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.