her. She shoots up wide-eyed, sweaty, haunted... ROWAN I had it again. I can't save it - I don't know what to do... INT. THE TALAMASCA GALLERY ROWAN sits at the desk, the Talamasca manuscript opened to the last page. MICHAEL stands staring at Julien's portrait. ARRON refills ROWAN'S coffee cup - and nods... AARON Many times over the past thirty years. Why he shows himself to me, I don't know but Lasher's not some mindless wraith. ROWAN Then what is he...? AARON A spacial entity. An organized energy. something that precedes our definition of existence. MICHAEL A what...? AARON A spirit. Perhaps evil... (to ROWAN) ...and he has come to you- with Diedre gone - you've... inherited him. Both Men stare at her. ROWAN Stop looking at me like that! I'm not some siren chanting to the moon. And my life is not a cosmic whim! I am in charge of my life - (a long heat. resolved. firm) - and I want to stay. (MICHAEL does a double-take) Everything that was taken from me is here, Michael. All these years, she was there without me. Helpless. I should have been here. MICHAEL (coming to her) Rowan... Think of what's in that book. Think of last night! ROWAN I am! (a sad grin) And so are you. (pause) You thought you'd found yourself a nice, sensible doctor. pause) Michael, if you don't want - He silences her with a finger on her lips. A long beat. ROWAN Do you love me, Michael...? MICHAEL Yes. I love you. Very much. ROWAN I've come home, Michae1, for the first time. I want to stay here - with you. A long beat. MICHAEL glances at AARON. AARON shrugs. AARON Going away doesn't mean you leave Lasher behind. He was on Rowan's deck - and the plane... geography seems irrelevant now. ROWAN Michael - you loved that house as a child. You could work again! You could make it ours. We'll sweep out the horror. And Lasher with it! MICHAEL eyes her. Thinking. Intrigued in spite of his fear. MICHAEL It'd take mounths... and cost a fortune. ROWAN (a sly grin) I'm soon to be a very wealthy witch. A long beat. They look at each other with loving eyes. INT. ROWAN AND MICHAEL'S HOTEL ROOM. LATE NIGHT. MICHAEL and ROWAN' lie still in each other's arms. A beat. MICHAEL What about your work back home...? ROWAN They need doctors in New Orleans too. (pause) Michael - think what I could do with the money! MICHAEL frowns begrudgingly. He rises, walks to the window and lights a cigarette. staring at the night. she watches him. He sends a stream of smoke out the window. Finally: MICHAEL You really felt him - inside you...? She comes up behind him. Her hands slip round his waist. ROWAN It was like a dream. It wasn't real. MICHAErL But it wasn't a dream. And he is real. She takes his face in her hands - and shakes her head. ROWAN This is real. And she kisses him deeply. DISSOLVE TO EXT. THE MAYFAIR MANSION GARDEN. A WEEK LATER - DAY STU - hands on hips, a suitcase at his feet - and MICHAEL in overalls and gloves - look up at the decayed Mansion. STU, Didn't I see this thing in psycho...? MICHAEL Just call me Norman. STU Well, Normie - you won't have to worry about this one being finished for a lonnnnng time. (MICHAEL grins) How are the hands...? MICHAEL The guy I told you about - Aaron...? He says I can learn to control them. That I could lose the gloves at some point. BZZZZ. Something flying round their heads. STU, swats at it. MICHAEL 'Leave bees be - and the bees be nice.' Didn't your father ever teach you that...? STU (swats again) That's a wasp. Fuckers'll sting a tree if they're bored- (pause) so - where is she...? MICHAEL jabs a thumb toward the house. STU (an old Jewish Man accent) You found a nice doctor. Tank Gott. She makes a nice living, Mikey...? And out the front door comes ROWAN - jeans and t-shirt, hair tied back. STU starts, beauty-stunned, wide-eyed. STU Wow... MICHAEL (blase) If you like that type. ROWAN (sticks her hand out with a smile) Rowan Mayfair. STU Sut McKinley. (strightfaced) Marry me. ROWAN (her smile widens) I thought you were almost engaged, Stu...? STU (a deflated frown) You really love this guy...? ROWAN (links her arm in MICHAEL'S) He's got great hands. STU Hey - I love gloves- I look really great in gloves. ROWAN (appraises STU) I like him. He can stay. STU, smiles, and bows. MICHAEL hands him a sheet of paper. MICHAEL These are the best guys around. Double up on the carpenters. (to ROWAN) Let us examine the patient, Doctor. STU grins - and ROWAN and MICHAEL head for the house. INT. THE MANSION - A HALLWAY. DAY ROWAN watches as MICHAEL snaps off a rotted floor plank. He looks over the exposed joists with expert eyes. INT. THE MANSION - A BATHROOM. DAY MICHAEL inspects the studs behind a cracked plaster wall. ROWAN leans in and blows hard. Plaster-dust flies into MICHAEL'S face. He lunges for her and she scoots away. INT. THE SECOND FLOOR HALLWAY. DAY MICHAEL and ROWAN, mucked up and dusty, walk along. ANGEL - A TRACKING POV from behind them - coming up swiftly --- BZZZZ-PTIT-BZZZZ-PTIT - and zipping past them and HOLD on a DOORWAY as they arrive there. It is Diedre's room. SILENCE. MICHAEL sticks his head in. MICHAEL This is her room...? They walk inside. We've not seen it in the light. Frayed dolls on a shelf. A bowl of tarnished jacks. A doll house. ROWAN (melancholy smile) The closest I'll ever get to her... She turns to an antique toy chest, raises the cover. CREAK. ROWAN Oh Michael, look! He reaches down and lifts out a marionette by the wooden slats. It dangles on its strings. He flicks his hand - the marionette does a jig. ROWAN'S eyes have welled with tears. ROWAN I'll bet she had a wonderful smile. MICHAEL (watches her. a beat) Let's see. Her face creases in contusion - then widens in understanding-. ROWAN You sure...? MICHAEL (nods with a smile) It's the next best thing to being there' - right...? She melts with love. MICHAEL tugs the glove off his free hand with his teeth, reaches out - and grasps the marionette. A FLASK OF WRITE...INTO INT. DIEDRE'S ROOM [AS IF MICHAEL WERE THERE] Forty years of decay have vanished. DIEDRE - 7, in pink jumpers - on the floor on her knees. She holds the marionette suspended by its slats. MICHAEL'S VOICE She's - she' beautiful Ro. (pause) Can you hear me...? (pause) she's six, maybe seven. An ear to ear grin. Ro, she's so - The marionette starts to dance wildly - but DIEDRE'S hands are motionless. The marionette dances by itself. Suddunly - LASHER is leaning over her shoulder. He puffs his cheeks - and blows. The marionette does a jig. DIEDRE giggles... LASHER (a loving whisper) I love you.. . He kisses her softly. Then - LASHER looks up, straight ro CAMERA (to MICHAEL) - and smiles... BACK TO MICHAEL AND ROWAN as MICHAEL drops the marionette. ROWAN darkens with concern. MICHAEL (musters a smile) I'm okay. (pause) Could you hear me...? ROWAN nods slowly - trying to read him. He takes her hands. MICHAEL She was the happiest mop-top you've ever seen. With a wonderfnl smile. She hugs him tightly - and doesn't see his smile disappear. EXT. THE MAYFAIR MASION. A FEW DAYS LATER The house is changing. WORKMEN everywhere. Scaffolding rises to the roof. The sweet cacophony of construction. INT. THE MANSION - THE MAIN HALL. THE SAME TIME ROWAN opens the front door. In marches BEATRICE with a basket. GIFFORD follows with a brightly-wrapped package. BEATRICE Make way for the welcome wagon, darling. We're here to raise some hell. She starts unpacking the basket: Bourbon, soda-water, crabs, lobsters, plates and utensils. ROWAN watches with a smile. BEATRICE I hope Ryan explained that if you stay in this town, you're shackled with pushy relations for the rest of your life. ROWAN (straight-faced) He made that quite clear, yes. BEATRICE Gifford - that box glued to your hands...? GIFFORD grunts, and offers the package to ROWAN She goes at the wrapping. Opens the box - and peeks inside. Her smile widens. She pulls out a gold saw, screwdriver and hammer. BEATRICE Aren't they gauche...? (pause) Those steel things are so - common. ROWAN (deadpan) Nothing worse than a common tool. MICHAEL comes down the stairs - covered with grime. MICHAEL There he is! MICHAEL sees the group - and gets a good looking-over as he arrives. ROWAN Everyone - this is Michael curry. MICHAEL Hello.. ROWAN Michael - this is Beatrice Mayfair. And this is her brother, Giff--- BEATRICE (taking MICHAEL by the arm) Never mind them - you handsome, dirty man. (starts leading him off) I'm going to tell you my darkeet secrets. then - if you can still speak - you can tell me yours. MICHAEL looks over his shoulder at ROWAN with a grin as he is led away. EXT. THE MAYFAIR MANSION - THE PORCH. LATER THAT AFTERNOON GIFFORD sits rocking while MICHAEL shoots a bourbon with soda and gives it to him. BEATRICE and ROWAN stroll in the garden in the BG. WORKERS move IN and OUT OF FRAME. GIFFORD takes a long slug of his drink. GIFFORD The Mayfair women have always ruled the roost. The men pour the bourbon - but the women buy it (grins) No one seems to comp1ain though. MICHAEL I don't drink. GIFFORD Wc all have our faults. ROWAN AND BEATRICE STROLLING IN THE GARDEN BEATRICE Deedee came home middle of freshman year --- pregnant. well --- they sent for the father - your father... some assistant professor...but he died in a car wreck on the way - near Nashville... (glances at ROWAN'S shock) You didn't know...? ROWAN somberly shakes her head NO. BEATRICE Carl was set on an abortion - but Julien wouldn't hear of it. (smiles) Quite a man, your great grandfather. He truly adored Deedee. Truly. (a beat) Day you were born. Carl announced Ellie was taking you away. Julien had a fit. But Carl won. (sighs) Life just swallowed Deedee up after that. ROWAN stands silent. BEATRICE links her arm in ROWAN'S. BEATAICE Listen, darling - I figure you hear it all now, shed your tears, then you pour yourself a big drink of this life - and bottoms up. She smiles warmly. They Look toward the porch and the men. BEATRICE You two sees like a perfect fit. (pause) Only two mounths...? ROWAN Mm-hmm. (pause) Seems & lot longer. BEATRICE In the bayou, they have a saying... 'You choose the music for the dance - but fortune picks your partner.' (pause) Darling, I'd say you're on a roll. EXT. NEW ORLEANS - THE FRENCH QUARTER. EVENING MICHAEL and ROWAN stroll down a cobblestoned street, past old terraced buildings. Musics melt together as they go into THE PLAZA DE ARMS A large manicured park. A statue - Andrew Jackson on a rearing-horse - stares down at them. MICHAEL seems far away. ROWAN You're thinking about him. MICHAEL I'm wondering why the hell he hasn't shown up. ROWAN He can't hurt us, Michael. It's us - our love. He can't find a crack in it. He can't find a way in. MICHAEL Maybe he's just - waiting... ROWAN If we married, we'd shut him out forever. Their eyes lock. Then MICHAEL sits on the grass and stares at the statue. ROWAN kneels beside him. MICHAEL Ro, how long have we known each other. ROWAN I don't think of us that way - ever. MICHAEL (grins. a beat) Either do I. (pause) I love you, Ro. You know that. You're a total mystery to me - but I love YOU. (pause You gave me back my life. ROWAN Than letts get rnarried, Michael. (a beat. grins wickedly) I could put a spell on you - and make you say yes. MICHAEL gives her an "Is that so...?" look. He pushes her down in the grass, holding her down by the wrists. MICHAEL NO, I won't marry you. (grins) Well, go on --- do your stuff. She grins - and peers at him with one eye closed. ROWAN come clo-o-o-o-o-ser... MICHAEL leans all the way down to her. she whispers in his ear. His eyebrows go up --- and up... MICHAEL You're a ve-ry bad witch, you know that...? ROWAN (a wicked, sexy grin) No, I'm ve-ry good --- and you aught to know. Their smiles bloom and they sink into a lonnnng, deeeep kiss. INT. MAYFAIR AND MAYFAIR LAW FIRM - A CONFERENCE ROOM. DAY ROWAN, RYAN and GIFFORD, sit around the table, smiling ROWAN Soon. We haven't decided. A tew weeks...? GIFFORD Wonderful! (chuckles) New Orleans air. It makes folks want to mate. RYAN We'd better get to work on the papers. ROWAN Papers...? RYAN Standard for a Mayfair marriage. (ROWAN frowns) Rowan - there is a codicil concerning the Mayfair assets. They must be... aahhh... held separate from the other party... Michael that is it's in the will - for centuries. Tradition enjoins, Rowan. (pause) of course, future earnings from your practice will not fall into - ROWAN (taking command) I've decided not to open a practice here (pause) I want to set up a research clinic. For infant genetic disorder. RYAN and GIFFORD glance at each other. Interesting... RYAN That's new territory for us...but yes, we can look into that. Explore shelter possibilities, funding bodies. we could - ROWAN No tax shelters. No funding. I want to fund the clinic - exclusively. (pause) The Diedre Mayfair Research Clinic. (RYAN turns a little green) I'd like to find an existing building and move in immediately - while we draw up plans for new construction. RYAN (a beat. slowly leans forward) That would mean liquidating sizable amounts of cash. ROWAN I plan on liquidating almost evetything. Knock RYAN over with a feather. GIFFORD chuckles walks to a sideboard and pours himself a drink. ROWAN We'll put something aside for me and Michael - in both our names. (pause) The rest goes to the clinic. RYAN stares balefully. GIFFORD raises his glass. GIFFORD A toast: To the birth of a marriage - (glances with a grin at RYAN) - and the death of tradition. EXT. THE NEW ORLEANS WATERFRONT. DAY AARON and MICHAEL stroll past a saxophonist on the pier. A riverboat cruises down the muddy mississippi. ARRON When I was six, r visited my mother in a hospital ward - and the beating of hearts almost knocked me over. I could feel the mechanisms of life, Michael - and it terrified me. (pause) The Talamasca taught me how to find my center. That's the first thing we learn --- all of us with gifts. They turn now into JACKSON SQUARE Artists doing portraits, fortune tellers, clowns, jugglers. Soft jazz comes from behind shadowed, filigreed balconies. AARON It's about fear, Michael. Fear is the loss of an anchor. You must find your place amongst everything. Then the fear will leave - and then you can decide what gets in - and what doesn't. MICHAEL No scaredy-cats in the Talamasca, huh...? AARON There is a difference between sensing danger - and being afraid. (pause) what defines you in the landscape, Michael...? what anchors your life...? Your work...? Your creativity...? MICHAEL (a beat) Rowan. AARON Then focus on how you feel about her. Because your feelings define you. (pause) Take off your gloves, Michael. AARON stops at an old, iron hitching post with a horse's head at the top, embedded in the sidewalk. MICHAEL hesitates - and takes his gloves off. AARON Now - do you want to let anything in...? (a beat. MICHAEL shakes his head) Then don't. (pause) Touch it. Michael. MICHAEL takes a deep breath - stretches his hand out and touches the post. A long beat. He sighs in relief. They look at each other - and AARON nods warmly. INT. THE MANSION - MICHAEL AND ROWAN'S ROOM. NIGHT ROWAN - in a robe - sits on the bed, brushinq her hair. MICHAEL - in pajamas - watches, and lights a cigatatte. ROWAN Smoking is bad for your heart, Michael. MICHAEL Hey - I'm getting married in the morning - I already gave up drinking. one crutch at a time, Doctor. She scowls. He stubs out the cigarette - takes the brush and starts brushing her hair. MICHAEL You're just afraid I'll drop dead before I finish the damn house. ROWAN And I thought I was the mindreader. MICHAEL (grins. a beat) I took off my gloves today - with Aaron - (she whirls round) - and it was okay. ROWAN That's GREAT! MICHAEL (the wistful grin) Guess so. (pause) I keep thinking about the witches - when I was... down there (pause) There was - caring. They saved me, Ro. They said 'go back'... Wel1- I came back - to you - to love you. I like seeing it that way, y'know...? He scratches at his cleft. She grins lovingly... ROWAN Why do I love when you do that. - -? She pushes his gloved hana away - and rubs his cleft atfectionately with her finger. She grins. ROWAN Aren't we supposed to love somebody for their moral rectitude or their courage or their beneficence - MICHAEL Their what...? ROWAN So how come I love you most when you stick your finger in your chin...? She gives him a kiss. MICHAEL Wanna snack...? ROWAN A little wine...? And he leaves. ROWAN smiles to herself - and starts brushing her hair. She picks up a hand mirror to see the results... LASHER'S face locks back at her, just over her sholder. She jumps a mile - whirls round... There is no one there. She slowly looks back to the mirror - there is his reflection again, with his melancholy smile. Her face hardens. LASHER I am with you. (pause) You yearn to know me - so I am with you. you call me --- and I love you all the more for that. (gentle. poignant) I know how the desert flower feels when it drinks of the rain. ROWAN is motionless, entranced by his words, by the music of his voice. Translucent hands seep out of the mirror and frame her face. caressing her. LASHER You do not love Michael How can you love - if you lie...? ROWAN Lie...? LASHER There are things you will not tell him. She raises an eyebrow. He strokes her. Her eyes close in sensual contentment. Spectral fingers caress a breast... ROWAN Michael is healing. If I hide things from him - it's because love him. LASHER takes this in. Does he smile...? LASHER Then you will lie to him about me - won't you...? ROWAN'S eyes snap open - narrowed in anger. Heating up from within. Focused on the mirror. Suddenly the glass SHATTERS - piece falling to the floor. LASHER'S VOICE You grow stronger... And a spectral image of MICHAEL rises in slivers from the scattered chards - 1ike a shredded, willowy phantom. LASHER'S VOICE (IN MICHAEL'S FORM) Can he make you feel as I do...? MICHAEL COMES THROUGH THE DOORWAY with a sandwich and a glass of wine. And LASHER is gone. MICHAEL (chewing. bad French accent) A chardonnay, mademoiselle - pleasantly mild, but pretentious. ROWAN stares at him - between two worlds. He sees the shattered glass - and comes to her. Her hand is bleeding. MICHAEL Hey - you're bleeding. ROWAN (fuzzy. hollow) Dropped it. MICHAEL grabs a tissue - and starts to wrap her hand. INT. THE MANSION. A ROOM. THE NEXT MORNING MICHAEL - in wedding attire - tries to do his tie with gloved fingers. STU pushes MICHAEL'S hands away and starts tying it. STU You okay...? MICHAEL Just nervous. Getting married, you know. (pause) Got the rings...? STU, what rings...? MICHAEL shoots him a look - just to make sure he's kidding. MICHAEL Get out of here. I'm gonna have my final cigarette. I promised Ro I'd quit. STU pats him affectionately on the cheek --- and leaves. MICHAEL lights up a smoke closes his eyes - takes a deep drag - and exhales. The thick smoke floats in the air... and it coats LASHER'S translucent form - making him visible. standing inches in front of MICHAEL. LASHER blows gently at the smoke - and it floats back toward MICHAEL'S face... MICHAEL opens his eyes --- LASHER is gone. MICHAEL puts on his coat - and walks out... INT. THE MANSION - ROWAN AND MICHAEL'S ROOM. SAME TIME ROWAN stands in her wedding gown. BEATRICE - in a gold dress - adjusts ROWAN'S cleavage to a more daring angle. BEATRICE Always give the crovd a taste, darling. (reaches to the jewelry box) Now - Ryan said I'm supposed to make sure - ROWAN (suddenly cold) I don't want it. BEATRICE opens the box and takes out the emerald pendant. BEATRICE (mimicking RYAN'S somber tone) 'The heir to the fortune must wear the Mayfair pendant an her wedding day.' (deadpan) We should all have to suffer such burdens. ROWAN Then you wear it. BEATRICE C'mon now - give a little nod to Mayfair tradition. And she fastens it round ROWAN'S neck. The jewel gleams. ROWAN scowls at herself in the mirror... KNOCK-KNOCK. BAETRICE turns to the door with a frown. BEATRICE Nobody's supposed to see the - AARON (OC) May I - come in...? AARON opens the door and steps inside. His smile blooms. AARON The most beautiful Mayfair of all. (pause} They're almost ready. BEATRICE turns to ROWAN - and her eyes well up. BEATRICE God bless this day, darling. She gives ROWAN a hug and leaves. AARON takes ROWAN'S hands in his. AARON Thank you for this honor, my dear. ROWAN (a warm smile) You've been shadowing the family for thirty years. It's only fitting you give one af us away. AARON I've grown very fond of you you and Michael both. Her smile broadens - and her cheeks redden. AARON Ah, the perfect touch. A blushing bride. And she kisses him on the cheek. EXT. THE MAYIAIR GARDEN. LATER THAT MORNING It has been done up to extravagant perfection. The guests are seated - RYAN, GIFFORD and dozens of others. MICHAEL and ROWAN stand before a MINISTER. STU, and BEATRICE are just off to the side. A STRING QUARTET is beneath a banana tree A ring glistens on ROWAN's finger. she slides a ring on MICHAEL'S finger. ROWAN I do. MINISTER Then - in the eyes of God and his creations, you are husband and wife. The lovers embrace in a kiss. The MUSIC starts. ROWAN hurls a bouquet - then whirls to MICHAEL and embraces him...so neither see the WIND catch the flowers - and take them far up into the sky... EXT. THE MAYFAIR GROUNDS - LATE MORNING A gaggle of Mayfairs in their party best. Kids dart between grownups' legs. Backs are slapped. Glasses are drained. ANOThER CORNER OF THE PORCH ARRON listens as GIFFORD - drunk - rmbles on between gulps of bourbon. The cat sits in his lap. MICHAEL and ROWAN stand off to the side, listening. GIFFORD Turn over a rich southern family and you find wackos - right..? Well, with the Mayfairs, more than one wanted to be a witch. Yup. A witch. A hand smacks the back of GIFFORD'S head. It's BEATRICE BEATRICE You babbling that nonsense - now...? This is a wedding. GIFFORD I'm not saying I believe it...but I heard it 'nough times to know somebody did. (chuckles) They made a deal with the devil. Y'know - "make us rich" - worship the number thirteen - the whole bit. And some stuff about 'bringing them all back through a door...' BEATRICE Gifford Mayfair - I'll cook your tongue on a spit! (pause) witches! GIFFORD Hell - Julien believed it... Carlotta too... and god knows, more than a few of us called her a witch! LAUGHTER from the CROWD. ARRON glances at ROWAN and MICHAEL - who listen silent and expressionless. GIFFORD Ever taken a good look at the portraits...? GIFFORD rises with the cat - and they all follow him inside. INT. THE MAYFAIR MANSION - THE MAIN HALL. MOMENTS LATER GIFFORD, cat in his arms, has led the group to the portraits. GIFFORD See that...? In each portrait, a Mayfair stands an the foreground and in the background - at each painting - sometimes clear, sometimes partially hidden - is a keyhole-shaped door. GIFFORD Every one of 'em - in front of one of those doors. See...? They believed it! The cat suddenly HISSES and dives out of GIFFORD'S arms. ROWAN eyes the paintings - and takes MICHAEL'S hand in hers. GIFFORD (raises his glass) A toast to Rowan and Michael. May they always drink of love and always love to drink! And he drinks as LAUGHTER fills the hall. INT. THE MANSION - THE SECOND FLOOR HALL. LATER GIFFORD walks drunkenly down the empty hall. FROM BEHIND HIM - A TRACKING SHOT zooms up and past him - BZZZZZ-KPIT... And he walks into DIEDRE'S ROOM New studs and sheetrock are up- The cat wanders in. GIFFORD (strolls, bourbon-mellowed) Ahh, Deedee. Fewer and fewer of us left now, hmm...? (pause) what happens to the stories when we're all gone...? Then - he grins - bends down - and rises with the gold saw. GIFFORD Two hundred bucks for a saw... He angles the saw so he can see his reflection... And in the gleaming gold surface, he sees A HELLISH FACE OF SKULL AND BLOODIED FLESH. His face. EXT. THE MAYFAIR MANSION. LATER THAT AFTERNOON As the guests go home, ROWAN and ARRON lean on the porch railing, watching MICHAEL on the sidewalk, putting STU in a cab. A long beat. Then, ROWAN grins faintly to herself... ROWAN Yes - I do trust you. ARRON Your powers are growing. Rowan. I wasn't even that focused. She looks at him. Their eyes lock. Her face sobers at what she senses. ROWAN I have seen him again. Last night. AARON But you've not told Michael. She shakes her head NO. MICHAEL comes out the door- BEATRICE Gifford...?!! (pause) You seen my big-mouthed drunk of a brother...? (shrugs) Probably stumbling home, propositioning the fire hydrants. (hugs ROWAN tightly) Safe trip, darling. And don't forget to put on the 'Do Not Disturb' sign. She grins at AARON - and heads down the walk. AARON Lasher will act, Rowan. Whatever it is he wants - he's waited three hundred years to have it. (pause) facing him alone... I don't like - ROWAN (adamant) Lasher is my legacy - not Michael's. (pause) Aaron, I've seen the pain in Michael. I can't bear to see anymore. (Pause) He's not to know. Swear to me. AARON stares back. - and finally nods. they watch MICHAEL walk along the outside of the wrought-iron fence to the gate, RAT-TA-TAT-TATING with a stick. ROWAN Aaron - I really could protect him - if...it I had to. Watching MICHAEL, AARON reaches out and takes her hand. EXT. BAYOU COUNTRY. LATER THAT AFTERNOON A small highway- The late sun filters through the thick, mossy trees on either side. Water shimers in the BG. A Mercedes coupe zooms INTO FAME! and speeds away. INSIDE THE CAR ROWAN is at the wheel, with MICHAEL beside her. MICHAEL (starts singing. softly) I'm going back someday, come what may - to Blue Bayou. where the - ROWAN (growls out Creedence Clearwater) 'My pappy said 'Girl. don't let the man git ya - and do what he done to me - caus. he'll git ya! (drums the wheel) Born on a bayou, Bhorn on a byyyyy-yooooo!' MICHAEL leans back and appraises her. Gives her an I'rn impressed nod. And she turns - and gives him a wink. INT. THE NEWLYWEDS' HOTEL ROOM. THAT NIGHT MICHAEL, in silk pajama slacks, and his gloves, sits on the edge ot the bed- ROWAN stands before him in a sheer robe. Cool, seductive. She unties the robe's sash, and it slips to the floor. The moonlight washes over her body. ROWAN (soft. but al,ost.a command) I'm yours now - completely... I want your touch. (pause) Try, Michael. Don't let anything else in. Her face shines with passion and power. She peels his gloves off - places his hands on her - and buries his face against her. He hesitates, then starts exploring her with his hands. She pushes him back onto the bed. A slow, sexual ballet begins - and escalates. she straddles him - and mounts him. Gazing down at him, she slides into a slow, thick rhthym. Her eyes close. A MOAN slips from her. ROWAN Yes, Michael. Harder--. (MICHAEL shifts into a faster gear) More... LASHER (UNSEEN) Like this...? She stiffens - her eyes pop open. LASHER - spectral, his nakedness flickering - appears, wrapped round her trorn behind. His face against her flushed cheek - his body moving. getting her back into her myths LASHER I am with you, my love. Like no other can ever be. ROWAN (between passion and fear) Nooo... NO! Stop! MICHAEL pounds at her harder, hearing only passion in her voice: No for YES, STOP for DON'T STOP. He can't see LASHER ROWAN (going through the roof) God, no! Oh god.... LASHER strokes her roughly - perfectly... LASHER Like no other... MICHAEL Jesus... ROWAN STOP! LASHER Always loved you.. The bodies move like a fierce machine. ROWAN'S climax takes her to speechlessness... She collapses onto MICHAEL. The lovers lie still and silent. LASHER is gone. INT. THE HOTEL ROOM. THE NEXT MORNING MICHAEL and ROWAN in bed, asleep. He wakes with a sleepy smile and reaches out to her... she wakes with a jolt - MICHAEL Hi. I'm Michael curry. your husband...? ROWAN focuses on him - getting her bearings... His hand slides under the covers to her body. She stops him. ROWAN (almost hard) No. (softens...) Not - not now. She pulls the covers up over her. His grin shows. MICHAEL When you get married, I thought the sex stopped after the honeymoon... She rolls away from him. He shrugs - and gets out of bed. ROWAN opens an eye, listening to him leave. she closes her eyes... EXT. THE NEWLYWEDS' BAYOU COTTAGE PATIO. DAY ROWAN lies in a lounge chaise, eyes closed. She looks under the weather. MICHAEL sits next to her, sketching - his eyes dart from his pad to ROWAN. Deft. quick strokes- MICHAEL You look a little green. ROWAN (eyes closed. flat) Mm-hmmm... MICHAEL Maybe the shrimp you bad last night. ROWAN Mm-hmm... He grins. Sketching quickly now, finishing. He holds up it is a goofy caricature of ROWAN: gap-toothed, freckled, cross-eyed, with pigtails going out at angles. MICHAEL So - you like your portrait...? ROWAN - eyes closed - gives the slightest of nods. MICHAEL smiles mischievously. MICHAEL Gee - look at that. I didn't know alligators came this far up on shore ROWAN Mm-hmm... Suddenly - her eyes pop open. She shoots up - ROWAN Alligator...? MICHAEL grins - lies back down - and closes his eyes. EXT. A BAYOU GAS STATION IN THE MIDDLE OF NOWHERE. NIGHT The pumps - old with faded paint. The 'office' - a weathered shack. on the porch, an OLD MAN sits in the shadows with an accordion, playing an eerie tune. A funky pick-up truck is parked off to the side. The Mercedes pulls in at the pumps. INSIDE THE CAR MICHAEL and ROWAN wait for service. He honks the horn. MICHAEL Everybody must be out back sacrificing a virgin to the crocodile god. He gets out and walks toward the OLD MAN with the accordion, who sits with his back to the car. MICHAEL Excuse me.. (taps the OLD MAN on the shoulder) I'm trying to find - The OLD MAN turns round - half his face is a mass of ancient scars -. thick and deep - winding all the way down his neck. MICHAEL reflexively rears back stunned. the OLD MAN smiles. OLD MAN Jesus stopped here once - for directions. And out of the office comes an ATTENDANT - 50, greasy overalls, a friendly grin. ATTENDANT Gator got him nice, huh mister...? MICHAEL stares at the OLD MAN. And then - the ATTENANT sees the Mercedes. His eyes widen. ATTENDANT Jesus St. Cracker! Look at that beauty! He walks to the car, circling it, admiring it. He smiles in at ROWAN. Two MEN - 30's, jeans and t-shirts - come out of the office, and stand, arms folded, staring at the car. The ATTENDANT leans in a window, eyeing the car's interior. MICHAEL We on the right road to the Cajun Kitchen...? The two MEN get into the pick-up truck and drive off. ATTENDANT See ya later. boys (to MICHAEL) Y'know, I buy American - every time. Hell, it's the right thing to do but nobody ever built a car like them Nazis. (pause) keep going two miles Kitchen's on the left. MICHAEL gets in the car. Turns the ignition - and stares over at the OLD MAN, sitting motionless. The ATTENDANT pats the car - and the Mercedes pulls away. The OLD MAN starts playtng the slow, soft tune again. EXT. A SMALL DARK ROAD. MINUTES LATER The Mercedes cruises. Mossy trees shimmer in the headlights. INSIDE THE CAR ROWAN (grins. a southern twang) Nobody makes a car like them Nasis... MICHAEL (grins. turns to her) Did you see the old man on the --- ROWAN (straightening up. eye. widening) Michael! MICHAEL locks back to the road. The pick-up truck is stopptd in the middle of the road. MICHAEL jams on the brakes and skids to a stop. Then - from outside the window - CLICK. MICHAEL turns - and stares down the barre1 of a shotgun held in the hands of grinning MAN # 1. MAN # 1 You two lovebirds wanna step outside...? MAN # 2 appears at ROWAN'S door - and opens it for her. ROWAN and MICHAEL exchange looks - and step out onto the road, on opposite sides of the car. MAN # 2 I'll bet somebody owns a car like that carries a let o' cash. MAN # 1 Yup. Lots. MICHAEL (simmering. deadpan) That's smart thinking. Tell me - which one of you got to use the brain tonight...? MAN # l's grin evaporates. He shoves MICHAEL with the gun. MAN # 1 Give me your wallet, asshole! MICHAEL glares at him. ROWAN Michael - give him the money! MICHAEL digs out his wallet and hands it to MAN # 1. MAN # 1 Now wasn't that easy... ? You should try harder at being a help, Michael. MAN # 2 That's probably what she, says - "Try harder, Michael." Right. Sammy. MAN # 1 (a lewd chuckle) Yeah. "Harder. Michael. Harder." His words make ROWAN'S eyes widen. MAN # 2 runs his hand across ROWAN'S cheek. She stiffens. He hooks his arm round her neck, drawing her face to him roughly. MAN # 2 That what you tell him, hon...? MICHAEL Get your goddamn hands - MAN # 1 slams MICHAEL against the car. MAN # 2 locks ROWAN in a grubby kiss. She is solid stone. Her eyes focused on MAN # 2 like a gunsight. Suddenly - he breaks off the kiss - and releases her. Staring at her weirdly. MAN # 1 (laughs) Shit, Rollie - she give you a shock...? MAN # 2 steps back from ROWAN, his face twisting up. wincing. Something is happening... ROWAN glares at him like a beacon. MAN # 1 (his smile fades) Rollie. . .? Hey, man... MAN # 2 goes down on one knee, hands going to his head. MAN # 1 comes over to him - his alarm growing-. MAN # 1 Hey - what's witb you, man...? MAN # 2 groans and falls to the ground. writhing in the glare of the car's headlights, a trickle of blood at his nose. MAN # 1 whirls on ROWAN with the shotgun. MAN # 1 What the fuck's going on...?! what'd you do to him, lady...?! MICHAEL leaps to the hood - takes MAN # 1 down with a flying tackle - grabs the shotgun and knocks him cold with the butt. He whirls to ROWAN - MICHAEL Get in the car!! (ROWAN is entranced) Rowan!!! She's in another world. He shoves her inside - dives in his side - screeches into reverse, does a 180 and speeds away. INSIDE THE CAR MICHAEL - freaked - driving like a bat out of hell. ROWAN slumps in her seat, slowly coming back. MICHAEL (revving. blown away) Jesus fucking Christ!!! That was you, wasn't it...?! ROWAN! (she is silent. hazy) But it wasn't like Graham - or Carlotta not blind fury. This time you controlled it, didn't You...?!!! Didn't you...?! ROWAN...?!! Goddamnit, ANSWER ME!!! She slowly turns to him - her face white and haggard. ROWAN (flat. faraway) Yes. He stares at her - silent in the face of her power. EXT. THE MAYFAIR MANSION. LATE NIGHT The Mercedes pulls up and parks. MICHAEL gets out, dishevelled, scraped up. ROWN gets out her side. They stand there. Staring at the house. A long beat. She's reading his mind. ROWAN No - I didn't kill him. (pause) Would you rather I'd let them kill us - after they'd raped me...? MICHAEL (softly) No. (pause) This is unreal... ROWAN It's not some fairytale in an old book. (pause) Michael - look at me. (he looks at her mutely) I didn't choose this, Michael. This is who I am. (deeply. poignantly) I love you. MICHAEL I love you too. A long beat. They walk to the dark house and enter. A light comes on. STU comes sleepily down the stairs. STU What are you doing here...? They walk past him - silent exhausted - and step into their room and close the door. INT. THE OPERATING ROOM IN ROWAN'S DREAM ROWAN works feverishly on an OUT or FRAME patient. The rnasked FIGURES watching silently. ROWAN throws her hands up in despair, her confidence failing. ROWAN I - I can't do it! The others urge her on - imploring. encouraging her. ROWAN (pointing OUT OF FRAME. frantic) But look! LOOK! How can I do it...? OC - a muffled CRY. TILT DOWN slowly - the operating table comes INTO FRAME - and lying on it, A TINY HAND... PULL OUT slowly to REVEAL more of the body on the table the tiny hand and an arm joined to a --- ROWAN SUDENLY WAKES IN BED BESIDE MICHAEL she tosses the sheets back - and stumbles into the BATHROOM. She closes the door, kneels at the toilet --- and vomits. FADE TO BLACK FADE UP TO EXT. THE MAYFAIR GROUNDS. A WEEK LATER - DUSK Autumn is browning the foliage. The mansion renovation shows great progress. The rain pours down. INT. THE MAYFAIR MANSION - THE LIVING ROOM - SAME TIME Rain streams down the windows. ROWAN sits reading as MICHAEL kneels at the fireplace in a sweater. muttering, striking matches, trying in vain to start a fire. MICHAEL Fall in New Orleans... This whole town is waterlogged! The matches, the wood, my clothes, my skin. ROWAN That's cause we're below sea level. MICHAEL (crabby) ROWAN we're below sea level. I've spent time there myself. ROWAN That's not funny. He sighs - walks to the window and stares out at the rain, his back to the room. MICHAEL (sings - half to himself) 'I left my heart in Ran Sanfisco... ROWAN glances at the fireplace - with an almost mischievous look. She focuses on the logs - her gaze narrows - as if she is trying to see something that isn't there. She's going inside herseif, summoning up something... And - A FLAME suddenly flicks out from the logs. ROWAN intensitiet her stare and --- the logs bursts into flame. She grins to herself - and buries her nose in her book. MICHAEL Ro, what do you think about - about spending Thanksgiving back in - Turning now, he stops - seeing the blaze. Huh...? He does a slow turn to ROWAN - eyeing her suspiciously. MICHAEL You did that, didn't you...? ROWAN (looks up innocently) Talking to me dear...? He shrugs - and walks before the fire staring into it. ROWAN watches him. MICHAEL Remember the first time we made love - and then --- ROWAN (smiles) - we made a fire. A beat. Suddenly her smile drops. She's read his thoughts. ROWAN (firm. almost defensive) That's not true. MICHAEL whirls round to her, his back to the fire. MICHAEL Stop doing that! If I've something to say, let me say it - out loud. ROWAN gives hi: a chastened nod. A beat. MICHAEL How can you say it isn't true...? We're not the same. Not like we used to be. (sighs) You're changing - all the time.. She rises - walks to him - and takes his face in her hands. ROWAN Michael - what made you fall in love with me...? MICHAEL (a beat. straightfaced) Your beneficence. ROWAN (grins) I'm serious. (in earnest) Whatever it was - it's still there inside me, isn't it - change and all...? MICHAEL hesitates - and nods. He slowly grins. MICHAEL Just do me a favor. Don't start anymore fires - or turn on the lights by blinking - or cook with your hands behind your - And suddenly - the blaze silently erupts from the fireplace - becoming a demonic, fiery virsion of LASHER - a mass of jagged, leaping flames - and hovers over them, unseen by MICHAEL. ROWAN'S eyes bulge - and she wraps her arm. tightly - glaring furiously at the flaming specter. LASHER dissolves into a thousand flames - and disappears. MICHAEL separates himself fram her - startled. MICHAEL What the hall are you - And she pulls him back to her - and holds him tight. ROWAN (shaking with emotion) I love you more than anything in the world, Michael. (glances at the room) More than anything. EXT. THE MAYFAIR MANSION. DAY - A WEEK LATER MICHAEL AND STU are high up on ladders fitting and hammering copper flashing along the eaves. They don't see ROWAN come through the gate and up the walk. MICHAEL (singing) 'There is a house in xew Orleans...' BZZZZZ... MICHAEL & STU '...they call the Rising Sun...' ROWAN I thought it was 'whistle while you work. STU (looks down) Is that a crack about our singing...? ROWAN Is that what you were doing...? MICHAEL grins - and goes back to hammering. WHACK! WHACK! ROWAN (brimming with excitment) Michael, I spoke to the geneticist from Stanford, and she - And - a rung of MICHAELS ladder cracks. He falls grabbing at air --- and finally grabs on to a rung hanging suspended --- twisting. Nobody breathes and he finally gets his footing. MICHAEL Goddamn sonuvabitch! Sighs of relief all around. He climbs down. BZZZZZ... ROWAN You alright...? MICHAEL A little sore. Darm... (to STU) Finish up my section, will ya...? STU nods - and leans to the spot where Michael was working. MICHAEL (to ROWAN) You were saying...? ABOVE THEM - STU POUNDS THE FLASHING WHACK! something drops free from beneath the eaves - grey, round - like a huge melon with ridges - landing in front of him on the gutter. BZZZZZZZ... Two, black antennae wiggle out of a crack in the sphere... STU (softly - with realization) Oh shit... The sphere splits open - and dozens and dozens of WASPS swarm out - a black cloud enveloping him... He screams - topples tram the ladder - and lands with THUD. ROWAN and MICHAEL rush to him. STU lies motionless... INT. A HOSPITAL ROOM. EVENING - TWO HOURS LATER ROWAN and MICHAEL sit at STU'S bedside. STU sleeps - his arm in a cast - his face and hands swollen beyond recognition. MICHAEL shakes his head sadly, steeped in grief. MICHAEL Is he - is he gonna die...? ROWAN (her eyes locked on STU) Lock the door. (MICHAEL looks at her - confused) Lock it He rises and locks the door. Then turns and watches, silent. ROWAN is still. Her eyes narrow into slits of concentration. The air seems to shimmer around her. She leans to STU - to his grotesque swollen lips. She closes her eyes - and kisses him... STU'S deformed face shimmers - the angry flesh lightens... and slowly, it shrinks back to his normal visage. ROWAN' opens her eyes - and slowly turns to MICHAEL, who stands flattened against the wall, speechless, amazed. She turns back to STU, grasps his disfigured hand, brings his fingers to her lips - and kisses them., one by one... INT. THE MANSION - A FIRST FLOOR ROOM. LATER THAT NIGHT The room is unfinished. There is a bed and a dresser. MICHAEL sits on the bed, staring at the floor. ROWAN - in a robe - sits beside him. ROWAN It was an accident. (MICHAEL raises a skeptical eyebrow) Michael - there isn't a house in New Orleans this old that doesn't have a wasp's nest somewhere. He stares at her - unconvinced. She tries for logical - ROWAN Michael - why would he want to hurt Stu...? MICHAEL I don't know. He lies back and turns off the light. DARKNESS. She lies beside him, reaches out and finds his hand. A long beat. MICHAEL You changed him, Rowan. You went right down to each cell - and changed him. They lie there silently. INT. THE BEDROOM. LATER THAT NIGHT MICHAEL sleeps. ROWAN lies beside him, staring out the window. A BREEZE whistles. she rises and walks out of the room - down the hallway - out the front door and down into THE GARDEN She stares at the sky. There is a bright moon, but no stars. ROWAN 'A moon, but no stars...' The trees and bushes sway in the BREEZE. ROWAN The wasps were meant for Michael - but there's only so much you can control, isn't there? The great and powerful lasher - undone by a faulty ladder-.. (SILENCE) Why would you hurt him...?! Answer me. LASHER (UNSEEN) I 1ove you, Rowan. I've always loved you. (ROWAN whirls around) I only wanted to be in your thoughts. To bring myself into your thoughts - so I could be as we are now. ROWAN YOU VIOLATED ME!!! ON MY WEDDING NIGHT! LASHER (UNSEEN) (curious. sincere) Explain this to me --- violated...? ROWAN You bastard... The BREEZE blows stronger. A huge flower drops at her feet. LASHER (UNSEEN) I made it for you. ROWAN bends and picks up the bizarre flower- Intrigued. ROWAN Made it...? LASHER (UNSEEN) It is from love. ROWAN To love, you must be able to feel. LASHER (UNSEEN) If you knew how I yearn for that... And --- there in the moonlight, LASHER materializes. Shimmering. Transparent. Spectral. Beautiful. Melancholy. LASHER If I could feel like you feel...but I have only others' feelings - . . like breeres that blow through me. Things to be felt, yes --- but not nine to feel... ROWAN (to be reckoned with) It you harm Michael, I will let my anger loose. And you will feel that. Do you understand...? LASHER (chastened. softly) Yes. (a long beat) My love is as strong as Michael's. How is it there is love in you for one - and not for another...? She is stunned by the depth of his question. He smiles. ROWAN You're very clever, aren't you...? LASHER I am only what you are --- what all of you have been. (pause) what do you think of yourself now, my love...? She stares at the flower. Feeling its texture. Smelling it. ROWAN How much of it is me - alone and how much is you...? (LASHER flickers...) Lasher --- what do you want...? And he DISSOLVES nothing. She looks at the flower. It starts to shrivel - and disintegrates in her fingers. DISSOLVE TO EXT. THE MAYFAIR MANSION. WEEKS LATER - DAY The house is closer to renovation's end than the beginning. INT. THE MAYFAIR MANSION - DIEDRE'S ROOM. SAME TIME The room is almost done. MICHAEL stands at the empty window frames. gloveless, with a sketch pad. BZZZ-KPIT... he cocks his head - and looks over at the toy chest. He walks to the chest, opens it. and takes out the marionette. It dangles from his hand, twirling slowly. MICHAEL eyes it closely - his face suddenly creasing --- The marionette looks like MICHAEL - it's dressed like him and it is wearing gloves. LASHER'S VOICE! I love the room, Michael. And - the marionette starts to grow... MICHAEL drops it in terror - it keeps growing - till it is life-size, it's body clattering as it jerks about like a huge, wooden puppet-version of MICHAEL. THE MARIONETTE Michael - you've forgotten your gloves. Better off with them on, don't you think...? (pause) Here... And with a monstrous LAUGH, the MARIONETTE pulls off a glove - and his hand comes with it. Blood spurts from the wrist... The other glove flies off, with the same result. MICHAEL stumbles back, flailing at the muck. The MARIONETTE clatters to the floor in a zillion sparks of dust. The disembodied, gloved hands lie twitching. And - they mutate. Bubbling, turning scabrous. Claws sprout from the fingers. They become monstrous crabs with human eyes scuttling along the floor toward MICHAEL... At his feet now - climbing up his legs - up his chest MICHAEL swats them to the floor - and stomps on them, again and again and again. turning them to pulp... ROWAN (CC) What're you drawing...? MICHAEL IS STANDING FROZEN AT THE WINDOW pad and pencil still in his hand. ROWAN comes INTO FRAME. He turns - in the ozone. She looks at the pad. He has sketched the marionette, dangling from a disembodied hand. ROWAN That's really good. (a beat. she sighs) I have to go mleet Bea for lunch now. (MICAEL is frozen) I feel so had for her- There's still no word on Gifford- she's a wreck. MICHAEL (soft. fuzzy) Give her my best. Rowan' cocks her head at him - leans and gives a quick kiss and leaves. He looks down at the sketch and stares silently. EXT. THE FRENCH MARKET. AFTERNOON An outdoor bazaar. An old BLACK MAN, cataracts fogging his eyes, plays guitar while a BLACK BOY tap-dances beside him. ROWAN AND BEATRICE SIT IN AN OPEN PATIO CAFE BEATRICE has a beer and a huge plate of oysterts. Chewing, she points at the plate. ROWAN shakes her head NO. ROWAN That food poisoning did a job on me. BEATRICE I told you not to honeymoon in the Bayou. (pause) I remember when Giff ate a bad batch of --- Her eyes fill with tears. ROWAN reaches for her hand. ROWAN I'm sure he's alright, Bea. They'll find him somewhere. BEATRICE It's over a month. (sighs) The police say it happens all the time. She musters a weak smile. Her eyes shift to the crowd. BEATRICE Isn't that your friend...? ROWAN turns to see AARON - watching the guitarist and dancer. ROWAN Aaron! He turns - blooms in a smile - strolls over - and bows. ARRON The Ladies Mayfair. Good afternoon. He leans to ROWAN - and they kiss. Me turns to BEATRICS and kisses her hand. He sits down - and looks ROWAN over. AARON Are you alright...? You look pale. ROWAN (good-naturedly) I wish everyone would stop commenting on my health. I'm the doctor. But AARON is suddenly very focused, concentrated. Staring at her. And finally - he smiles. AARON There are two. ROWAN Two what...? AARON Two heartbeats. BEATRICE Excuse me...? ARRON (points at ROWAN'S stomach) There. ROWAN looks down at herself. Her eyes widen in realization. ROWAN Are you sure...? AARON nods calmly. BEATRICE looks from one to the other. BEATRICE What are you two talking about...? AARON (his smile widens) Rowan - is pregnant. ROWAN looks up at him and beams. BEATRICE is stunned. BEATRICE But how could - how can you possibly --- ? And she sits back - and stares at them. INT. THE MAYFAIR GARDEN. LATER THAT DAY - DUSK CLOSE-UP - A BUSH WITH LARGE EMERALD-GREEN FLOWERS has bloomed. Extraordinary, exotic, bizarre. OC - joyful LAUGHTER. PAN TO MICHAEL whirling ROWAN round in his arms. Both of them grinning and laughing. And he smothers her with a deep kiss.. INT. THE MANSION PORCH. NIGHT MICHAEL and ROWAN sit side by side, rocking in their chairs, holding hands, staring at the garden. MICHAEL If it's a boy --- Taylor. ROWAN A bit much. (Pause) Lucas. MICHAEL Nah - I had a shmuck of an uncle named Lucas. (thinks) Grayson. ROWAN (makes a tace) Where are you gitting these...? (thinking. her face lights) Aaron --- if it's a boy. He grins - and nods. They lean to each other and kiss. MICHAEL And if it's a girl --- Diedre. She blooms in a painful smile. A tear runs down her cheek. EXT. THE CEMETERY. THE NEXT DAY - DUSK Deserted.