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THE PAINTING

NORMA D’AGUILAR/ROCK HILL SC

FADE IN:

EXT. FISHING VILLAGE HARBOR STREET 1935 – DAY

Seven wailing WOMEN made their way through the village to


the home of a woman named AMBER BROWN.

INT.AMBER’S HOME

Amber hears loud knocking at her door; she throws her


knitting aside and runs to open the door. She goes on the
step to meet the women.

WOMEN
The sea has taken them all.
They are all dead at sea.
Your husband and all the men
are dead.

Amber screams and faints on the step. She opens her eyes to
cold water being sprayed from a garden hose in her face by
one of the screaming women. Amber yells and covers her face
with both hands.

AMBER
It’s my fault. He went away
from home angry because I didn’t
want to have the baby.

Amber walks backward inside the house. The women follow


Amber inside her house. They push her to the couch and runs
out to the street wailing. Amber sits screaming on her
couch. She holds Samuel’s photo at arms length.
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AMBER (to photo)


Why did you do this to me? Is this
Amber contd
your way of punishing me?

Amber gets up from her seat and hugs the photo to her
chest. She walks about the house clutching the photo and
sobbing. The photo is red hot and Amber drops it to the
carpet.

AMBER (VO)
You never allow me to say
a word to you before you walk
away out the door.

FLASHBACK TO:

PREVIOUS DAY

SAMUEL, 50, holds AMBER, 35 around the waist as they waltz


to music candle lights in the living room. They are now
married two months and Samuel takes a break from his many
fishing trips.

SAMUEL
I hate to go back to the evil
rough seas and lights that
flashes in our eyes from the
ghost ships. It’s going to be
hard leaving you.

AMBER
You never mention those ghosts
before. What are you telling me?
You must be drinking rum with your
friends again.

Samuel leads his wife to the sofa and hugs her again. He
kisses her lips. Amber trembles and clenches her fists
under her chin. She moves away.

AMBER
Stop your ghost tales. They make
me nervous. And I really don’t
believe you.
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Samuel walks to the fireplace and picks up the broken


painted oar leaning there. Suddenly he throws it away from
him as it burns his hands leaving blisters. He hides his
hands behind him.

SAMUEL
You must believe me. It’s true.
The seas become rough and
bounces the boat all over
the sea. The old ships appear
and disappear. The men has
hot fever as the lights flashes
on us. The men can’t talk
when it happens and gets dumb.

AMBER
Why are we talking about ghosts?

SAMUEL
Because some of my crew refuse
to go with me again. I have all new
men to teach. The ghosts are near the
old lighthouse on the quay.

Amber jumps up and walks away. She looks back at her


husband. His face is distorted and twitching and his body
jerks. Amber runs to his side.

AMBER
What’s the matter? Why are
you doing that? Stop it now!
You’re scaring me with that
look on your face.

Samuel holds both hands to hide his face. Amber sees the
big blisters on his hands and backs away.

AMBER
What is all that? Where did it
come from on your hands? Talk to
me!

SAMUEL
What I am doing? Come, let’s
talk about making our family.
Why are you so jumpy? My hands
4

are fine.

Amber stares at Samuel. His face is no longer distorted or


twitching. The blisters disappear from his hands. Amber
stands several feet away. She trembles and stares at him.

AMBER
You’re weird! I’m not having
children. I sit up enough nights
and listen to children as they bawl
while my mother works. If you marry me
just to get babies it won’t happen...

Samuel’s face starts to twitch again. He turns his back.

AMBER
What’s with your face? It’s all
twisted again. You are scaring me!
You’re hiding!

Samuel is upset and kicks off his shoes. He turns and


faces, Amber and reaches for her hand. She pulls away and
her arm twitches. She runs to a corner of the room. Samuel
follows.

SAMUEL
It’s not just for children, but
you know that I love them and
would want even one girl to name
Sarah for my mother. You know how
mother adores children. And stop
staring at my face!

Amber runs into a room and locks the door. Samuel stands at
outside the door and knocks. Amber didn’t answer. He hears
her praying aloud. He walks away.

SAMUEL (shouts)
I’m going to play dominoes with
my friends at the hall. We’ll talk
later when you stop your nonsense.

TWO MONTHS LATER


5

Amber steps up to Samuel, shoves him and punches him on the


chest. Samuel staggers backward. Amber follows and punches
his chest repeatedly.

SAMUEL
What now? Stop it! What did I do
to you?

AMBER
You have me pregnant on purpose.
Don’t tell me about your mother
Sarah again. You know that I hate
her. I hate you too.

Samuel smiles and reaches for Amber’s hands. She slaps his
face twice and runs to the couch. Samuel follows.

SAMUEL (big smile)


We’re having a baby? You’re
pregnant?

AMBER
I didn’t say that. Shut up!

Samuel drops heavily on the couch and beckons to Amber to


move nearer to him.

SAMUEL
I’ll go back to working
the seas tomorrow because
we’ll need the funds for our
new baby. I love you.

Amber walks away from her husband and throws a shoe at him.

AMBER
Stop talking about babies! I
won’t have any!

That night they slept in separate beds. Saturday morning,


makes breakfast. She shoves the breakfast plate before
Samuel and walks away. Samuel jumps up and pushes the plate
back at Amber.

AMBER
Fine, don’t eat, I don’t care.
You can go right to hell for all
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I care.

Samuel follows her and hugs her waist. Amber trembles and
pushes him away.

AMBER
Get away from me! Go. I hate you!
Stay with your ghosts.

He walks toward the door. He hesitates and speaks without


looking back at his wife.

SAMUEL (angry)
I want a child. You’ll have
my child. I know you’re pregnant.
If you hurt it I’ll find a way
to punish you if it’s last thing
I do! See you if I come back.

Amber throws the plate of food at Samuel. He hurries away.

AMBER (yelling)
Go to hell and die there too!

Amber looks at Samuel as he hurries to the gate. A flock of


black crows are flying low behind Samuel but he did not
look back.

BACK TO PRESENT:

INT. AMBER BROWN’S HOME - FIFTEEN YEARS LATER

Soft lights glow in the two rooms and in the hallway.


The wall clock reads 6:30 and Amber Brown paces back and
forth as she awaits SARA, 15, to emerge from her room.

AMBER (calling out)


Come on, Sara, we’ll miss
out on all the good stuff
at all the yard sales.

Sara remains silent. Amber walks to Sara’s door. Sara is


sitting on her bed.

AMBER
Put your clothes on and meet me
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by the van in five minutes.


We need to get going if I’m to
find anything valuable.

INT. VAN

Amber waits in the van but Sara didn’t show up. Amber goes
back to the house to look for Sara.

INT. HOUSE

Sara sits on her bed and has both hands over her ears.

SARA
I’m not going, Mom. I want to
sleep. Go without me today.

INT. SARA’S ROOM - MORNING

Mother pushes the door open and walks to stand by Sara’s


bed. On the bed is an old green jump suit.

SARA (defiant)
I’m too sleepy. I just took my
pills. I don’t want to go today.

AMBER
I’ll be at the van. Get dressed
and come along, Sara. And don’t
put on that green suit you have
on your bed. It is too tight on
your bottom and shows too much
of your breast. Why do you keep
it, it is so old?

EXT. SARA’S ROOM - MORNING

Amber leaves the room. Sara sighs, stretches and puts on


the green jump suit. Pouting she walks through the door.

INT. VAN – MORNING

Amber sits in the van and waits. Sara walks slowly to the
van. Amber looks at her, leans back and sighs.
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AMBER
So you put that jump suit on.
You’re hoping I’ll send you
Amber contd
back inside to change. That’s
not going to happen, hop in.
We’re going just as you are.

EXT. MAPLE STREET - DAY

Amber and Sara’s first yard sale stop is a tall white


mansion.

A large CROWD OF SHOPPERS are spread around the mansion’s


lawn. A six by six foot oil painting of a lighthouse rests
against a tall oak tree and draws much attention. Amber
slows down to look.

AMBER (to Sara)


We need to hurry. Something
good is going on there.

Amber Brown is in her black van with her daughter Sara,


circling the nearby streets for a parking space. Amber
stares through the windshield at the white mansion. It
looks eerie with drawn blinds and flickering candles at
every window.

INT. VAN – CONTINUOUS

Amber parks her van on the shoulder and turns to look at


Sara.

AMBER
I’m sorry, honey, but we have to
get out here. No space to park
elsewhere.

But her Sara notices the people fleeing from the painting
against the tree. Curious, Sara leaps from the van and runs
to the tree with the painting. Amber gets out and chases
after her daughter.

EXT. MANSION- CONTINUOUS


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Sara kneels besides the painting. She stares at it and then


hugs it. She is smiling.

SARA
Mom, I want this painting.
Sara contd
You must buy this for me. I
hear the little people in the
lighthouse talking. I see them
dancing too. They say this is
mine to have. Can’t you hear them?

AMBER
Stop it, Sara.

SARA
Mom, listen you’ll hear them
talking to me. It’s true!

Amber rubs her face and trembles. She holds Sara by her
shirt sleeve and tugs at her.

AMBER
Come away, Sara, that thing is
evil. We must go now. Can’t you
see how scared everyone is of
this thing? They touch it and
screams in pain.

Sara stretches both arms toward her mother and sobs.

SARA
No, mom, I won’t leave the
the little people and the
painting here. They’ll be angry
with me. My Dad will be upset
too. He just walked away.

Amber grabs her daughter’s arm and pulls her to her feet. A
dried limb from the tree drops grazing Amber’s arm and
mother and daughter are separated. Amber groans.

AMBER
Now Sara, let’s go home. Enough
nonsense already. It’s evil here.

SARA
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No! I’m not leaving them.

A YOUNG MAN carries two boxes and walks to stand next to


Sara. He stares at the painting.

YOUNG MAN (to Sara)


Something is funny with this
painting. They just toss sea
shells at me and says something
nasty. Did you hear them too?

Before Sara had a chance to reply he steps backward and his


boxes drop from his hands. Dishes break at his feet. He
pushes the crowd out of his path and runs screaming.

YOUNG MAN
It’s a lie, you’re lying.
I didn’t rape anyone. Leave me
alone. Don’t kill me!

A car door slams and the tires screech as the young man
departs. Sara looks down the street as the car speeds away.

AMBER
That’s enough Sara, we go
right now! Did you see that?
The boy can’t get away fast
enough. You must move too!

A loud crash is heard in the distance. Sirens of fire


trucks and an ambulance go by. Sara looks up at Amber with
tears running down her face.

SARA
Please, Mom, I’ll be good. I
promise to take my pills. I
won’t hide them again. I’ll not
leave the painting. My Dad just
says you can’t make me go without
them.

Amber drags Sara to her feet and trembles her eyes bulging.
She staggers and draws Sara to her side. She places both
arms around her daughter.

AMBER (begging)
Please Sara, we must go
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now. Your Dad is dead. He


can’t talk to you.

SARA
No he’s not, he is with the
Sara contd
dwarves in the painting. I saw
him there.

Someone taps Amber on the shoulder twice. Amber jumps and


turns holding her daughter tighter.

AMBER
Come away, Sara.

Amber looks up at FELIX JONES the fat silver-haired old man


facing her. On his chest is a white tag, his name written
in bold red letters. He stares with beady eyes at Amber and
touches his name tag.

FELIX
Pretty child you have and
good taste too. I can help you
with all your needs. I see she likes
the painting.

AMBER
Get away from us, we’re
leaving.

Amber lets go of Sara for just a minute. Sara drops to her


knees. Amber looks down as she feels her daughter’s tight
grip on her legs.

SARA
(pleading)
Buy the painting first.
Please, Mom, I love you,
Mom and I’ll be good.

Amber pulls the weeping Sara to her feet and wipes her face
with tissue from her pocket. She turns to leave. Sara hides
in her pocket the doll she takes from a box of toys.

AMBER
Let’s go now, Sara.
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Felix grabs Amber’s arm and moves closer to her and her
daughter. He pats Sara’s pocket with the doll and winks at
her.

FELIX
Your daughter loves the
painting. This is a classic
and expensive piece of
artwork. You can have it
for twenty dollars. And the child
can have any toy she wants free.

Felix blocks Amber’s path.

AMBER
We don’t have a place for it.
I don’t want it! Let go of my
arm. Get out of my way!

FELIX
Ten dollars and it is yours.

Sara hugs her mother’s waist and turns to look at the


painting. She points to dwarves in the painting.

SARA
My Daddy is sitting right there!
He says his picture must come
down from the fireplace and
that the painting is put there.

Amber looks at Felix but addresses Sara, her voice stern.

AMBER
The answer is still no! Your
daddy is dead. Stop imagining
things. Come away Sara, let’s go.
I don’t want that thing in the
house with us.

Amber jumps at the sound of her husband’s voice next to her


ear.

SAMUEL (V.O)
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You do as my child asks. You


take the painting home for her.

Amber groans trembles and hugs her arms to her chest. Felix
moves closer to Amber.

FELIX
Give me five dollars and
you can have this classic
painting, that’s a bargain.
I’ll even give the child all the
dolls she can collect.

Amber kicks at Felix’s legs and pulls her arm, but his grip
tightens. Sara holds her stomach and groans.

SARA
My belly hurts so badly, Mom.
Just buy the painting so we
can go home. Daddy said my
belly won’t hurt if I take
the painting and the dwarves
home with me.

Amber sighs, trembles and closes her eyes for a moment.

FLASHBACK TO:

EXT. DAY – VILLAGE OF MAYHILL - 1950

Amber rubs her two-month pregnant belly. She looks at


Samuel’s picture on the mantle and walks toward the door
and looks around. The photo leaps from the mantle and drops
at her feet. Amber kicks it aside.

AMBER
Samuel, you’re not the one who
will hear a baby bawl all night.
I’m not going through this all
over again. You’re dead, stay dead
and get out my way!

Amber walks eight miles to the old midwife’s house. It is


raining heavily. She hesitates at the door and then knocks
repeatedly. The door opens just a crack and Amber peeps
inside.
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EXT. DAY – IN FRONT OF OLD BROKEN DOOR

A chair squeaks and a trembling voice answers from within.

THE MIDWIFE (O.C)


Go away, I don’t do that
kind of service again.

AMBER
You must help me. I don’t
want this baby. My husband
is dead. He died in the storm
at sea three weeks ago. I must
get rid of it. Please help me.

MIDWIFE (O.C)
Go away. I won’t do it.

Amber knocks rapidly and waits. She moves restlessly and


looks through the peep hole in the door. The door squeaks.

EXT. DAY - MINUTES LATER

The door squeaks and opens, Amber hurries inside. The old
midwife leads Amber to the kitchen table. Amber begins to
sob.

AMBER
I don’t want the baby. I
don’t want to have it.

MIDWIFE
Didn’t you hear me? I won’t
do it. Go home. I want no part
of this.

Amber’s purse suddenly opens as the clasp become undone.


She stares at a picture of her husband in the purse. Amber
tosses the purse to the floor. The photo falls out. She
puts her shoe over it.

AMBER
Please, madam, don’t fight me
too, help me.
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The Midwife pushes her silver hair back and with face close
to Amber’s she stares in her eyes and at the shoe over the
photo.

MIDWIFE
I warn you to stop and go home.

AMBER
Please! Do it for me.

The midwife takes several bottles of herbs and a bottle of


liquid from a closet.

MIDWIFE
Are you sure about what you
want to do? If the baby stays
in you it maybe born sick as
a result of what you’re trying
to do. It’s all on your head.

AMBER
So make it come out. That’s
why I’m here. Yes I’m sure I
don’t want it. Make it come
out, (beat) please. I’ll pay
you good.

MIDWIFE
You keep your money.

The midwife murmurs as she blends the herbs and liquid and
gives Amber a tumbler full of green liquid to drink. She
hands her the rest in a gallon bottle. The midwife turns to
hide the smile on her face.

MIDWIFE
Go now. Take a glass full
everyday. If this fails
the stronger force is your
man and the child he has inside
of your belly. I hope your baby
stays. Don’t come here again.

EXT. DAY – AMBER’S HOME TOWN


16

Amber walks slowly home in the rain. She sits on her step
in the pouring rain She hears Samuel angry VOICE next to
her ears.

SAMUEL’S VOICE
You listen to me Amber. You’ll
give me my child. You’ll never
get rid of our baby. Never! I won’t
Samuel’s Voice contd
let you do it.

Amber shivers; she looks over her shoulders and yells.

AMBER
You want a child just for
your witch mother Sarah to
to spoil like she did to you.
It’s not a child to love, it is
a child for her to spoil. Don’t
get mad at me for not wanting to
have a brat like you.

SAMUEL’S VOICE
Our baby, You’ll have it!
Name her... Sarah.

Amber takes her husband’s picture from her purse and stares
at it. She holds the picture against her belly then rips it
and throws it on the ground. She steps on the pieces of the
photo and walks inside the house.

INT. NIGHT – BEDROOM

Amber fluffs her pillow and tosses and turns. She looks up
at the ceiling as the light dims on and off constantly.

AMBER (VO)
Leave the lights alone. You were
never here when I need you. Always
out playing the fool!

Amber jumps from the bed and runs to the bathroom.

INT. BATHROOM
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She runs to the bathroom and vomits. She goes back and
forth to the bathroom all night.

INT. BEDROOM

She tosses and turns during the night dreaming of Samuel


standing over her bed. She jumps from her sleep and sees a
shadow runs into the living room.

AMBER
Damn you, Samuel. Stop
fighting me. I won’t have
the child, I won’t.

VOICE (V.O)
You will have her. You will
have our child.

EXT. GARDEN BACK OF HOUSE - MORNING

Amber walks to the back of the house. She leans the ladder
against the wall and climbs up five steps and then jumps to
the ground. She sits on the ground and waits. She holds her
belly.
AMBER
Why don’t you come out?! You’re
as stubborn as Samuel but I’m
not done trying yet.

She climbs the five steps to the balcony by her bedroom


window and jumps off but does not abort. She rubs the
bruise on her knees. She feels her belly and curse.

AMBER
Damn you, Samuel. get away from
me. I hate you! I hate your mother
too.

SEVEN MONTHS LATER

A DOCTOR puts the baby girl in Amber’s arms. He sits facing


Amber.

THE DOCTOR
Your baby has a rare abdominal
tumor. She will have a big abdomen
and pains in joints and abdomen.
18

Her life span will be short.


She must be given her medicines
exactly as I order.

BACK TO PRESENT:

Felix shakes Amber’s shoulders and calls out to her.

FELIX
Lady, are you alright?

Amber looks at him and shakes her head, and wipes her eyes
with the back of her hands.

FELIX
I’ll give it to you for
two dollars and fifty cents.
If you have no money the child
can still have it.

Amber shakes her fist at Felix’s face as tears dribble down


her cheeks. She looks at Sara and wipes her own eyes with
her sleeves. Amber staggers as she walks toward the
painting.

AMBER
You wish to get rid of the
evil thing. You’re
practically forcing it on me
and playing on the child’s
fantasies. I hate you (beat)
I’ll take the damn thing!

Amber’s hands shakes as she gives Felix the cash. Felix


staggers to the painting and picks it up, holding it
against his body. Amber sees his face twitch and becomes
distorted.

AMBER
Hell, what’s this? Samuel had
the same thing happen to his
face and then would deny it as I
look at him.
19

Amber puts her hands on her chest and her body and jerks.
Felix stutters as his lips twitch.

FELIX
Where’s your car? I’ll load
the painting for you.

Amber stares at Felix’s distorted face and jumps backward.

AMBER
Get the hell away from us. We
can do it ourselves.

Amber lifts the painting and suddenly throws it away from


her to the ground. She jumps backward knocking a table
over. She rubs her hands and examines them.

SARA
Mom? Why did you try to hurt
them?

AMBER
Come, Sara, let’s go home.
Something was crawling on my
hands. My imagination!

EXT.VAN

Amber takes off her jacket and uses it to hold the painting
and moves it to her van.

INT. VAN FELIX’S GATE

They enter the van for the trip home. Amber makes a U-turn,
an arriving shopper skids and smashes the back lights of
Amber’s van. They exchanges papers and Amber drives away.

EXT. ROAD TO AMBER’S HOUSE

Sara kisses Amber’s cheek as they wait at the red light at


Jupiter Avenue. As the light changes a six year old BOY
chases his dog and ball in front of the van.

AMBER (screaming)
Oh no, no.
20

Amber applies the brakes and the van hits the dog. Sara
screams and covers her face.

EXT. VAN

A CROWD gathers, Amber gets out of the van and leaves the
door open. She stoops, looks at the dog and tries to pick
it up. The boy screams.

BOY
My dog, he’s dead. She kills
him. I hate you, I hate you.

The MOTHER of the BOY lifts her child and screams. A man
shoves Amber out of the away and picks up the dog.

MOTHER
It’s your fault, you crazy
broad. You didn’t wait on
the light change. You
should’ve seen my child
and his dog too. I see you
speeding. I’m going to trash
you.

Amber steps back and stretch out her hands before her as
one woman walks up to her.

AMBER
I’m sorry, madam, the light
turns green and the child
bolts from your open gate
across the street. I’m really
sorry I hurt his dog.

The mob moves closer to Amber. She walks backward and feels
for her van door, hops in and drives off. The crowd throws
stones at the van. Amber turns to look at Sara.

AMBER
I know it has to do with that
evil painting in the back.
I just want to get home and
move it from the van before
something worse happens.
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EXT. DRIVEWAY – AMBER’S HOME MORNING

Amber parks the van on the driveway and lifts the painting
out. She leans it against the van and stares at it. She
wrinkles her brow. Her palms have huge blisters on them.
She hides her hands from Sara behind her back.

AMBER
Sara, did you notice
Amber contd
anything strange in the
painting just now? (Beat)
No, Sara, forget it, I must be
exhausted.

SARA
You’re talking about the
little people dancing about.
I did see them. I hear them
say they are happy to be home.

Amber shivers and sighs and her fingers become contracted


momentarily. She staggers and places her head against the
van for several minutes. She then wraps her hands in the
jacket stoops and lifts the painting.

SARA
I want to help you take
them inside.

AMBER
I said forget it, Sara!
Now let’s go inside and
rest. It’s time for your
dinner and pills. I don’t
want you to hold it just yet.

INT. LIVING ROOM AMBER’S HOME - MORNING

Amber leans the painting against the fireplace and covers


it with a thick blanket. She reaches up and picks up her
husband’s picture and puts the face to the wall.

AMBER
Some of this has to with
you. Each time something
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weird happens I see a glow


on your photo. My child swears
that she sees you in that damn
painting.

SAMUEL’S VOICE
My child, she’s my child.
You didn’t want her.

Amber turns and sees Sara watching her. She walks to sit
with her daughter on the couch and plays with Sara’s hair.

AMBER
We’ll put that thing up
sometime next week. I’m a little
tired now.

FOUR HOURS LATER

Mother and daughter fall asleep on the couch. When Amber


opens her eyes the blanket is off the painting and at her
feet neatly folded. Amber covers her mouth to stifle the
scream.

AMBER
What the hell?!

She places a hand at her ear. She moves Sara’s head from
her lap and walks to the fireplace and closes the vents.
The sound of sea waves bashes in the fireplace. The
painting is flashing red and green lights. She looks at
Samuels’s picture.

AMBER (VO)
I need the fireplace to save
on heat or I’d seal it to be
rid of the awful roaring of the
sea, you and the seaweed smell
in here.

She carries her husband’s picture and walks to sit next to


Sara. She looks at the picture and frowns. Amber hears the
sound of the waves from the sea all over the house. Samuel
photo glows, she frowns at it.

AMBER
23

How did this blanket


get over here by me?

Amber stands up, hugs her husband’s picture to her chest


and then lays it face down on the table. The picture
rotates rapidly in circles.

AMBER
When your face is up and
Amber contd
I look at you things happen.
I’ll toss you away with the
painting if this continues.

EXT. BACKDOOR TO AMBER’S GARDEN - AFTERNOON

Amber lifts the painting and takes it out the back door.
The little people are dancing, giggling and pointing
fingers at Amber. The frame is red and hot.

She leans it against the trashcan, runs inside and locks


the door. Her fingers become stiff and deformed.

AMBER
Now there, you are the cause
of my hearing things. I’ll put
you out with the trash on Monday.
Don’t play on my fingers, let then
go. Let go of my fingers.

Amber’s fingers remain deformed. She examines her hands and


walks to stand near her husband’s photo.

AMBER
Samuel I swear, I toss your
photo next the damn thing.

Her fingers return to normal again.

INT. LIVING ROOM - NIGHT

Amber covers Sara with the child’s favorite blanket; she


leaves the room when Sara falls asleep.

INT. AMBER’S BEDROOM


24

Amber goes to her own room and falls sleep. Later she walks
into the living room to check on Sara. She glances at the
fireplace. The painting is there, lights flashing in
multiple colors over the room. She walks up to the painting.

AMBER
Why in hell did I agree
to carry you evil bastard
home? I allowed, Sara to talk
Amber contd
me into he fantasy world.

Amber stares and sees the little people dancing in the


lights that flash on and off. She sits beside Sara and
waits for her to wake up.

AMBER
Sara, did you move the
painting back inside?

SARA
No, mom, it is in here from
when I came home. Can we put them
up now before I go to school?

AMBER
I need to buy nails and hammer
first.

Beside the sofa Amber sees a hammer and nails. She hugs
Sara and with her foot pushes the hammer and nails under
the couch.

AMBER
When you get home from
school we’ll do it. Where
did you get the hammer
and nails?

SARA
They are there since we
put my painting inside. I
love my painting, Mom. I’m
not scared of it. Are you,
Mom?
25

Amber glances at Sara’s face and turns away to look at the


painting. The little people are dancing in a circle. Amber
hears their giggles next to her ears.

AMBER
Yes, Sara... I’m afraid
for you. But we’ll put it
up soon. Just give me time
to see what happens next.

INT. LIVING ROOM – MORNING

Sara puts on her blue school uniform and walks outside.

EXT. AMBER’S GATE BUS STOP - MORNING

Sara boards the school bus and waves to Amber. Amber sighs
and kicks at the leaves.

INT. KITCHEN - MORNING

Amber mixes herself a glass of brandy and sips it. She


hears the sound of waves again. She frowns and tosses some
of the liquid toward the painting.

She drinks another glass of brandy and falls asleep.

HOURS LATER

INT. LIVING ROOM - EVENING

Amber jumps up as Sara leans over her shaking her


shoulders. Amber looks at the clock; it’s 4:30 pm.

SARA
We can hang my painting
now? You said we would.
I’ll take off my uniform.

Amber sighs, picks up the glass and puts it beside the


couch. She looks into the glass as a quick image of
Samuel’s face appears and disappears.

AMBER
I fall asleep and forget to
toss that thing before Sara
returns. Now she’s here I can’t.
26

EXT. BACK GARDEN - FIVE MINUTES LATER

Amber walks outside and finds the ladder leaning on the


fence.

INT. LIVING ROOM

Amber climbs the ladder and is at the third rung when she
slips with one leg between the rungs. A long gash appears
on her right leg. Blood runs down her leg and spills on the
carpet.

AMBER
Damn. Damn you.

Amber pulls her torn skirt free and hops to the carpet. She
holds the gash as blood runs through her fingers and down
her leg to the carpet. Sara screams.

SARA
Mom, Mom, what must I do?

AMBER
Run; get me a towel, quick.

Amber takes off her skirt and grabs the towel to put over
the gash on her leg. The cut is not there but the pool of
blood is the carpet and her hands are dripping with blood.

SARA (voice trembling)


Mom, where is the cut? What
is happening Mom? Mom? I’m
scared. I’m scared.

AMBER
I don’t know, Sara. I don’t know
My hands are still bloody and
so is the carpet. I’m scared
too, sweetheart.

Amber turns and stares at the painting and bites her lower
lip. The painting flashes lights of multiple colors, a
light beam directs itself to Amber’s body.
27

AMBER
I swear that I see the little
people in that painting
dancing and laughing they are
staring at me. I think they’re
mocking me. I see a huge star
flickers on the steeple, it
disappears inside.

Amber screams, she faints and falls heavily to the floor.

MINUTES LATER

Amber opens her eyes. Her head is on Sara’s lap as Sara


sobs and trembles. She looks at the bloody carpet, sits up
and hugs Sara to her breast.

AMBER
I had a brandy like
I usually do. I wasn’t
drunk. It is the strange
smell of the sea and the
bashing waves that puts
me to sleep.(beat) Come,
Sara, eat so I can give you
your medicine.

Sara swallows her pills and doesn’t resist. Sara trembles


and looks at the blood on the carpet. Amber leads her to
the couch and gives her a pillow and blanket.

AMBER
Stay here while I clean
up the mess. I’ll take
you to bed when I’m done.

Sara falls asleep. Amber looks across and sees Sara kicks
and tosses about. Amber walks to stand over Sara. The
restlessness stops. She moves away and Sara begins her
restlessness again.

CORNER OF LIVING ROOM - MINUTES LATER

Amber walks to the table in the corner and starts to read a


book. She doses off and hears a loud thud. She drops the
28

book and runs to the couch. She hears loud laughter from
the painting.

AMBER
You leave, Sara, alone
whoever you are.

Sara is tangled in her blanket on the carpet. Amber shakes


her awake and picks her up in her arms.

SARA (angry)
I walk into the lighthouse
and the little people
massages my body. You
should’ve let me sleep. They
rub my body hard and dips me
in the sea and my body has salt
water all over. I was happy there.

AMBER
Cut the nonsense, Sara.
You’re making me nervous.

Sara points to the painting and giggles. The red light at


the tip of the lighthouse flashes on and off. Amber stomps
her feet. She hears the waves bashing.

AMBER
Shut up, Sara. I heard
enough nonsense in one day.

Sara jumps from Amber’s lap and hops from foot to foot
hugging her arms to her chest.

SARA
I look behind me and a big
red eye comes from the tower
of the lighthouse. It chases
after me and I could hear big
waves bashing under a cellar
door. The big eye stares at me
and I fall on the steps.

AMBER
It is just a dream, Sara,
just a bad dream. Can’t you see
29

there is no step or cellar?


Let’s go and clean you up now.

Amber shakes her fists angrily at the painting. Lights of


multiple colors flashes on and off from the lighthouse.
Trembling, Amber hugs Sara and walks her to the shower.

INT. BATHROOM – HOT TUB

Amber helps Sara bathe and dress. Sara groans and Amber
reaches into the closet and gives her the pain pills. They
return to the living room.

INT. LIVING ROOM - COUCH

Amber picks up two of Sara’s dolls from a wicker basket and


hands them to her.

AMBER
I’ll help you to bed now.

SARA
No, Mom, I want to sleep
here on the couch where I can
see Dad and my friends.(beat) Mom,
why is my belly so hard and why does
it hurt so much? I hate the pills.

AMBER
Stop hiding your medicine and
you won’t have pain. Go to sleep
and you’ll feel better soon.

Sara props her head on the pillows and stares at the


painting. She watches as the light flashes and the little
people dance about holding hands. Sara giggles and claps
her hands.

SARA
Can you see them dancing,
Mom? Look, Mom, look. They
are reaching for you.
30

Amber sees smallest of the little people moves to the


lighthouse door, waves a hand and calls in a sing-song
voice.

LITTLE PEOPLE
Sara, Sara, come over here
and play with us. Come, come.

The bright star at the steeple changes from being a star to


a big red eye. It bounces up and down. Sara laughs louder
and claps her hands.

AMBER
Sara, what is it? What
are you giggling about?

SARA
We’re just playing a game.
My friends are teaching me
new tricks.

Trembling, Amber walks to sit beside Sara. She rubs Sara’s


temple until she falls asleep. The glow from the painting
lights up the room.

Amber hears the bashing waves around her and near the
painting. She shivers and hugs her husband’s picture to her
chest.

AMBER (VO)
The sea is a hundred miles away.
I’m getting out of my mind now.

Amber walks near the mantle. She stands a few feet away and
looks at the painting.

AMBER
Funny, every time I move my
eyes things on the painting are
at a different angle. Is it just
my imagination? I swear I see
the people staring at me
and laughing a moment ago.

Amber sits on the carpet and hangs her head. She closes her
eyes and rubs her temple. She feels the touch of hands on
31

her shoulders. She looks around and sees no one. She calls
out.

AMBER
Who are you? What do you
want with us?

She looks toward the painting and sees the huge waves
bashing against the lighthouse as the people dance in the
waves. A boat capsizes near the waves.

AMBER (VO)
I..., I..., what the hell?

She covers her mouth and stifles a scream. She sits up and
grabs her husband’s picture and rubs her hand on his face,
the eyes move and Amber leaps backward.

AMBER (VO)
Samuel, are you a party to
this haunting in my home? I
look at the thing over there
and something evil takes place.
I touch you and worse happen.

She looks across to the sleeping Sara and back at the


painting. There is no more movement. Amber crawls closer to
the painting.

AMBER (VO)
I know it, I know you are evil
from I first set eyes on you.
You are eerie, you are the devil.
No wonder that old man wants you
gone. Somehow I’m taking you back
to that damn Felix as soon as Sara
leaves for school in the morning.

Amber looks at the painting and shakes her fists at it. The
little people dance and shake their fists at Amber. A
SQUEAKY VOICE speaks.

VOICE
No, you don’t, we belong here.
We stay with Sara in her house.
We won’t go away from her.
32

Screaming, Amber runs and kneels beside the sleeping Sara.


She looks at the painting.

AMBER
I’ll never let you hurt her.
I’ll take care of you! I will!

TUESDAY MORNING

EXT. AMBER’S GATE - BUS STOP

Amber stands with Sara and awaits the school bus. She hands
her the lunch box and waits until the bus rounds the
corner.

INT. AMBER’S GARAGE

Amber enters the van and backs unto the driveway and
returns to the living room to get the painting.

INT. LIVING ROOM – MORNING

Amber tries to lift the painting. She groans, because the


painting is heavier than before. She drags it on the ground
to her van.

AMBER (VO)
You seem to gain weight so you
can stay here, but you’ll go.
I swear I’ll be rid of you.

EXT. DRIVEWAY LATER

Amber loads the painting in the van and rubs her numb hands
together. She covers the painting with a blanket but the
light flashes through.

INT.VAN DRIVEWAY

Amber sits for several minutes rubbing her hands together


then leaves with the painting.

EXT. SUPERMARKET - MORNING


33

Amber looks around and then drags the painting from the van
and leaves it before two large dumpsters behind the
supermarket. She walks away whistling.

AMBER
Good riddance. Sara will sulk
and cry but she’ll get over you.

INT. SUPERMARKET

Amber goes to the supermarket. She picks up Sara’s favorite


ice-cream and cookies.

EXT. VAN – ONE HOUR LATER

Amber loads the shopping bags in the van. She peeps behind
the dumpsters. The painting is there glowing blue lights.
She runs to the van and climbs in.

INT. VAN – MOMENTS LATER

Amber pops in a religious CD and turns up the volume.

AMBER (VO)
This will drown the sound
of the damn waves.

EXT. AMBER’S DRIVEWAY TWO HOURS LATER

Whistling joyfully, Amber exits the van and unloads her


bags on the steps leaving the van on the driveway.

INT. GARAGE – MORNING

Amber opens the garage door and walks through to the


kitchen with her groceries.

INT. KITCHEN - MORNING

As she unpacks her bags, Amber hears the waves bashing near
the fireplace in the living room and she smells the
seaweed. She walks into the living room.

INT. LIVING ROOM


34

Against the fireplace is the painting glowing and flashing


lights of multiple colors. Amber screams and drops heavily
on the couch. She points to the painting and yells.

AMBER
How the hell did you get
back in here? Who is doing
this? Who?

Amber looks at the painting and waits. The movements cease


on the painting and the sound of the waves stop then starts
again. The house shakes.

AMBER
You will not torment me. You’re
going, I promise, and before
Sara gets home too.

EXT. DRIVEWAY

Amber lifts the painting. It weighs down her arms and is


heavier than before. She places it on the ground and drags
it. She loads it in the trunk of the van.

INT. VAN - MORNING

Amber enters the van and backs out. She drives to the
Church of God seven blocks away.

EXT. VAN - MORNING

Amber lifts out the painting and puts it behind the column
at the church gate.

She stands and listens to the clapping of hands and the


singing of praises coming from the church.

AMBER
Someone will pick you up
when church is over. I hope.

INT. VAN - MORNING


35

Amber drives slowly home. She turns up the radio to drown


out the sound of the waves around her. She hits the dash
board with her fist.

AMBER (shouts)
Stop following me!

EXT. VAN - MORNING

Amber leaves the van on the driveway and opens the garage
door. She hears the gush of water behind her and runs
inside.

INT. GARAGE - MORNING

Amber enters the garage and runs to the kitchen.

INT. KITCHEN

AMBER (VO)
I feel just a tot happier now
that the evil thing is not here.
I’ll take a nap until Sara gets
home.

Whistling she unpacks the grocery. She pours a glass of


brandy and walks into the living room.

INT. LIVING - ROOM

The painting is by the fireplace with the sound of the


waves in the house. She stares as the little people jump
over oars at the door of the lighthouse. Her chimney
rattles. Amber cries out.

AMBER
Dear God, what is happening?!
I have to get out.

Amber packs Samuel’s photo in a tote bag and runs from the
house panting and looking over her shoulders.
36

AMBER (VO)
Errol was Samuel’s buddy in
drinking, fishing and all else.
He can tell me what evil they did
together and why the painting
haunts me. It is my enemy for some
reason.

EXT. HOUSE - MORNING

Amber runs three blocks with her husband’s photo in the bag
to Samuel’s long time friend ERROL GREEN. She sits a few
minutes on the sidewalk panting then slowly walks on.

EXT. ERROL GREEN’S HOME - MORNING

Errol is sitting on the porch in a wicker rocking chair


amid broken oars, sea shells and a torn sail on a pole. He
wears a black felt hat partially covering his face.

INT. ERROL GREEN’S PORCH - MORNING

Amber sits beside Errol on a broken bench green with moss.


Amber pushes his hat back. He stares at her with open
mouth. He throws his hat to the floor.

AMBER
Errol? Errol, it is Amber.
Don’t you remember me? Errol?

He stares at her. Amber takes Samuel’s photo from the bag


and holds it before him. His face twitches and becomes
distorted. Amber trembles.

AMBER
Do you remember him? This
is Samuel, your old buddy.

Errol pushes his chair backward. He jumps from the chair


and pulls at his matted beard and hair. His hands tremble
and his voice shakes.

ERROL
I use to be in his boat long
37

before the accident. I stop


going because he scares them.
He scares me. Damn near kill us
all with his ghost around us.

Amber moves closer to him, he knocks the photo from her


hands. Amber picks it up and holds it before him again. Her
hands shake.

AMBER
My Samuel scares you? Why? Why
Amber contd
would your best friend scare you?

Errol turns his head aside. He stomps on the floor at


Amber’s feet. The floor squeaks. Amber moves backward.

ERROL
Samuel talks of floating
old ships and things at the
old lighthouse on the quay.
When he talks the water gets
rough and bounces boats our
boats about.

AMBER
Did you see the ship at the old
lighthouse too? Tell me about the
lighthouse. What did it look like?

Errol tugs at his loose torn pants waist and shivers. His
face is distorted. His teeth chatter.

ERROL
I see it once only, lady. The
sailor’s fever gets hot. The
sea tries to swallow us up.
We have to dump our catch and
sail for the safety on shore.
Big waves roar behind following
us to shore.

Amber is suspicious; she frowns and trembles but leans


toward Errol.

AMBER
38

Tell me what the lighthouse


looks like and what is near
it on the quay. Do you know
Felix? Was he there in your
boat too? Was he part of Samuel’s
crew?

Errol feels behind him for the door. He walks backward and
trips on the broken oar. He grabs the chair.

ERROL
Near that terrible place our
pots catch the best fishes
and full too. But what’s the
use? We have to dump it and run.
The sea lights up when the ship
comes to the surface. It stirs
up the water and we run for shore.

Amber takes a step closer to Errol and looks up at his


face. His face is distorted and twitching. His hands are
like claws.

AMBER (voice trembling)


Do you know Felix? Was he
there too? Answer me, answer
me, please. You’re hiding form the
answers!

Errol steps inside and slams the squeaky door leaving Amber
standing there frustrated.

Amber looks up and sees hundreds of little black swallows


screeching and circling over the house. She picks up the
photo and runs toward the gate.

EMPTY FIELD - DAY

Amber sits on a tree stump and looks up at the swallows and


listens to the fluttering wings and screeching sounds as
they circle Errol’s house.

AMBER (VO)
Something awful is about to
happen again. I know it. My body
feels the same way as the day Samuel
39

left for his fishing trip. The day he


never returns home.

EXT. STREET

Amber hears the waves in the distance and the fluttering of


wings. She stands and runs all the way home. The birds are
over her head and follow her all the way to her door.

AMBER (VO)
Scary like a grave yard
Amber contd
everywhere. And Errol seem
mad too. And what is it with
his face? Why the distorted
faces?

INT.AMBER’S HOME - MINUTES LATER

Amber throws Samuel’s photo face down on the corner table.


She sits on the couch hugging her arms to her chest. Her
body trembling.

AMBER (VO)
Damn you, Samuel and you, too
Errol!

Amber walks to the painting and pokes at it. A beam of


light shoots at her arms and legs. Her body jerks.
She tries to run but can’t move. Her feet are stuck to the
carpet. She points to the painting.

AMBER
Let go of me! Let go of my feet.
No good has come to us since
we take you in here. Stop holding
me down! You’re the devil,
I know it!

Amber sees the little people in the painting holding hands.


They dance a line. The windows of the lighthouse flash
brilliant yellow lights. Her body jerks.

AMBER (VO)
Tomorrow when Sara leaves
I’m going in the village to
that Felix. I’ll let him
40

tell me where he gets you


and what Samuel has to with
it. He’s into it too.

Amber holds her pants and tries to lift her legs but stays
stuck to the carpet. She looks at the painting.

AMBER (shouting)
Let go of my feet. I know it
is your doing. Let me go I
tell you. Bastards!

Sara walks inside and hugs her mother. Amber is able to


move.
SARA
Mom, why are you yelling?

Amber frowns and walks with Sara to the table. Sara picks
up her father’s photo and touches his face.

SARA
My belly doesn’t hurt so much
anymore and it is getting soft.
Feel it for yourself.

Amber feels Sara’s stomach. It is soft and Sara didn’t


wince in pain as usual.

AMBER
Take off your uniform.
I’ll go fix you some food.
That belly of yours really
feels softer.

Amber pats her daughter’s head.

SARA
It’s the massage from them.
They promise to take me into
the hotter water next time. They
promise to show me a big prize.
They say I’ll be really better
then.

Amber looks at Sara’s smiling face and back at the painting


flashing lights. She walks to the kitchen with her hands on
her head.
41

INT. KITCHEN

Amber wipes away tears with her blouse. She makes a


sandwich and orange juice for Sara. She looks out the
window.

A black crow sits on the window sill looking at her. She


hears Samuel’s voice again.

SAMUEL’S VOICE
I’ll let you pay for the child’s
pain.

Amber covers her face in both hands. She slams the window.

AMBER
Samuel, you and ghosts are
everywhere. Sara is confused
and I’m going mad...I think.
What else could it be?

INT. LIVING ROOM

Amber walks to the table and place the tray before Sara.
Sara is looking at her father’s photo and nodding her head.

SARA
I’m not hungry anymore.
Do you know that dad’s eyes
move when I look in them?
See? You look in them now.

Amber groans and jumps up. Her knees hit the table spilling
the juice on the tablecloth and floor.

AMBER
Now see what you’ve done?
Stop your nonsense talk.

Sara walks to the painting. She’s holding her father’s


photo. She stoops and places it next to the painting. She
laughs aloud and walks back to the table.

SARA
My Dad says to take him over
42

there to rest by the painting.

Amber grips the edge of the table to steady her trembling


hands.

SARA
Mom, what’s wrong? You’re
shaking. Did I say anything
bad?

Amber turns aside and removes the tablecloth. She uses it


to wipe the table and looks at Sara.

AMBER
Nothing is the matter, Sara.
Nothing I can’t fix tomorrow.
You didn’t say anything wrong.

Amber glances at the painting as she speaks to Sara. An ice


cold disembodied hand rubs Amber’s face and neck. Amber
shivers as the voice speaks again.

VOICE
Home, we’re home to stay.
Not leaving, not going away.

AMBER
Did you say something,
Sara?

SARA
No Mom. But I’m going to dance
with my friends. Can you see
them dancing on the waves?
They are calling me to play
again.

INT. LIVING ROOM

Amber moves to sit on the couch. Sara hops in a circle


singing in an unknown language with the little people. She
dances around the room. Amber watches, astonished then
hears the singing and is completely bewildered.

Sara stretches her arms above her head and yawns, she walks
her room.
43

AMBER
Want me to help you, Sara?

SARA
No, Mom, not tonight.

INT. SARA’S BEDROOM

Sara picks up the doll in sailor’s clothing from her


collection in a wicker basket. She hugs it then places it
next to her pillow.

SARA
You are like my dad but
I won’t tell mom. She’ll
be sad and cry again. I hope
Felix didn’t see me take you
away.

Sara sings to the doll in the strange language. The doll’s


eyes winks. Sara falls asleep.

INT. LIVING ROOM - MORNING

Amber goes to the living room and stands before the


painting. There is no movement or lights flashing. Amber
smiles.

AMBER(VO)
Yes, I hope this means what
I ‘m thinking. I’ve finally
shut you up for good.

LATER

Sara is ready for school. Amber packs Sara a lunch bag and
walks with Sara outside; she waits until Sara boards the
school bus.

EXT. FRONT YARD - MORNING


44

Amber sits on the step and looks after the bus until it is
beyond the hill. She sees the low black clouds and flashes
of lightning.

AMBER (VO)
Don’t try and stop me.

A sudden gush of wind picks up the leaves and dumps them at


Amber’s feet. She jumps up, rubs the dust from her eyes and
runs inside the house.

INT. HOUSE LIVING - ROOM

Amber looks out the window. The trees bend back and forth
in the wind and lightning flashes. She closes the drapes.

AMBER
You’re playing me again
but you can’t stop me. I’ll
go find the cheating bastard
who dumps you on me.

Amber walks near the mantle and stands looking at the


painting and her husband’s photo. The light flashes and
Samuel’s face glows.

AMBER
Samuel, stop helping them. I
know you’re helping them.

Amber reaches down to pick up Samuel’s picture, her arm


twitches. The light flickers on and off. Amber grabs a
towel and throws it over Samuel’s photo.

AMBER
I have our child, damn you.
I love her. What else do you
want of me? You left me to
care for her alone.

Amber puts on white jeans and red tee-shirt. She rubs the
camphor mixture on her arms again and walks out the door on
her way to Felix’s home.

EXT. AMBERS HOUSE - MORNING


45

Amber stands on the step and looks up at the low black


clouds. The wind howls and shakes the trees. Amber turns to
close her front door. The loud laughter and voice of Samuel
startled her.

SAMUEL’S VOICE
Ha, ha, ha. You won’t get too
far. I see that you don’t.

AMBER
Yes, make as much storm as
Amber contd
want. It won’t stop me. You
can’t stop me. Evil bastard!

The telephone rings inside the house. She runs back inside
being bushed from behind by unseen hands.

INT. HOUSE - MORNING

Amber picks up the telephone receiver and stands listening


to Sara sobbing.

SARA
I’m sick, Mom. I’m very sick.
I have to come home now. I have
a fever. I’m hot.

Amber looks at the little people in the painting. They are


dancing in circles laughing, and clapping hands. The beacon
light flashes on and off.

AMBER
I’ll come and get you, Sara.

Amber puts the receiver down and drags two blankets from
the couch. She throws them over the painting and steps on
Samuel’s photo. She hears the sound of broken glass and
walks outside.

EXT. HOUSE - MINUTES LATER

Amber sighs as the gusty wind howls and blows the leaves in
a whirl over the van.

INT. VAN - MORNING


46

Amber sits and listens to the wind as it howls and rocks


the van. Slowly she backs down the driveway to the street.

EXT. STREET - MINUTES LATER

As Amber drives fifty miles an hour along the highway, she


sobs and wipes her eyes.

AMBER (VO)
I’ll find that old bastard.
No wind, rain or ghost will
Amber contd
get in my way. Samuel and those
little runts in the painting want
Sara home. I’ll get her home but
this won’t stop me. I’ll show you.

EXT. SARA’S SCHOOL - MORNING

Amber parks the van under an oak tree and looks around. She
hears the waves again. A group of black birds make a series
of caws and flies from the tree.

EXT. VAN

Amber waits as the birds circle in the air above the


school. She runs into the building hands on her head. Amber
stumbles against the NURSE at the sick bay door.

NURSE
Sara has a fever of 101. Her
teacher says she was okay then
suddenly she shouts that she
is hot, can’t see, and must get
home to them. She is sobbing that
she is unable to see something or
other. She sobs that her Dad and her
friends are calling her name.

The nurse holds Amber’s hand and runs with her to the sick
bay.

INT. SICK BAY

Sara is on the sick bay couch, her face wet with


perspiration. She sobs, hands over her eyes.
47

NURSE
Your daughter refuses an
aspirin. She says she wants
to get home to them. What is
she talking about? She won’t
move her hands from her eyes.

Amber sits on the couch and hugs Sara.

AMBER
What is it, Sara? A little
Amber contd
more than one hour ago you
left home happy and well.
Now look at you, like a sick
puppy. Are you in pain?

SARA
I have to get home now. I
can’t see any of them. Something
is hiding them from me. They
are calling me. My eyes are
dark. I can’t see them. I can’t
see.

The Nurse walks backward and leans against the wall. She
makes the sign of the cross.

NURSE
I have never seen a child
this strange and eerie. She
scares me. Dear God, what’s this?

EXT. SCHOOL YARD - MINUTES LATER

Amber leads Sara to the van. Sara is crying arm stretches


out feeling in the air before her. She staggers.

AMBER
What happened to your eyes?
Can’t you see where you’re
going?
48

Sara rubs her eyes with the back of her hands and falls
against Amber.

SARA
I can’t see them. I can’t
see, I can’t.

INT. VAN - MORNING

Amber helps Sara to the back seat of the van. She covers
her with a blanket. Sara mutters the strange language all
the way home.

EXT. AMBER’S DRIVEWAY

The black clouds are low. The wind howls and rocks the van.
Amber parks on the driveway. Sara sits upright and calls.
Her arms are out in front of her body.

INT. HOUSE

SARA
Take me to my friends at the
fireplace. Please, Mom, do it
quickly. I have to help them.

Sara is groping in the air around her body. Amber holds her
arms and pulls her against her body.

AMBER
You’re ill. I need to get you
in bed.

SARA
Please, Mom, lead me to them
now. They are calling me to help
them.

Amber kicks the couch as Sara pulls her to get to the


painting.

AMBER
Sara, you are at the fireplace
and the painting. Why do you want
to be here? You need to go to bed.
I wish you’d stop this talk.
49

Sara puts her hands out and feels about. She drags the
blanket from the painting. She drops the blanket on the
floor. She laughs aloud and claps her hands.

SARA
Yes! Yes! I can see now. I can
see you. Why did you hide them,
Mom? Why?

Amber beckons to Sara with her left hand. In her other hand
is a thermometer.

AMBER
Come, Sara, let me take your
temperature. I must get you to
the bed now.

Sara walks to the couch. Amber feels her skin and takes the
temperature.

AMBER
Sara, your temperature is now
normal. But still I want you
in bed resting.

Amber looks at the painting and shakes her head.

SARA
I’ll stay here on the couch
and rest. I want to watch
them from here. They’re are
happy and dancing now.

Sara falls asleep. Amber watches the clock and every half
an hour goes to look at Sara. Amber shakes a finger at the
painting.

AMBER
I know it’s your doing. You
let Sara pretend to be sick
to stop me from getting the
answers I need about you and
how to be rid of you.
50

The painting flashes lights and the waves bash the


lighthouse. Amber puts a blanket over Sara and waits until
she is asleep.

AMBER
I’ve had enough of your evil
ways.

Amber drags the painting out the back door, kicks holes in
the canvas, and cuts it off the frame with a knife. She
steps on the frame and snaps it in two. She tosses the
pieces out the back door in the rain.

As each piece drops in the muddy water Stomps her foot

AMBER
I’m so sick of you and your
tricks. Well there. You’re done
for now. I’ve smashed you up for
good. Now go to hell! Good riddance.

INT. AMBER’S BEDROOM – NIGHT

Amber goes to her bed leaving Sara on the couch. Sara


sleeps. The house shakes and Amber’s bed jerks, Amber falls
on the floor. Amber sleeps in a chair the rest of the
night.

INT. LIVING ROOM - DAWN

Amber rubs her eyes and staggers to the living room. She
sees the painting by the fireplace. It is intact and dry
with lights glowing. She covers her open mouth with both
hands.

AMBER
What the hell?!

The painting flashes red and yellow lights. The little


people walk in a circle shaking their fingers at Amber. She
looks at Sara stretched out and rubbing her sleepy eyes.
Amber turns away and runs toward the kitchen.

AMBER (to Sara)


I’ll go get us something to
eat.
51

Sara sits on the couch, her wet clothes clings to her body.
Sara yells at Amber.

SARA
Mom, stop right there and tell
me you didn’t put them in the
pouring rain?

Amber stands at the kitchen door, her hands on her hips.

AMBER
What if I did, Sara? I’m
sick of the antics around here.
Look what’s happening to you.

SARA
Please, don’t hurt them. I had
to take them out of the rain.
I hear them groan and call to
me by the front door. You’re
the one making mischief.

Amber walks back, stands before Sara and stomps her feet.
Sara walks up to Amber and stomps her feet back at her and
runs away.
AMBER (VO)
It was at the front door? I
tossed the wretched thing out
after destroying it. A stupid
painting groans and calls
according to Sara? When will
this stop?

The little people in the painting are dancing in circles,


laughing and shaking their fists at Amber.

INT. SARA’S BEDROOM - MORNING

Sara puts on her uniform and collects her books. She waves
at the painting. She pushes against Amber and goes out the
door.

AMBER (to painting)


Somehow, I’ll stop you.

EXT. HOUSE – MORNING


52

Amber walks behind Sara to the gate. Sara looks back at


Amber and bangs the gate then runs to the bus.

EXT. DRIVEWAY - MORNING

Sara boards the bus. Amber walks back and sits on the step.
Amber waits until the bus is in the distance. A lone
blackbird sits on the fence. It looks at Amber chirps, and
flop its wings.

AMBER
Go away! Shoo. Felix lied
about his evil painting I want
to know why I was selected for it.

The bird flies up and hovers in the air above the driveway.
Amber throws a stick. The bird dives down at Amber’s head
and then flies in a tree fluttering its wings.

INT. VAN - LATER

Amber gets in the van and back onto the street. A gust of
wind rocks the van. She looks in the rearview mirror. The
bird is now in a flock of black birds flying behind the
van.

EXT. FELIX’S HOME - MORNING

Amber parks behind the overgrown hedge and sits looking


through the windshield. The drapes are drawn and candles
flicker in every window. The bird flies into the oak tree.

INT. VAN - MORNING

Amber takes two vials from her purse. Hands trembling, she
pours the contents together and shakes it. She pulls out a
zip bag with cotton balls and wets them and puts them in
her shoes and brassiere.

AMBER(VO)
My mother use to tell me that
no evil can penetrate a camphor
and brandy mixture. Hope it works.
53

EXT. FELIX’S DOOR - MORNING

Amber walks to the red front door and uses the knocker
repeatedly. A shadow of someone is against a window on the
second floor.

AMBER
Come down here. I won’t
go away so come down.

Amber knocks again and again and waits. The shadow doesn’t
move. Amber shakes the door knob.

AMBER
Okay, I’ll go to the back
Amber contd
door. I’ll knock every door
until you come out.

Amber moves off the step and trips on an old bingo cage
filled with bingo balls. She grips a shrub to steady
herself. A black cat sits on the upper step looking down.
Behind her the feeble sing-song voice of a WOMAN speaks.

WOMAN (OC)
Who are you? What do you
want here? Go away, go away.

Amber turns to face the SILVER-HAIRED OLD WOMAN. The woman


is brushing her hair rapidly. Amber clenches her trembling
hands in a fist at her side. The cat jumps down and sits
beside the woman.

AMBER
Where in hell did you appear
from? You are as creepy as the
old bastard Felix.

The woman kicks gravel and dirt at Amber’s shoes. Amber


kicks it back at her. The cat arches its back.

AMBER
You are the same woman with
the black cat on your lap
the day of the yard sale. I
remember you in a wheelchair.
54

Amber steps back just as the woman moves toward her.

WOMAN
I don’t know what you are
talking about.

Amber steps up to her and shake a finger in front of her


face. A big silver coin forming a pendant on a black cord
is around the woman’s neck.

AMBER
With all the uproar over that
evil painting you didn’t move,
speak or show interest. What
is it with you?

The woman continues to brush her hair. She takes a step


back from Amber. Her upper lip twitches showing her broken
teeth. Amber looks away.

AMBER
Call Felix. I want to see
him now. And Making faces
at me won’t help you or him.

The woman hobbles nearer to Amber, her body rocks side to


side. She pokes the hair brush at Amber’s stomach.

OLD WOMAN
I can’t do it. Leave me alone
go away from here now.

AMBER
No. I won’t go. I have to speak
with Felix. I won’t leave, so
get him out here. And don’t touch
me.

The woman stuffs the brush in her skirt pocket. Her squeaky
voice is loud and sassy.

OLD WOMAN
What do you want him for?
Go away I tell you.
55

The woman pushes at Amber with her elbow and tries to pass.
Amber steps in front of her and places her hands on her
hips. She moves her face close to the old woman’s face.

AMBER
I’m not going anywhere. He
forces his evil painting on
my child. Get him out here.
I won’t let this evil continue
to hurt my child.

The old woman sits on the broken step. She trembles and
kicks off her shoes and tosses them at Amber.

WOMAN
Get away now or you’ll regret
Woman contd
coming here to bother us.

Amber picks up the shoes and throws them at the woman’s


feet.

AMBER
Throwing objects and threats
won’t drive me away.

The Woman hangs her head, covers her face with both hands
and sobs. Amber puts her mouth to the woman’s ear and yells.

AMBER
Stop that! Neither you nor
that Felix shows us any mercy.
He pushes his painting on us.
You sit and pretend that you
couldn’t move. My life is a
living hell because of him.

The woman falls against the wall and her sobs stop. There
is no movement from her body. Amber runs to her side and
shakes her. Amber puts her ear to the woman’s chest and
listens.

AMBER
I didn’t come here to see
you die, old woman! Get up!
Stop pretending.
56

The woman gives Amber a feeble push and sits up. She sobs
and her wrinkled face is wet with tears. The woman speaks
through her clenched teeth.

OLD WOMAN
He’s gone. Because of all
the uproar around us he’s
gone. Don’t talk of the
painting. I know nothing
I tell you.

Amber sits next to her on the step. She stares at Amber and
shakes her head. The wind picks up the leaves and whirls
them in a circle above the women. Dust and leaves shower
down on both women.

AMBER
Go get Felix. Or you tell
me what you know, you do
know about it too!

Amber hears sound of waves at the back of the house and


under the house. The old woman trembles.

OLD WOMAN
Did you hear them? Did you hear
them coming? Go away I tell you. I
don’t want to talk anymore.

Amber shivers and grabs the woman’s hands.

AMBER
Get Felix now, I want to go.
Why are you so afraid here?
What’s coming? Why don’t you
want to talk about the painting?

The woman knocks Amber’s hands away. The woman’s face is


distorted and her body jerks. Amber trembles and clenches
her fists behind her back.

WOMAN
My Felix is dying, he is.
He knows only torment for
years. Restless, and sleepless,
because of what? Yes, I’m afraid
for him, for you, me and everything.
57

Amber moves her face close to the woman’s forehead and


grips the woman’s shoulders. She hits Amber’s hand and
knocks it from her shoulders.

AMBER
Why is Felix in torment? Talk
to me woman. What are you two
hiding? Say it, talk now. You’re
scared of something.

The woman wobbles near to Amber kicks the dirt at her.


Amber steps back and waits. The woman picks up a handful of
trash and throws it at Amber’s feet. Amber throws trash
back at her.

OLD WOMAN
The ambulance moves him to
Brown’s Town Hospital. A life
like hell he suffers. And now
he falls down the stairs. He
tries to close out the voices
and waves. It was “them” who shove
him from behind. He broke his hip.

Ambers trembles and hugs her arms to her chest. The wind
begins to howl louder. A flock of noisy crows are in the
oak tree, wings fluttering.

AMBER
“They who” shove Felix? What are
you talking about?

The woman looks up at the crows and stretches her arms in


the air. The woman steps backward and shivers. She clutches
the pendant made from the coin in both hands.

OLD WOMAN
My Felix utters the same words
he says in his sleep for years.
He says them as he bends up in
pain at the foot of the steps.
It’s those things down below that
are responsible for it all.

Amber kneels before the woman and stares at her distorted


face.
58

AMBER
What words did Felix utter? Tell me.
Please, tell me. I have to know.
And what things below are you
talking about? I must get rid of
the painting. It could hurt my child.

The woman’s fingers become twisted and claw-like; she


stretches her deformed hands toward Amber. The woman’s
voice trembles and she stutters.

OLD WOMAN (eyes shut)


He talks of big red eyes, lighthouse
and old ships that appear and the
Old woman contd
disappear. Of dancing stars and little
people. He tells me about rough waves and
howling winds. Felix often talks in strange
languages I don’t understand. He goes
there for hours.

Amber grabs the woman’s wrists. The woman pulls away and
staggers without opening her eyes.

AMBER
There where? Where does Felix go?
Stop making riddles. Tell me
what you know about the painting
and how to be rid of that evil.

The woman opens her eyes and looks over her shoulder. She
picks at her clothes and groans.

WOMAN
To “them”, Felix goes to “them”. He
comes back and sleeps, tosses about
and mutters all day long.

The woman has hick-ups, sobs. She drags her hair with her
claws. Her face becomes more twisted. The coin shines and
flickers on the woman’s chest. Her wide open eyes are fixed.

WOMAN
Go, go, late, too late to stop
them now. Run, get away from
here now.
59

Amber screams and runs. She trips on the old bingo cage and
falls. She jumps up and runs to the van. She guns the
engine as the birds fly from the trees and perch on the
roof, with loud screeching and wings fluttering.

INT. VAN

Amber stops several blocks from Felix’s house. She puts her
head on the steering wheel and screams louder. A flock of
birds circle over her van.

AMBER (VO)
What or who is she? What is
she talking about that Felix
visits daily?

She pounds the dashboard several times with her fists and
blare the horn. The birds flop their wings their wings and
caws.

EXT. FELIX’S GATE - NOON

Amber drives away, glancing up at the restless birds.

AMBER
I must see Felix for
answers. I’ll get to that
hospital and find him.

Amber drives to BROWN’S TOWN and parks in the lot facing


the hospital. She sits and watches the visitors going in
and out the revolving doors.

EXT. VAN - MINUTES LATER

Amber stands and stares at the black lettering “BROWN’S


TOWN GENERAL HOSPITAL.” She makes the sign of the cross and
walks in the lobby.

INT. HOSPITAL LOBBY

Amber hesitates and looks down the long corridor with staff
rushing back and forth. She goes to the CLERK’S window.
60

AMBER
I want to see Felix Jones.
He’s here with a broken hip.

The clerk taps a pencil on her desk and looks at Amber. She
gives Amber a visitor’s book to sign then points across the
hall.

CLERK
Room number thirteen. Visiting
is up in thirty minutes.

INT. FELIX’S ROOM

Amber pulls a chair and sits at the bedside. She shouts his
name twice.

AMBER
Felix, you sold me a painting at
your yard sale sometime ago. I
want to know where you got it. What
I have to do to be rig of it? It’s
evil!

Felix opens his eyes wide and stares at Amber. Beads of


perspiration appear on his forehead. He shakes his head
from side to side.

AMBER
Talk to me, damn you. I have
to know what to do with the
thing before I go totally mad.
I won’t let it kill my child.

Amber leans over the padded rails and pulls at the hair on
Felix’s chest. He mutters incoherently. His body jerks.

AMBER
Say something! I know you can
hear me. Say something.

Tears stream down his cheeks. Amber tries to lift his arm.
Both hands have restraints tied to the bed. Amber shakes
the rail.
61

AMBER
Okay, I’ll take it back to your
wife if you won’t tell me. So talk
to me now. Talk to me, you old bastard!

A NURSE hurries in the room and stands facing Amber.

NURSE
He’s unable to speak due to
his stroke. He needs to rest
and you have upset him greatly.
I must insist that you leave
now.

Amber stands and looks at Felix as he stares blankly at


her. His distorted face twitches and his body jerks. Amber
holds the bed rail and shakes it.

NURSE
Don’t do that. Go now

Amber moves her hand from the bed rail and stares at the
nurse then back at Felix. She leans over the bed rails.

AMBER (to Felix)


If any thing happens to my daughter
I swear, I’ll come back and kill you!

EXT. HOSPITAL

Amber walks from the hospital with the wind howling and
leaves blowing in a circle in the air. Heavy black clouds
loom over head and flashes of lightning rip down the clouds.

INT. VAN

Amber sits in the van and hits the dash board with her
fists. She looks at the stormy sky and starts the van. She
drives to the hole in the wall bingo house a mile from
Felix’s home.

AMBER (VO)
That old basket of bingo balls
at Felix’s home mean only one
one thing. His wife comes to the
bingo place to play. I’ll follow my
62

instincts and go in there to ask


about those two. It’s near enough
for her to walk here.

EXT. VAN – NOON

Amber parks at the front door of the old house. She


hesitates and then steps out of the van. The lightning
flashes around her. She hears the sound of laughter beside
her.

AMBER (VO)
Samuel again!

INT. BINGO HOUSE

Amber walks into the room. There are women at four tables
in the corners playing to the call of numbers. She walks
toward a table. The lights go on and off and the room
becomes dark.

AMBER
I’ll be damned!

She steps backward as she sees dozens of apparitions in


long white robes floating in the air toward her in the
flashes of light. She screams and runs for the door.

AMBER
Aaaaaaah, help me, help me.

Smoke forms a cone like mass and blocks the exit. Amber
moves her arms in a sweeping motion and bursts through the
barrier of smoke. She chokes and coughs.

EXT. BINGO HOUSE

She leans against the cracked up wall for a moment,


coughing and choking. Catching her breath she runs to the
van panting.

INT. VAN

Amber enters the van and turns up the volume to religious


music on a CD. She enters the ramp for the highway. She
drives to the popular recreation hall on Main Street.
63

AMBER (VO)
When Samuel was late coming home
he told me he was here at this
hall playing dominoes and having
beers with his buddies. I’ll see
how much they know about Felix
and his evil secrets.

Amber hears birds screeching and looks up into the trees


but did not see them.

EXT.VAN – EVENING

Amber parks and walks to the door with the sound of the
waves bashing behind her. She hears Samuel’s voice and his
laughter again, she looks behind.

SAMUEL’S VOICE
Ha, ha, ha, digging again. Don’t
know when to stop? Enter, they’ll
give you what you deserve.

The wind picks up leaves and dust and twirls them in the
air above Amber’s head, she runs to the door of the
building with the voice at her ear.

INT.RECREATION HALL

Amber hurries inside and glances around. She smells stale


beer. The players are shouting as they throw dice and slam
dominoes.

Amber sits on a bar stool and watches the crowd. The


BARTENDER touches her hand. Amber moves her hand away.

AMBER
My husband Samuel Brown use to come
here all the time. I think his fishing
partner Felix Jones comes here too. Do
you know Felix? I want to talk about
Felix Jones. Who should I talk with
in here?
64

The bartender shakes his head. He looks toward the corner


table where the woman in a red blouse sits.

BARTENDER
That’s a bad name around here lady.
It throws fear in everyone even when
mentioned by chance. The crowd will
maul you if you call that name here.
I think you’d better leave.

AMBER
I’ll take my chances. Something
I must know to help me protect my
child. What can you tell me about
Amber contd
Felix? Why are you so nervous?

BARTENDER
I’m not here that long. But I watch
the crowd becomes rowdy at the mention
of that name. Let me see who can help.

The bartender looks around the room. He then points to one


of the tables in a far corner where six women sat rolling
dice and drinking beer.

BARTENDER
See that woman, the fattest one in red?
She is more scared of the name than the
others. She’s the one to talk with. But
you’ll need a stiff drink to approach
these ladies. They are a rough crowd.
What can I get for you?

Amber stares at the table with several WOMEN. She hears


them cursing as they roll the dice. In another corner The
MEN are slamming dominoes. Amber turns to the bartender.

AMBER
Brandy... please.

Amber picks up the drink and walks to sit at the table with
the woman in red. She sips the drink and taps her shoe’s
heels on the floor. The OBESE woman in red speaks.

OBESE WOMAN
Do you wish to play with us,
65

sister?

Amber shakes her head and sips her drink.

WOMAN
I didn’t think so. No one
comes here in a dress like
yours. What the hell do you
want... Speak up and don’t tap
your heels here, it annoys me.

Amber shuffles in her seat.

OBESE WOMAN
Can’t you see that the bitch
is just a trouble maker? Most
likely her fault I can’t win a
game.

AMBER
I’m not here to make trouble.
I only need your help. There’s
a white mansion up the road.
The old man is Felix Jones. What
can you tell me about him and
his wife?

Silence, several seconds go by and Amber waits. The women


jump up and slam their beer mugs on the table. Beer flashes
in Amber’s face. She wipes it away with the back of a hand.

WOMAN
What name did you just say?

Amber trembles but keeps her seat. The fattest of the women
circles Amber, grabs her hair and shakes her head back and
forth.

WOMAN
Get the hell out of here, go.
Now! Don’t let us have to throw
you out.

Two of the women jumps up and moves toward Amber. The glass
drops from Amber’s hand and shatters on the floor. Amber
grips the side of the table with both hands.
66

AMBER
This means yes, you know Felix.
I won’t go. I need your help.
This means a lot to me.

The woman grabs the back of Amber’s chair and yanks it


backward. Amber still holds the edge of the table. The
obese woman calls to the other women.

OBESE WOMAN
Come on, girls. Help me to
throw this bitch out the door.

AMBER
Please tell what you know about
Felix. I see that you know him.

Amber hears squeaking chairs behind her back and dominoes


being scattered on the floor.

WOMAN
Did you hear her? Men, did you
hear what the wench said? She keeps
calling that evil name in here.

Heavy footsteps walk up behind Amber and stop. Amber jumps


to her feet and looks at the men’s angry faces.

AMBER
All I want here is answers
about someone you obviously
know. Felix Jones.

She is blinded by mugs of beer thrown in her face and hair.


The men now join the women in a circle around her. A woman
slaps Amber in the face. Amber slaps her back.

AMBER
What the hell did you do
that for? I only asked you a
question.

The beer trickles into her eyes. Amber wipes her face with
her blouse. A man pokes a finger on Amber’s forehead and
pushes. He puts his forehead on Amber’s forehead and yells.
67

MAN
Get the hell out and go home,
woman. Don’t you ever call that
name around us. We’ll trump your
ass if you say it one more time.

Amber pushes his head away and tries to run. CLARENCE, 50,
blocks her path. Amber looks up at Clarence in torn blue
jeans and long scars on both sides of his face. He stands
with legs apart.

CLARENCE
So you wish to run after you
disturbs us? You will stay! Sit
Clarence contd
down, down everyone. I want to hear
why she walks in here and disturbs us.

Clarence holds Amber’s shoulders and forces her down on the


chair.

CLARENCE
Woman, you sit right here! Everyone
sit. We get this woman out of here
with as little violence as possible.
But we’ll make her talk.

TONY,38, kicks a chair across the room. He throws his mug


of beer smashing it against a wall. He tosses his cigar to
the floor and grinds it under his boot. He turns to face
Clarence.

TONY
You go right to hell, Clarence,
and take the bitch with you.

Clarence steps toward Tony. More mugs hit the walls from
the other men.

CLARENCE
Do as I ask, and that means
everyone.

The CROWD screams at Clarence. Some kick beer cans across


the room. Others smash them against the walls. The crowd
hurls profanities at Amber.
68

CROWD
Bitch! Nosey broad! Damn intruder!

CLARENCE
We will put out the ghost that
Felix carries to our village
years ago. This hour is as good
as any.

The crowd moves closer and forms a circle around Clarence.


Clarence slams his beer mug on the table and climbs to the
center of the table.

CLARENCE
We are all captive to the
lying old seadog. Hiding at
the sound of his name since
the day he and his ghosts enter
the village. We’ve been hiding
for years. Do you want to
continue like that? Do you?

Fists hit the table and the group walks around Clarence
cursing and kicking at beer cans on the floor.

TONY
What the hell do you want of
us? You are not in control
here. You are boss only when
we play domino games. Only when
we play. Get the stupid wench out.

CLARENCE
You can either sit with tail
between your legs trembling like
this wretched woman before you.
I say she has more guts than all
of us coming here to face Felix’s
ghosts.

He looks down at Amber.

CLARENCE (To Amber)


Begin to talk, woman. What is it that
you want of us? We’ve never seen
you in these parts before. Make it
69

snappy, whatever you have to say.

Amber stares up at Clarence’s face.

AMBER
Felix sells me a painting of
a lighthouse. He practically
forces it on my child the day of
his yard sale. It is eerie, evil
weird anything you can call it.
It is intimidating me. I’m afraid
and I can’t get rid of it.

A man hands a mug of beer to Amber, she knocks it away.

AMBER
I put the painting on the street.
I cut it up. I throw it in the
trash and finds it back in my house.
The people in the painting speaks to
my child. I hear them speak too and
I see the dwarfs dancing. It mocks me,
giggles and plays with my child.

TONY
You ask for this by not being a
good mother and giving in to a
child’s whims and fancies. That is
what happens to fools like you and your
child.

AMBER
I try to give it back to Felix and
he is in the hospital. He can’t talk
anymore.

The men yell and pound the table with their fists

JED
That wicked old painting again.
Felix is evil. He sells that painting
many time before and go home to
find it in his house. You stupid
woman...Why did you take it from him?

AMBER
It speaks to me and strange
70

disembodied hands touch my body.


I smell and hear things around me.
The painting flashes all kinds of
strange lights. I hear sea waves
around me everywhere I go.

Clarence hops off the table and drags his chair closer to
Amber. He leans forward and places his hands on Amber’s
head. He pushes her head back and stares into her eyes. He
speaks through clenched teeth.

CLARENCE
That darn painting is meant for you.
As I hear it, the painting walks back
Clarence contd
to Felix no matter where he sells it.
It walks back to you that tell us it’s
yours now. The old seadog tells a
thousand tales of where he gets it.

A FAT WOMAN in the group walks to stand behind Amber’s


chair. She leans over, digging her elbow in Amber’s
shoulder. With her mouth to Amber’s ear she yells.

FAT WOMAN
Felix is a crook. He could
easily have robbed a crypt
or a rich mausoleum somewhere.
That wife of his is no better.

Clarence points and shakes a finger at the woman. She moves


back to her chair and slaps her palm on the table.

FAT WOMAN
Why do we entertain this stupid
idiotic bitch? Give me five seconds
to fix her face.

Clarence slaps his open palm on the table. The woman jumps
backward and Clarence continues.

CLARENCE
A fishing boat overturns on Crab
Quay several years ago. The lone
survivor is Felix. He tells how
little dwarfs drag him ashore and
pumps life back in his chest.
71

Felix comes to our village from


God knows where. He never leaves
that mansion of his. Where did he
get that kind of money to buy this
great house? Did anyone here ever
wonder about that?

Amber holds her stomach, retches and screams.

AMBER
Why was Felix the only one
saved by the dwarfs? Why did
everyone else die?

CLARENCE
No one knows that answer. From
the day of his supposed rescue on
the beach he talks of ghost ships and
lighthouses sinking their boat.

A woman walks to the bar and returns with a glass of water


and hands it to Amber. Amber sips the water. Another woman
hands Amber tissue and Amber wipes her face.

CLARENCE
Felix says he finds the painting in an
old monastery he helps to demolish years
ago. Its stolen goods, we all know it.

Tony moves to sit next to Amber and rests a hand on her


shoulder. Two of the women join Tony beside Amber and rubs
Amber’s head. Amber is nervous at the sudden change in
attitude of the group. She stares at Tony’s face.

TONY
Pardon our rough ways, madam.
We’ve all had Felix’s evil reaching
us in some way or other. That’s why
no one talks about him or that
painting of his.

WOMAN
Most of us here lost my husbands
the day that evil Felix says he was
rescued on a beach. I’m glad I’ve
never see Felix. I’d most likely kill
72

him. Lady, did your husband dies that


day too?

Before Amber could reply Jed speaks.

JED
Felix didn’t demolish anything, and even
so, others would be there too. He says
it’s part of a cache among other stuff he
finds in the sealed wall. He works only
as a fisherman. A liar and thief he is.
We want to know if your husband died in
the boating accident too. Tell, us please.

Amber jumps to her feet facing the group. She pushes at the
ones nearest her.

AMBER
I have to go now. You’re all crazy
just like Felix. You talk and talk
but it’s not telling me how to get
rid of the damn painting.

Two men hold Amber’s chair down while the women forced
Amber to sit. She kicks out and the women kicks back at
her. Clarence holds Amber’s hair and shakes her head back
and forth. Amber screams.

CLARENCE
You listen to it all. That is
why you walk in here and put an
end to our tournament, isn’t it?
Isn’t it? You come here for this
didn’t you? You will listen to it
‘til we’re done talking.

Clarence lets go of Amber’s hair and gives her head a push


with the back of his hand.

JED
That thief Felix never leaves
his house since his rescue from the
wreck. Wherever he gets that evil
artwork it holds him like a sick
prisoner in his home. Yes, he unloads
it on a doting stupid mother. You’ll
never be rid of evil. Never! Never!
73

Amber wiggles and kicks out. Jed shoves Amber’s chair


backward. Amber jumps to her feet screaming. She lifts her
chair and swings it at the group as she runs for the door.
A woman grabs Amber’s blouse.

JED
Let the wretched fool go. Let
her go back to the evil she has
in her house.

Amber’s blouse rips as she pulls away. She holds the torn
blouse together and runs screaming from the building.

EXT. BUILDING

Amber looks over her shoulder as she runs. The men and
women are at the door watching her and laughing. Amber
jumps in the van and locks the doors.

INT. VAN

The wind howls and the bashing waves are heard around
Amber. The lightning rips down the black clouds and the
thunder blasts. She hits the gas and speeds as lightning
pings off the metals of her van.

EXT. HIGHWAY

Amber enters the highway and speeds in and out of traffic


tooting her horn at anyone blocking her.

LATER

Amber turns off on the road near Errol’s house and stops at
the gate.

EXT. VAN

Amber stands beside her van and stares at the house green
with moss and overgrown watt shrubs.

AMBER (VO)
I’m damned if I let you get away
and not me about the secrets you
74

share with Samuel and Felix.

EXT. ERROL’S HOUSE

Amber runs up the steps and stand facing Errol in his


rocking chair on the porch.

AMBER
What did my Samuel have to do
with the painting? What did he
know about Felix and his secrets?
What are you hiding about Samuel
and Felix? What is it?! Talk to
Amber contd
me! Damn you Errol! Stop playing
stupid with me!

Errol stares blankly in space unaware of Amber’s presence


as rocks his creaky chair back and forth. Amber leans over
Errol and shouts. Errol’s eyes remains fixed as he rocks.

AMBER
Errol! Idiot! You damn fool!

INT.VAN

Amber runs to her van and speeds home with flashes of


lightning hitting the ground around the van even as the
clap of thunder boom. A lightening bolt hits a hole in the
road. Amber rides the shoulder and continues to speed away.

AMBER (VO)
What happened to Errol? What
is happening to me?

EXT. VAN AMBER’S DRIVEWAY

Amber gets out and runs up the steps in the rain. She hears
the sounds of laughter and a cat that meows behind her. She
looks around and sees Felix’ wife’s cat.

AMBER
Get away from me. Leave me
alone.
75

Amber places her fingers in her ears as the laughter gets


louder and the sound of the cat comes nearer to her. The
rain water runs down her face. Amber runs inside.

INT. GARAGE

Amber runs through the garage, the wet clothes cling to her
body. She hurries to her room and removes the wet clothing.

INT. LIVING ROOM

Amber rushes, trembling into the room. She sits and looks
at Sara as she sleeps. Sara thrashes about and mutters a
strange language and tosses about.

AMBER (VO)
The child is usually lifeless
after her pills. Now she moves
about and mutters and talks like
when she faces the damn painting.
And those words, I’ve never heard
them before.

Amber walks to the couch. She place pillows and blankets on


the carpet next to the couch. She makes fists and stares at
the painting. The painting flashes lights continuously.
Sara talks in her sleep.

SARA
Wait, wait for me, I’m coming.
The water is hot. The waves
are too strong. Hold me, hold me.

Amber runs over to the painting and points with both hands.
The little people shake their fingers at Amber.

AMBER (VO)
You took Samuel from me. You killed
him. I know now that you did. You
stay the hell away from, Sara. I’ll
set fire to you if I have to.

Sara jumps and sits upright. She waves her hands over her
head and shouts in her sleep.

SARA
76

No, no, no. get away, get


away. Leave them alone.

Amber stands over Sara, but looks at the flashing lights on


the painting.

SARA
Don’t let me fall in the holes.
Wait. I am here, I am coming. Hold
my hands. I’m getting in. It’s hot.
Sara falls backward on the couch and trashes about. Amber
shakes Sara.

AMBER
Sara, Sara, wake up, open your
Amber contd
eyes. Please.

Sara tumbles head first on the cushion on the carpet. She


kicks and talks.

SARA
It is dark in here, its dark. I’m
dropping down too fast. The water
is too hot. I’m falling on my head,
hold me.

Amber removes her shoes and throws one at the painting and
growls.

AMBER
Leave my child alone! Leave her
alone now!

The painting flashes on and off rapidly. The sound of the


waves becomes louder. Amber sees the little people as they
exchange positions, hands stretch outward.

SARA
Help me stand on my feet. The
water is hot. My belly hurts.

Amber shakes Sara harder but Sara stays asleep and talks.
Amber hears the little voices again. She looks about the
house as the light flashes from the painting and stops.

AMBER
77

Sara, Sara, wake up, Sara.


Please!

The house suddenly becomes dark and the sea waves bounce.
Amber hears the walls, windows, and ceiling shakes and
rattles. A SQUEAKY VOICE echoes throughout the house.

SQUEAKY VOICE
Relax, Sara, relax. We’ve got
you now. We’ve got you.

Sara makes swimming motions with arms and legs. The beacon
light on the lighthouse blinks on and off six times. The
squeaky voice fills the room.

SQUEAKY VOICE
Move faster, put child on the
seaweed below. Show child how to
find the others.

The house shakes and remains dark. The sound of laughter


fills the house. Amber trembles and screams. Sara talks
back to the voice.

SARA
Where am I? I can’t see anything.
The cobweb and the slimy seaweed
is on my belly and face. I want my
dad now.

Amber looks at the painting. The waves bash, seashells


move, oars paddle against boats. An old ship rises and
sinks. Amber walks over to the painting.

AMBER
You’re done, as soon as I feel
I can safely leave Sara, you’re
done.

Sara kicks and picks at her clothes. Amber hugs Sara to her
breast as the house shakes.

SQUEAKY VOICE
We’re almost there, Sara. Almost
done.

AMBER
78

Get away from us, get away


from us now. Stop doing it!

Amber stares at the painting. The little people hold hands


and dances in a circle. A rusty old ship appears and
disappears again beside the lighthouse.

SQUEAKY VOICE
Wipe child, wipe clean. Wipe, child,
clean. Last rub to belly, last
to rub to belly. Throw child to
top now. Done, we’re done.

Sara opens her eyes and leaps to a sitting position. She


looks at the painting her mouth hangs open. She lifts her
blouse, feels her belly and laughs.

AMBER
What is it, Sara? What is it?

Sara wipes her face and hands with the blanket. She grips
and shakes Amber’s shoulder.

SARA
Mom, I had the sweetest of all
dreams. I had green stuff all
over. The little people rubs and
tickles my belly hard. They said
I’m well now. They said it won’t
hurt again...ever. Dad was there
too. Dad was helping them.

Sara giggles and picks up a photo of her father.

INT.LIVING ROOM - DAY

Amber walks to the kitchen. She is trembling. She clenches


her fists and hits the stove top. A pot falls to the floor.

AMBER (VO)
Haunting, they are haunting
my child more and more.

INT. KITCHEN
79

Amber walks to the cabinet. She gets cookies and lemonade


for Sara. She puts one of Sara’s pain pills in the
lemonade. She walks about the kitchen talking.

AMBER (VO)
This will help the child sleep.
Sara is talking wild stuff.
I’m hearing voices all about me.
I must get Sara to bed and sleeping.
I’ve got to rid of the thing before
it destroys us.

INT. LIVING ROOM

Amber hesitates at the entrance to the living room and


sighs. She grips the tray as her hands tremble.

INT. LIVING ROOM - LATER

Amber walks to the living. Sara sits before the painting. A


pillow is on her lap. Her father’s picture is in her hand.
She hides it under the pillow when Amber enters.

SARA
Did the man at the yard sale
know my dad? Is that why Dad is
in his painting?

The glass rattles on the tray and Amber holds the tray
against her body to steady her hands.

AMBER (groans)
Have your snack, Sara. When
you’re done we can go watch
movies in your room.

The little people dance around in circles. The beacon light


flashes on and off. The painting slides back and forth
across the hearth before the fireplace. Amber runs to the
couch.

SARA
I’ll take him to my room tonight.
He says he’ll like it there
with me better, right Dad?
80

AMBER
Shut up, Sara! No more.

SARA
I don’t want to watch movies.
I want to stay and talk with
him and them here.

Sara drinks the lemonade and pushes the cookies aside. She
walks to the painting.

AMBER
Him who, Sara? Who are you
talking about now? That
painting will not go to your
room. It is stays where it is.

SARA
My father, I mean. I’ll put
him in my room. The little
people say it’s okay. Dad
wants to go to my room too.

Amber trembles as she hands Sara the other pill. Amber


picks up a book and goes toward the table. Sara throws the
pill behind the couch, she giggles and whispers.

SARA
I don’t need any pills. Do I?
You are my friends, you told me so.
I’ll find the man in the mansion.
He’ll tell me about my dad.

AMBER
Stop talking to yourself, Sara.

SARA
No, Mom, I’m talking to him
and them, not to myself.

Amber takes Sara by her hands and they walk to the bathroom.

AMBER
I’ll set your bath. I have
81

things to do that I must do


and they can’t wait.

INT. BATHROOM

Amber helps Sara ready the warm bath. She adds bath oils.
Amber looks down in the bath; it looks bottomless and
black. She jumps backward and grips the towel rack, it
breaks off the wall.

SARA
What is it, Mom?

AMBER
My imagination, Sara.

SARA
Will you make my bath real hot?
Hot like the bath in my black
pool. Put some salt in it too,
Mom.

Amber hands Sara the towels. She peeps in the bathtub


again. It’s deeper and blacker than before. She groans

AMBER
Sara, let’s not take that tonight.
We can do it early morning.

SARA
I’m going to bathe Mom! Dad is
going in the tub with me too Mom.

Sara grabs the doll that resembles her father and throws it
in the water. Amber peeps in the tub at the floating doll.
The water is clear once again and the tub normal.

AMBER(VO)
Another of Samuel’s dirty
tricks to frighten me.

INT. LIVING ROOM - NIGHT

AMBER runs out the door to the living room. Amber hits a
wall with her fists. She calls to Sara.
82

AMBER
Let me know when you’re done.
I’ll help you to bed. Black
pools? What in heaven is Sara
talking about now?... What just
happened in that bathtub?

EXT. SARA’S BATHROOM – NIGHT

Amber walks back and forth in the living room and waits for
Sara to call.

INT. LIVING - ROOM NIGHT

Amber paces the room and hears the wind in the trees and
dogs howling under the window. She walks to the painting.

AMBER (VO)
You won’t have much longer to
do this. Howl, scream, whatever,
I don’t care.

Amber peeps out the window at the pack of black dogs. She
latches the window and knocks on the panes of glass as the
howling of the dogs become louder.

SARA (OC)
I’m ready now, mom!

INT. SARA’S BEDROOM – NIGHT

Amber walks into Sara’s room. Sara is dressed and sits at


the edge of her bed. Amber tucks Sara under the cover and
gives her two dolls.

AMBER
Sleep well, Sara.

Amber sits in Sara’s room and listens as Sara sings her


strange songs to the dolls until Sara falls asleep.

EXT. BACKYARD LATER


83

Amber drags the painting to the backyard and puts it on a


pile of trash and old newspaper. She sprinkles lighter
fluid and sets fire to the heap.

AMBER
You can burn in hell. Yes, burn,
you bastard.

A spiral of smoke twirls high in the air. Amber hears


shrill screams from the fire and smoke, she runs inside.

INT. AMBER’S BEDROOM - NIGHT

Lights flash from the bedroom ceiling. Amber’s bed shakes.


She grips the bed post and watches the fire.

AMBER (VO)
Good riddance. I know that
I’m now free of you. Die,
yes, die you evil bastard.

Amber looks out her window. A second smoke spiral stretches


from the fire heap to the back door. In the spiral of smoke
are flashes of blue lights. Amber hears a loud thud of
falling object. She runs out her room.

AMBER
Sara! Oh no, Sara!

Amber runs to Sara’s room. The room is dark and she can’t
see inside. She grabs a flashlight.

INT. SARA’S ROOM

Amber tiptoes into Sara’s room. Sara is still on the bed.


Sara sleeps, tosses, and turns. Sara sobs moans and talks
in her sleep.

SARA
What’s wrong? What’s wrong?
Sara contd
She’s hurting you again. Is
mom being mean?
84

Amber hears a voice from the ceiling and shines the light
up in a circular motion. A shadow in white robe darts out
the door.

VOICE
Sleep, Sara. All is well.

INT. LIVING ROOM

Amber runs to the living room to the sound of laughter. The


painting leans against the fireplace. It is unscathed.

AMBER
Impossible! It can’t be!

The room shakes and the electricity goes on and off. Smoke
now forms a golden arch over the fireplace. Amber trembles
and clenches her fists.

AMBER
What kind of devil are you?!

Amber kicks Samuel’s photo under the couch and sits


sleepless all night.

INT. LIVING ROOM - DAWN

Sara shakes her mother’s shoulder.

SARA
Mom, did anything unusual happen
last night? I keep hearing cries
night. I tried to get up but my
friends said they fix something.
Didn’t you hear all the screams
around the house?

Amber picks up Samuel’s photo and puts it on the couch. She


covers it with a towel. A bright light shines under the
towel.

AMBER
You just had another bad dream,
Sara. Don’t worry about it.
85

Sara walks and kneels by the painting. She reaches out and
rubs her hands on the frame. She turns and makes faces at
Amber.

SARA (to painting)


Mom was bad again. I can feel it.
I know that she’s hiding something.
On my way home from school I’ll
find the mansion. I’ll find Felix
to tell me about my Dad.

INT. – SCHOOL ROOM -DAY

Sara sits in school drawing old ships, dwarfs and old boots
in her scrap book. The teacher looks over Sara’s shoulder.
Sara hides the book in her desk.

INT. SCHOOL BUS - EVENING

Sara takes an old green raincoat from her book bag and puts
it on but there is no rain. She sits near the door of the
bus. She slips out with the children getting off at Maple
Street.

EXT. FELIX’S MANSION - EVENING

Sara walks to the gate and looks through the grills. She
rubs her fingers over the number 1313 Maple Street on the
column. She wipes off the dust with her hands. She opens
the gate and walks in.

SARA (VO)
This is the house. It is.
There is no candle here now
but it is. I remember it.

Sara steps over the pile of leaves and newspapers. The


paper is brown with age. Sara uses the knocker repeatedly.
No one answers.

SARA (calling out)


You are in there. I hear the
rumbling but can’t see you.

Sara hops from foot to foot and waits. She climbs the tree
next to the window and peeps at the bed with sheets falling
half-way to the floor.
86

SARA (VO)
I still hear someone in
there. I hear movements.

EXT.BACK OF HOUSE - EVENING

Sara climbs down from the tree and walks to the back of the
house brushing the thick shrubs aside. She knocks, and then
rattles the door knob.

SARA
My doll is from here. He
looks like dad and his eyes
winks at me. I’ll make Felix tell
tell me about dad.

Sara sits on a pile of gravel and throws them about. Beside


her there is a crawl space with rusty latch and door green
with moss. She hears sounds and movements in the space.

SARA
I know it. Someone is in the
house. I’ll just look down there.

Sara calls again and throws pebbles at the door. The


pebbles look like fire flies as the hit the door.

SARA
You can hear me. Come on out. I
know you’re there. I can hear you.

Sara shakes and pulls the door. When no one responds, Sara
decides to go into the crawl space.

INT. CRAWL SPACE

She creeps into the opening head first. She rubs her eyes
and stops. The space is very dark.

SARA (VO)
It smells like the seaweed
my friends use to rub on me in
my dream. I’m going down there.

The voice of the little people calls to Sara from the crawl
space.
87

VOICES
Don’t be afraid, Sara, come,
we’re waiting. Hurry, Sara.

SARA (VO)
They are here...Are you down
here? I can’t see you.

Silence. Sara kneels and crawls deeper under the house. She
gropes in the dark and pulls at a pole. She shoves it
behind her back and brushes the cobweb from her face.

SARA (VO)
Ugh, nasty.

Sara creeps further under the house. She feels around. A


beacon light flashes in a corner. She sees outline of
objects in a corner. The ground is wet and slimy.

SARA (Calling out)


I can’t see you. I can’t
see you. Where are you?

The beacon light flashes again and two beams of light


shoots straight to Sara’s feet and lights a path. Sara
drops to her bottom and covers her face.

SARA (Calling out)


I’m afraid. I’m afraid. I can’t
see you. I don’t see you.

VOICE
Over here, Sara, look. Come,
Sara, nearer. We are here, Sara.
We’re waiting for you, Sara.
Friends, Sara, we’re friends.

Sara opens her eyes and look toward the light. In the
corner is a pile of paintings, photos, and a pile of coins
on the ground. The walls have murals of dueling dwarfs and
coins at their feet.

SARA
Money? Is it real money that
I see on the floor? It can’t be.
88

So many coins, are they real?

VOICE
Come and see, come, Sara.
It’s all yours, Sara. It’s yours
and ours. Help us get out of her.

Sara crawls on hands and knees following the beams of


light. Yellow lights flash around her body.

VOICE
Closer, Sara, come to us.
touch us, Sara.

Sara crawls in front of the large pile of paintings. She


sees an 18” x 18” painting of the lighthouse flashing
yellow lights. Besides it is a photo of Samuel in sailor’s
clothes. Sara kneels and touches at the photo.

SARA (to photo)


Dad, (Beat) My doll has your
clothes on. It’s the doll I
took from Felix’s house. I love
you Dad.

MALE VOICE
Sara? I can hear you, Sara.

Sara giggles and then picks up the small painting of the


lighthouse and her father’s photo. She holds them to her
chest. The piles of coins shine in the corner.

VOICES
Look at the coins, Sara, the
coins. Touch them, Sara.

The flashing lights in the corner form images of ships on


the walls. Sara giggles and picks up a coin and twirls it
back and forth in the flashes of light. As the light
flashes she sees the little people dancing.

VOICES
Go now. Take us to them. Go home.
Take us home to the others. They
are waiting, Sara. Go and show
them the coin. This will give us
89

our rest and peace again.

Sara drags herself on her bottom until she reaches the


exit. She is hugging the painting and her father’s photo.
She drops the coin in her pocket. It glows through her
clothing.

EXT. FELIX’S CRAWL SPACE - DUSK

Sara climbs out and sits with the painting and photo on her
lap. She stares as the little people dance in the flashes
of lights. Samuel’s eyes blink and stare at her.

SARA (to father’s photo)


My mom will be angry, she
will. How must I get home?
How? It’s dark. I’m scared.

Sara hears laughter of the little people behind her and


looks around. Samuel’s photo lights up and vibrates on her
lap. She holds it down.

VOICES
It’s easy, Sara, easy.
We are going home with
you.

Sara puts her head on the frame of the painting. The door
of the crawl space swings back and forth. It bangs and
rattles. Sara trembles.

SARA
I’m afraid. Help me Dad, help.

Sara clutches the painting and photo. Sara’s eyes close and
her body jerks. She hears the voice beside her.

VOICE
Sara, all’s well, Sara.
No more pain, Sara. No pain.
All’s well, Sara, home, going home.

Sara bends as tiny hands push her head to test on the frame
of the painting. She hears singing in strange language
around her.
90

EXT. SARA’S - HOME DUSK

Sara opens her eyes. She is sitting on the step in front of


her house. The painting and photo are on her lap vibrating
and her body jerks.

SARA (calls out)


Mom? Mom, I have them. They
are home too. Mom where are you?
I don’t see you, Mom.

VOICE
Take us in. Go in now, Sara. Stay
away from Mom. Mom hates us Sara.
Mom will kill us, Sara.

Sara looks at Samuel’s photo, rubs her fingers on the eyes.


It blinks twice.
SARA
Dad? Dad, I love you, Dad.
Mom loves you too.

SAMUEL’S VOICE
No, Sara. Mom’s our enemy.
You can’t trust her.

INT. AMBER’S LIVING ROOM - DUSK

Amber paces the house back and forth. She draws the blinds
and looks out. She throws a glass of water on the painting.
It sparks and pops then flashes green lights. She throws
punches at the painting.

AMBER
What have you done to her?
Where is she? I want my
child. Saraaaaa!

Amber bends her and screams. The house shakes and furniture
rattles. The painting glows and the little people giggles.

AMBER
Saraaaaa, Saraaaaa, where are
you?
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The light flashes multiple colors and Amber hears the sea
waves bashing by the fireplace. She yells and kicks the
painting.

AMBER
Damn you, Damn you. Where
is my child? What have you
done to her? ... Saraaaaa.

The front door swings opens and Sara staggers inside. Her
clothes are grimy and green. Her face, hands, and feet are
covered with green moss. Amber screams.

AMBER
Oh no, no. What did they do
to you? Sara, Sara.

Amber runs toward Sara with out stretched arms. A light


flashes between the mother and daughter. The blue light
becomes a stable barrier.

SAMUEL’S VOICE
Leave my child, get away
from her. Don’t touch her.

Sara stares at Amber from beady black eyes and dirty face.
Amber hears giggling of little voices behind her back. As a
disembodied hand hugs her waist and pulls her backward from
Sara.

VOICE
Hurry, Sara, hurry. Come
over, must hurry now. Waiting,
we’re waiting. Need to unite
and sleep. Put coin on floor.

Amber puts her hands on her head, screams and collapses to


the floor. Sara steps over Amber’s legs. Sara walks to the
fireplace.

AMBER (voice feeble)


No, Sara, Come back here, Sara.

SARA
I have to put them there, Mom.
By the others, I have to put
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them there and show coin to them.


Mom, where are you, Mom?

Sara clutches the photo and the smaller painting to her


chest and staggers to the large painting of the lighthouse.
The house vibrates violently and is house lit by flashes of
light.

VOICE
Found each other again. Free,
free, Sara, you’re free. No
pain ever again. Good girl, Sara.

Sara tumbles with her head against the biggest painting.


The coin falls from her hand to the floor. The coin shines
and blends with the flashes of lights.

LITTLE VOICES
At last, rest, we rest us now.

Amber sits up rubs her eyes and looks toward the fireplace.
She hears Samuel’s voice coming from the painting.

MALE VOICE
Wake up, Sarah, no more pain.
No more pain. Come, Sarah, Let’s
go, Sarah. We must get away from
her tonight.

Lights of multiple colors flash continuously. The little


people in the painting kneel in a huddle staring at the
coin at Sara’s feet.

SARA
Dad, Dad, I can’t see you.

Samuel’s photo vibrates glows and makes bumping sounds.


SAMUEL’S VOICE
I’m beside you, Sara, beside you.

Amber sees two disembodied hands reach out and snatch Sara
drawing her into the painting.

AMBER (shouting)
No, Sara, stop. Don’t go in
there with them! Wait, stop!
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Amber sees Sara as she goes in and leans against Samuel


inside the painting. Amber grabs the edge of the painting.
It burns her hands leaving big blisters up her arms.

AMBER (kneels)
Get out of there Sara! Come out,
Sara...Please.

Amber stares at the painting. Samuel and Sara, hugs each


other laughs and points at her. Screaming she grabs the
phone and calls the POLICE. Police and FIREMEN sirens
wailing, rushes on the driveway and then into the house.

AMBER (hysterical)
Get my child out! She’s in that
painting. She’s in there with the
dwarves and my husband.

POLICE
Have you been drinking lady?
Are you on any drugs?

Amber holds one policeman by the hand and tries to draw him
over to the painting.

AMBER (screaming)
My child, she’s in side that painting.
You must believe me can’t you see
her standing there beside him?
Help her, get her out please! You
must get her out of there now!

The police and firemen went into corner and talks about the
situation even as Amber continues to scream and toss
objects at the painting.

POLICE (to Amber)


You have to come with us, lady.
We must get you to a hospital.

Amber screams and pulls at her hair.

AMBER (to Policemen)


No, no, you must get Sara out
of there. I can’t leave her in the
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painting with them.

An Ambulance was summoned by the Policemen. Amber is taken


away struggling and screaming. The Police car follows the
Ambulance. Amber is at the hospital for evaluation. She
screams Sara name repeatedly.

AMBER (to medical staff)


Sara, Sara. You must believe me.
My child went into that painting.
I couldn’t stop her. The dwarves and
her father drags her in to spite me.

The MEDICAL STAFF examines the huge blisters on her arms.

MEDICAL STAFF
How did this happen?

AMBER (shouting)
I tried to hold Sara, the painting
burns my hands. I had to let her go.
I lost her. Saraaaa!

Amber kicks and screams. She is sedated, restrained and


placed in a bed with padded rails.

TWO YEARS LATER

Amber sits in a rocking chair in the mental hospital. She


stares blankly in space. She rocks and sings the same
strange songs Sara use to do. Amber’s SISTER visits and
talks to her about her house and belongings. Amber stares
without a wink oblivious of anything around.

SISTER (VO)
I have to get rid of her place.
It’s too eerie to keep. Amber is
too far gone to care. No one knows
what took place there. I don’t want
that house to fall apart.

Amber’s home and belongings are put up for sale. “The house
for sale” sign leans against a tall oak tree at the gate.
Shoppers are in and out daily. Most of the contents of the
house are sold.

INT. AMBER’S HOUSE


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A MOTHER walks with her 15 year old DAUGHTER TARA in


Amber’s house purchasing several items. The daughter sees
the painting and runs to it. She kneels and talks to it by
the fireplace. She hugs it with both arms and giggles.

TARA (to mother)


Mom, I want this painting. Can
we buy it?... please? It wants me
to take it home with us. It says it
belongs with me.

The mother runs to the child and holds her by the collar
and pulls her to her feet. Tara pulls away and runs back to
the painting.

MOTHER
Come away from there, Tara! You’re
making up tales again. I’ve no more
money. And there is no place to hang
it at home.

TARA
Put it over the fireplace, Mom. just
just beside my Dad’s photo. I won’t
leave them here. This house is
cold. We must take them home where it
is warm.

Tara jumps up and down in front of the painting. She’s


singing in a song in a strange language.

MOTHER
What is that song all about?
Stop it, you’re not making sense.

TARA
It’s their song, Mom. I’m singing
with them. They’re teaching me new
things. They said that they are happy
to see us.

Amber’s sister trembles. She stoops and tapes shut the box
at her feet that contains Amber, Sara and Samuel’s photos.
She looks at the painting and back at Tara embracing the
painting.
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AMBER’S SISTER (to mother)


The painting is the only item left.
Your child can have it free. The new
owners will take over tomorrow. I
must clean up the place.

MOTHER
Are you sure? It looks like
expensive work. Why do you want
to give it away?

Amber’s sister hides her trembling hands behind her back.

AMBERS SISTER
I’m sure she can have it. The child
is drawn to it. I want her to have it
Sister contd
because you’ve purchased so much
stuff today. Your child is the
same age my niece who went away
with her Mom.

The mother picks up the painting holding the artwork away


from her body. She’s unaware of the dancing objects inside
the painting. Her daughter follows behind singing her
strange song and hopping from foot to foot.

FADE OUT:
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