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Secrets Keptby

Chau Van Truong

(Based on the series titled 'FOR THE LOVE OF THE KILL)

Revisions by(Chau Van Truong, Writers Guild of America, west, Inc. -

Registration #838717)

Current Revisions by(Chau Van Truong, May 2004)

Chau Van TruongNAISA PRODUCTION574 SW 180th AvenuePembroke Pines, FL 33029Email: ChauVanTruong.NaisaMafia@gmail.comPhone Number 305-671-0015 (Mark Steinberg)

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FADE IN:

INT. HALLWAY OF SEASIDE HIGH SCHOOL - DAY

Students clutter the hallway of Seaside, some socializing and others walking to class.

School jocks - AARON, BYRON, and TIMMY REICH are popular Caucasian teenagers tightly clumped in a group standing around their lockers, in the proximity of the principal’s office, watching and catcalling as girls walked past.

SWEET, a voluptuous, mulatto teenager, saunters in the line of vision of the jocks.

The jocks look up and admire her beauty.

AARONWho’s the new girl Brah?

BYRONShe’s hot.

TIMMY REICHName’s Sweet, Sweet Masterson.

(pausing)I saw her at that house on Crystal Lane.

AARONThey move to the Kwai’s old house Brah.

The jocks look at each other, stunned at the realization.

Timmy grabs his crotch and squeezes his balls. He nods in the direction of Sweet.

TIMMY REICH I got tab.

(smirking)She can suck my hard sweet rock candy.

Aaron and Byron snicker at the lewd comment.

As Sweet approaches the jocks, she ignores them.

TIMMY REICH (CONT’D)Hey.

Looking up, Sweet acknowledges Timmy racing after her offering his greeting. She turns to face him.

SWEET MASTERSONHi.

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Sweet turns and walks away.

Timmy chases after her and catches up to her.

TIMMY REICHTimmy.

(pausing)My name’s Timmy Reich. And you’re Sweet, right?

Timmy looks at Sweet curiously and she clues him in to his curiosity.

SWEET MASTERSONWhat? The name?

Timmy nods his head.

TIMMY REICHYeah.

SWEET MASTERSONMy mom had one of those weird moment I supposed.

(scoffing)Are you like this with everyone?

TIMMY REICHActually you’re my first.

SWEET MASTERSONOh.

Timmy waves his arms theatrically around inviting Sweet to let him be the one to tour her around Seaside High School.

TIMMY REICHI’m your welcoming committee.

(pausing)All newbies needs friend to make the transition smooth.

SWEET MASTERSONIt’s okay. Nice meeting you.

TIMMY REICHYou too.

Sweet disappears through the entrance of the door.

Aaron and Byron observe Timmy, the most popular guy in school, face his rejection. They are snickering at him.

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AARONBrah, you’re one smooth dog.

Aaron gives Timmy a sarcastic thumbs up.

AARON (CONT’D)Smooth.

(patronizingly)A REAL ROMEO BRAH.

TIMMY REICHSooner or later, she’ll come around.

(confidently)Watch and learn mofo.

INT. LOCKER AREA OF SEASIDE HIGH SCHOOL - SAME

Sweet opens her locker and start stacking her text books on the top shelf. She maneuvers her glamour magazines and place it on top of her text book.

CLOSE-UP ON INTERIOR OF LOCKER WALLS WITH PICTURES OF FAMOUS CELEBRITIES AND SINGERS AND A COLORFUL PINK BACKPACK HANGING ON THE HOOK.

CUT TO:

EXT./INT CURB OF SEASIDE HIGH SCHOOL / PARKING LOT OF SEASIDE HIGH SCHOOL / MERCEDES - SAME

Some students are climbing onto school buses and others are walking to their destination away from Seaside High School.

CUT TO:

Mothers are waiting and picking up their children at the parking lot.

CUT TO:

Sweet waits anxiously, her backpack swaying on her back, and she taps her feet on the asphalt of the parking lot.

A mercedes approaches slowly.

The window rolls down.

JOSEPHINE MASTERSON, a pretty, African-American, and in her late 30s, looks hectic as the window rolls down.

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JOSEPHINE MASTERSONSorry I’m so late, Sweetie.

SWEET MASTERSONIt’s alright.

Sweet opens the passenger door and enters the car.

JOSEPHINE MASTERSONHow’s the new school? Find any new friends?

SWEET MASTERSONMaybe.

EXT./INT. FRONT DRIVEWAY OF MASTERSON’S HOUSE - DAY

The moving truck is parked on the driveway of 7668 Crystal Lane.

Packed boxes lie on the ground around the moving truck.

Two heavyset men, NICKO AND JUDD, are unloading the boxes from the truck and setting it on the driveway.

CUT TO:

The mercedes drives in and parks at the curb.

Sweet got out and stands idly around in the driveway watching the movers, smiling and waving hi to the movers.

CUT TO:

Nicko and Judd put the couch down.

Nicko moves over to Josephine as she approached. He hands Josephine a clipboard.

NICKOWhere do you want the couch?

JOSEPHINE MASTERSONIn the living room.

(pausing)Be careful with the dresser and the mirror.

Nicko motions to Judd as they lift up the couch and carry it inside the house.

Josephine places a stopper to keep the door opened.

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JUDDWheel these boxes later.

(pausing)Let’s get the dresser.

Unloading the dresser out, Nicko and Judd loses leverage on it and it tips over.

The dresser crashes to the ground.

SOUND OF A LOUD BANG WHEN DRESSER CRASHES.

Josephine races out to see the mirror from the dresser breaks into a million web-like shards. She looks into the mirror and sees from the broken shards a glint of curtain flitting apart from the master bedroom of the house and a ghostly image of a woman named CASS, a beautiful Asian woman in her 30s with long silky black, staring down at them.

Josephine glances up at the master bedroom to verify if the image is real. Cass disappear and so does the curtain. The window is bare and empty.

CUT TO:

NICKOIdiot.

JUDDI was losing hold of it Nicko.

Josephine glares irritably at Nicko and Judd.

NICKOWe’ll report the damage and reimburse you.

JOSEPHINE MASTERSONJust bring the rest of the furniture in without damages please.

(pausing)Be especially careful with the grand piano.

JUDDWhere?

JOSEPHINE MASTERBook shelves in the study. Personal items upstairs in the bedroom.

(pausing)Boxes are marked.

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Josephine is checking out the items on the clipboard.

JOSEPHINE MASTERSONThe unmarked boxes in the living room. I’ll take care of the rest later.

CUT TO:

Standing on the driveway, Sweet looks bored and uninterested in the activities of moving. She gazes over and sees two old men staring at her.

SWEET MASTERSONMom, those old farts be staring at us since forever.

JOSEPHINE MASTERSONDon’t be rude Sweetie.

CUT TO:

EXT. REICH’S YARD / FRONT DRIVEWAY OF MASTERSON’S HOUSE - SAME

ERIC REICH and BIRCH are sipping coffee and chatting with each other over on their manicured front yard.

ERIC REICHWe finally got ourselves some new neighbors.

BIRCHFor how long?

ERIC REICHHopefully, for a while this time.

(pausing)How long did it take those other folks to move out?

BIRCHI don’t know. But I’ll tell you what, you couldn’t catch me living there even if it was for free.

(seriously)A young woman was butchered there? She haunts it that’s why the house been on the market for so long.

CUT TO:

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Josephine waves “hi” to Eric and Birch.

CUT TO:

Eric and Birch wave back.

The sprinklers turn on, spraying water.

Eric and Birch run from the line of fire, taking cover inside their houses.

INT. HALLWAY OF SEASIDE HIGH SCHOOL - DAY

Timmy stands with Aaron and Byron by their lockers idly chatting.

AARONAnother shot, Romeo. Maybe, you’ll get lucky today Brah.

BYRONShe could only say no so many times.

Timmy nods his head and smirks at the jocks.

TIMMY REICHNo is another maybe. She’ll come to her senses and give it up.

(pausing)Watch a true player pimp that bitch.

Sweet sashays past them.

Timmy chases after her.

TIMMY REICH (CONT’D)Remember me?

Sweet stops and smiles at Timmy.

SWEET MASTERSONTimmy.

TIMMY REICHYou remember.

SWEET MASTERSONHearing things about you.

TIMMY REICHIt isn’t all bad, I hope.

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SWEET MASTERSONAll compliments. Captain of the football team, a dream date for any new girl.

(pausing)Why me? Why am I so lucky, to grab all of this attention?

TIMMY REICHWe’re neighbors.

(pausing)You live five houses away from me.

SWEET MASTERSONWalking distance.

TIMMY REICHYeah, close enough to pick you up for the party tonight.

(pausing)Would you like to go?

SWEET MASTERSONMaybe but let me ask my parents first. If I go, I have to be home early.

Timmy becomes most insistent and convincingly charming.

TIMMY REICHWhich way is your maybe leaning toward?

SWEET MASTERSONI’ll let you know.

TIMMY REICH Yes? No?

Sweet sighs exasperatedly.

SWEET MASTERAlright, I’ll go.

TIMMY REICH Pick you up at seven.

INT./EXT. HOUSE PARTY - NIGHT

Teenagers hang along the stairways, halls, and the living room. They are grouped together based on friendship.

Teenagers are drinking, dancing, and gossiping.

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SOUND OF MUSIC BOOMING THROUGHOUT THE HOUSE.

CUT TO:

Sweet is waiting against the wall of the bathroom door.

Door swings open.

Timmy comes out from the bathroom.

Sweet pulls Timmy’s by his forearm and leads him downstairs. They navigates through the crowd of teenagers, into the kitchen, and out the back door.

SWEET MASTERSONWalk me home.

TIMMY REICHNow.

SWEET MASTERSONPlease.

TIMMY REICHSure.

Aaron, Byron, and their girlfriends, JENNIFER and SARA, stop dancing. They watched Timmy and Sweet race out. The boys watch with awe and the girls watched with interest.

INT. MASTERSON’S HOME - SAME

Sweet races into the house pulling Timmy by the hand.

Sweet pushes Timmy down on the couch. She gets on top of him and makes out with him. Pressing her body into Timmy, he gets an erection. After she feels his arousal, Sweet pushes him away.

TIMMY REICHThat’s it?

SWEET MASTERSONMy parents coming home soon. You’ve gotta leave.

TIMMY REICHWhat? We’re make it fast.

SWEET MASTERSONNo!

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Timmy gets angry.

TIMMY REICH You’re came on to me.

SWEET MASTERSONLeave. You gotta go.

TIMMY REICHI thought you liked me.

SWEET MASTERSONWe’re friends, right?

TIMMY REICHFriends?

SWEET MASTERSONIf you don’t go now, my parents won’t trust me next time.

TIMMY REICH(whispering)

Cock teaser.

Timmy moves closer to Sweet. He tries to grope her but she navigates away from his advance and heads towards the door.

Timmy grabs Sweet by the wrist and shoves her hard against the wall.

SOUND OF SWEET SLAMMING INTO THE WALL.

SWEET MASTERSONNo.

Timmy shoves Sweet into the wall again. He pins Sweet outstretched arms against the wall.

Timmy is forcing kisses on her face and his heavy breathing are grazing against her skin.

Sweet is twisting and she wiggles away from Timmy’s grasp.

TIMMY REICHYou’re going to give me some. You going to like it you little whore.

SWEET MASTERSONDon’t do that. Please don’t do that.

(struggling)Timmy, you’re hurting me.

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With force, Timmy separates Sweet’s legs apart. He claws his fingers inside her skirt and rips her panties off.

CLOSE UP OF PANTIES FALLING DOWN BETWEEN SWEET’S HIGH HEELS.

TIMMY REICHNobody teases me. Nobody.

Sweet struggles to free herself of his hold, but his grip is too tight and too strong.

Timmy pins her hands against the wall.

SWEET MASTERSONPlease don’t.

Sweet is sobbing, squirming, and whimpering.

Timmy enters Sweet.

SWEET MASTER Please, please stop. Please, no.

Timmy recovers from his thrust.

Sweet ducks under his fenced-up arms bolting out of the way.

CLOSE-UP ON TIMMY PULLING ZIPPER UP.

CUT TO:

CLOSE-UP ON TWO KNIVES FLYING IN THE AIR, THE BUTCHER KNIFE AND THE BUTTER KNIFE.

The knives split in the air, propelling them in two directions.

CUT TO:

Timmy is frozen in wide-eyed horror.

The butcher knife spins around like a tomahawk and flies right between Timmy’s legs, in the middle of his testicles, splitting his balls. Simultaneously, the butter knife torturously inflicts pain by shooting straight into his heart.

The knives stick Timmy into the wall with pinpoint precision. Through the holes from Timmy’s wounds, the knives hang him against the wall.

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SWEET MASTERSONWhat’s going on? Who’s doing this?

Timmy’s blood spirals into the air and hurls above the wall, inscribing the words, ‘she said no’.

The blood splashes down to the floor and creates a pool on the floor.

The epithet dries on the wall.

CLOSE-UP ON THE EPITHET - ‘SHE SAID NO’.

Blood rushes to Sweet’s head, destroying her sense of balance. Her muscles go into involuntary spasms, her bodily fluids drying up, whipping her to the ground, she sobs, and the force rendering her unconscious.

Door swings open.

Josephine and BLAKE MASTERSON, a professional Caucasian man in his 40s enter.

Blake rushes over to Sweet.

Josephine looks up at the wall, taking in the situation, and is stunned by what she sees.

JOSEPHINE MASTERSONOh my God!

(mumbling)She said no. She said no.

Blake is checking Sweet’s pulse, counting the beat on her wrist. Blake then pulls Sweet up into his arms.

BLAKE MASTERSONCall the police.

(pausing)Hurry. Hurry.

Josephine stands frozen with shock and stares at the epithet.

BLAKE MASTERSON (CONT’D)Josie, dial 911. Hurry.

Blake lifts Sweet tightly up against his chest.

BLAKE MASTERSON (CONT’D)She fainted.

(pausing)She’ll be fine.

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Blake carries Sweet’s limp body to the sofa. He tries to nudge her awake by shaking her on the shoulders.

Sweet opens her eyes and looks terrified, clamping herself against Blake’s chest, sobbing.

SWEET MASTERSONDaddy. He raped me.

BLAKE MASTERSONDid you do that to him?

SWEET MASTERSONNo.

(softer)I said no.

(louder)I said no so many times. He didn’t listen. He didn’t let go. He wouldn’t.

BLAKE MASTERSONDid you kill him? Did you kill the boy?

SWEET MASTERSONNo.

BLAKE MASTERSONLook at the wall, Honey. How did that happened?

SWEET MASTERSONThe knives came out of nowhere. He screamed, Timmy screamed, but it didn’t help.

(sobbing)Daddy, I don’t know. Daddy, I looked up and he was like that. I don’t know, Daddy. I don’t know.

Blake hugs Sweet.

BLAKE MASTERSONIt’s okay. Everything is going to be okay.

SOUNDS OF SIRENS BLARING AND LOUD BANGING AGAINST THE DOOR.

TODD (V.O.)Police! Police!

Josephine opens the door.

The police officers, TODD and TOBY, enter.

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TODDIs everyone okay?

Josephine points to Timmy’s hanging body.

Todd and Toby investigates the carnage with their eyes.

BLAKE MASTERSONWe need an ambulance.

INT. POLICE STATION / WAITING ROOM - DAY

Blake, Sweet, BOB RILEY the lawyer enter the partition of Detective O’BRIEN.

Bob is the same age as Blake and a very well-dressed man.

O’Brien is a handsome man in his 30’s, hard looking, glances up at Blake and Bob from his desk. He stands up as he introduces himself.

O’BRIENBlake Masterson?

BLAKE MASTERSONYes.

O’BRIENO’Brien.

Blake extends his hand out.

O’Brien and Blake shake hands.

BLAKE MASTERSONNot a pleasant experience or the best of circumstances, but a pleasure.

Blake gestures to the man standing beside him.

BLAKE MASTERSON (CONT’D)My attorney, Bob Riley.

O’BRIENI’m the lead investigator.

BLAKE MASTERSONBob will answer all your inquiries. He is here to make sure Sweet’s civil rights are protected.

O’BRIENI need a statement from her.

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BLAKE MASTERSONShe can’t help you.

O’BRIEN I need to know what she knows.

BLAKE MASTERSONMy daughter is scared and irrational.

(pausing)She’s a child.

O’BRIENI would never abuse my power with a juvenile.

Blake kneads his temple, massaging the tension away.

BLAKE MASTERSONIs she a suspect?

O’BRIENEvidently.

Sweet is ushered into O’Brien’s partition by a couple of police officers.

Bob steps in front of Blake and talks to O’Brien.

BOB RILEYWe want her out of here. She’s a rape victim.

(pausing)You need to talk to her, you talk to me first.

O’Brien gestures for the police officers to take her to the waiting room.

CUT TO:

Sweet is sitting by herself, gripping the can of soda tightly and staring blankly in space.

CUT TO:

Blake, Bob, and O’Brien is arguing heatedly.

O’BRIENA boy was killed.

BOB RILEYNo eyewitnesses. All evidences are circumstantial. Besides that, my client is innocent.

(MORE)

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(pausing)Dr. Masterson is a reputable man with a well respected name in the community. He will be here to answer your question and I will be here to advise him of his right to answer those questions.

O’BRIENThe rape kit indicates penetration. Involuntary or voluntary, doesn’t matter anymore, because the only eyewitness to refute her is dead.

CUT TO:

Sweet is sitting at the desk when a ghostly skeletal fingers lock her wrists on the arms of the chair. A gush of wind blows her hair from her face and an eerie voice scream.

CASS (EERIE V.O.) I help you. You need to help me.

Sweet screeches out a terrifying scream.

CUT TO:

BLAKE MASTERSONSweet.

Blake looks horrifically at Bob.

O’Brien focuses on Bob as he makes his demand.

BOB RILEYMy client will takes his daughter home now!

O’Brien nods his head at Blake, confirming a nonverbal agreement with Blake for him to take Sweet home.

INT. BOB’S OFFICE - DAY

Bob sits at the head of the conference table. Blake, Josephine, and Sweet on the side and O’Brien sit opposite of them.

Bob stands up and introduces Josephine.

BOB RILEYDetective, Josephine Masterson. Blake’s wife and Sweet’s mother.

BOB RILEY (CONT'D)

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O’BRIENMa’am.

BOB RILEYI’m not that much older than you Detective.

(smiling)My friends call me Josie.

O’Brien nods acknowledgement to the Masterson family.

O’BRIENMr. and Mrs. Masterson.

O’Brien returns his attention to Bob.

O’BRIEN (CONT’D)Fancy office, Mr. Riley.

BOB RILEYThanks. We’re here to cooperate and find out the truth, not talk about interior decorating.

O’BRIENDon’t shove your law degree in my face.

(pausing)Do this right. Come to the police station and do the interview.

Bob ignores O’Brien’s confrontational demand.

BOB RILEY Ask your questions Detective. We’re cooperating.

O’Brien turns his attention to Sweet.

O’BRIENHow did you meet Timmy Reich?

SWEET MASTERSONSchool.

O’BRIENTimmy played football. He’s a big kid.

O’Brien is eyeballing Sweet with intense scrutiny.

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CLOSE-UP ON SWEET SITTING UNCOMFORTABLY AND SQUIRMING AROUND IN HER CHAIR.

O’BRIEN (CONT’D)How can a girl your size plunge a dull butter knife into the heart of such a big boy like Timmy?

(pausing)Who was with you Sweet? Who did it?

Sweet whimpers.

SWEET MASTERSONI didn’t do it.

O’BRIENWho did?

Bob interrupts.

BOB RILEYWe all have children at Seaside. I know what Timmy played.

O’Brien ignores Bob. He continues his interrogation of Sweet.

O’BRIENWho did?

SWEET MASTERSONI don’t know.

O’BRIENYou must know something you were there.

Bob telegraphs to Blake that he wanted Sweet silence.

Josephine chimes in to defend Sweet from O’Brien’s accusation.

JOSEPHINE MASTERSONShe told you she don’t know Detective.

Bob warns O’Brien off the subject with a glare.

O’BRIENMy niece Rina is a cheerleader at that school. Timmy is, was a strong, strapping young man.

(pausing)That knives cut into areas I don’t even want to mention. The wounds were precise and controlled.

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BOB RILEYThat only proves even more of Sweet’s innocent.

Sweet is trembling and she looks scared. She is pleading for understanding with her eyes to Josephine. She addresses O’Brien in a trembling voice with her upper and lower lip quivering.

SWEET MASTERSONI blacked out. The knives flew in the air.

(pausing)He screamed.

(shaking her head)No one could help him. I look up. He’s hanging on that wall with knives sticking out of him.

O’BRIENHow did you get those words on the wall?

SWEET MASTERSONI didn’t. I saw the blood. It never drip down.

Bob stands up from his chair.

BOB RILEYThis interview is over.

Sweet stays seated and continues explaining.

SWEET MASTERSONSomeone, something wrote those words.

O’BRIENShe said no.

Josephine stands up and ends the conference with her glare.

BLAKE MASTERSONThat’s it. No more.

Blake stands up and taps Sweet on the shoulder.

Sweet reluctantly follows.

EXT./INT. FRONT DRIVEWAY OF MASTERSON’S HOUSE / MASTERSON’S HOME - SAME

Reporters surround the house hounding for news.

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SOUNDS OF REPORTERS REPORTING.

CUT TO:

Josephine peeks out from the curtain and is annoyed by the reporters.

INT. MIAMI MERCY HOSPITAL - EVENING

A man is pushed into the emergency room at Miami Mercy Hospital. His head is busted opened and massive blood is spilling out from the wound.

A bald, Caucasian doctor in his 50s, named PATTON is treating him.

PATTONCode Blue.

Patton commands a compassionate Filipino nurse in her 30s, with frenzied eyes and a slender figure named EMILY, and the other medical personnels to get out of the way.

PATTON (CONT’D)Back off. What are his vital?

Emily tries to calm down and answer Patton’s question.

EMILYFaint. 55. Pulse 120.

BURNS, an African-American pharmacist in his 30s, approaches the gurney and he rendered aids to Patton and Emily.

BURNSI’ve injected him with 10 milligrams of Epinephrine.

PATTONEpinephrine. Anything else.

BURNSNot yet.

Patton zaps the patient with the defibrillator.

PATTONEveryone clear.

EMILYNothing yet, Doctor.

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Patton feels no pulse. He tries the defibrillator again.

PATTONAgain.

EMILYGot something.

PATTONPage Dr. Masterson. Order an emergency CAT scan immediately.

EMILYPatient is hemorrhaging.

The patient’s body is spinning into spasms. His blood is spilling all over the ground.

BURNSPut out an emergency order for two units of O negative, stat.

EMILYX-rays, MRI, and a CAT scan.

A Black, chubby nurse in her 40s named ABIGAIL, rushes in to help Patton.

ABIGAILSomeone needs to mop up this blood.We don’t need anyone falling.

Emily raises the X-ray over her head.

EMILYX-ray. X-ray.

Blake races down the corridor.

PATTONMassive blood loss.

BLAKE MASTERSONMove back. Let me see.

EMILYThe X-ray, Doctor.

BLAKE MASTERSONInternal bleeding. Looks like a depressed skull fracture.

Blake pulls out a light, checking the victim’s eyes.

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BLAKE MASTERSON (CONT’D)Pupils, fixed and dilated.

The EEG Monitor beeps.

PATTON Going into cardiac arrest.

Blake shocks patient back to life.

BLAKE MASTERSONClear. Ready. Again.

ABIGAIL No response.

BLAKE MASTERSONAgain.

(pleading)Live. Come-on live. God dammit, live.

ABIGAILI’m sorry Doctor, he’s gone. He’s dead.

BLAKE MASTERSONClean everything up. More coming.

INT. READING ROOM - SAME

Josephine sits at the window seat, reading and staring out at the lake.

The glare from the headlight of Blake’s car pulling into the driveway.

SOUNDS OF BLAKE CALLING OUT.

BLAKE MASTERSON (V.O.)Anyone home?

JOSEPHINE MASTERSONUpstairs.

INT. MASTERSON’S HOME - SAME

Blake opens a bottle of scotch and pours himself a glass.

JOSEPHINE MASTERSONWhat’s wrong?

Josephine points to the scotch.

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Blake continues to fill his glass.

BLAKE MASTERSONI lost another patient.

JOSEPHINE MASTERSONYou’re not God.

(pausing)It’s not your fault.

BLAKE MASTERSONWhose fault is it Josie?

JOSEPHINE MASTERSONYou did the best you could. You always do.

Blake smiles and shakes his head sadly.

JOSEPHINE MASTERSON (CONT’D)

How much more do you need to give before you feel appreciated?

BLAKE MASTERSONI do not prolong their lives. I prolong their sufferings.

With these last words, Blake leaves.

Josephine follows Blake upstairs.

INT. READING ROOM - SAME

Josephine grabs the book from the shelf. She sits down and reads.

Fatigue overcomes Josephine. Her eyelids become heavy. She is slipping into unconsciousness and dozes off.

The book drops to the floor.

A cold breeze blows against Josephine’s skin. Her eyes open for a brief moment to investigate. She stares out at the window but it is closed. Josephine nods back to sleep.

CUT TO:

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INT. SWEET’S BEDROOM - SAME

Sweet is tossing and turning as she tries to sleep. All of a sudden her eyes pop opened and she is glaring up at the ceiling.

CUT TO:

INT. MASTER BEDROOM - SAME

Josephine is riding Blake while making love. Her back arches in erotic pleasure and her eyes glow red in the darkness.

INT. MASTERSON’S HOME - DAY

Josephine wakes up naked.

Blanket is wrapped around the back of Josephine’s legs. Her nude form is exposed as she lays herself against Blake’s chest.

CLOSE UP ON THE NEON LIGHT ON THE ALARM CLOCK ON THE TABLE BY THE BED - 6 A.M.

Josephine gets off the bed.

Blake is roused awake. He looks at Josephine and smiles.

BLAKE MASTERSONYou were possessed last night.

JOSEPHINE MASTERSONWhat are you talking about Blake?

BLAKE MASTERSONIt was like the first time we made love Josie. I didn’t want it to stop.

JOSEPHINE MASTERSONI’ve been so exhausted. I’m sorry about not being a better wife.

BLAKE MASTERSONBetter. You’re great last night.

INT. HALLWAY OF SEASIDE HIGH SCHOOL - SAME

Sweet is walking to class when she hears the jeers and laughter from Aaron, Byron, and their girlfriends, Jennifer and Sara.

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AARONHell Brah, if I only knew that bitch would cost us regional, we would’ve g-bang her.

Aaron high-fiving Byron.

BYRONFucking whore.

AARONAll need say Brah.

Jennifer chimes in.

JENNIFERMaybe, Timmy raped her.

Aaron turns to face Jennifer.

JENNIFER (CONT’D)No, I’m just saying.

Sara nudges Jennifer from the topic.

SARATimmy didn’t need to.

(shrugging)He could have any girl he wanted. Including you.

AARONYeah.

Byron runs over and blocks Sweet’s path.

BYRONB, you gutted our MVP. We got no shot at regional because of you.

(pausing)You going to be hating it around here, everyone gunning for your bitch ass.

Sweet maneuvers away from Byron and escapes the venom around her, quietly sobbing.

EXT. PINES ELEMENTARY SCHOOLYARD - DAY

At Pines Elementary School, Josephine is talking to a wild and attentive Caucasian woman in her 30s, named CHERYL. Simultaneously, watching the children playing during recess and engaging in conversation with her.

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JOSEPHINE MASTERSONI’m thinking about sending Sweet to a professional Cheryl.

CHERYLThat’s a good idea. She been through hell and back.

JOSEPHINE MASTERSONI wish she’d talk to me.

CHERYLA moody teenager. Good luck with that!

Children are playing in the background.

CHERYL (CONT’D)Josie, Jake that new sub is hung like a horse girly.

JOSEPHINE MASTERSON And how are you privy to that information?

CHERYLI bumped into him accidently uptown.

JOSEPHINE MASTERSONClothing optional.

CHERYLClothes would have slow us down and the things he was doing didn’t require any Josie.

JOSEPHINE MASTERSONSpeaking of which, Blake said I was on fire last night. He said it felt like the first time we made love.

CHERYL You can’t remember. How many times do you do it?

JOSEPHINE MASTERSONTwo to three times a week but that’s when it was new.

(pausing)We’ve both been so busy.

CHERYLI’ve got to get married.

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JOSEPHINE MASTERSONI can’t believe I can’t remember.

CHERYLMaybe it’s too good to be remembered.

TIFFANY, a blonde girl in pigtails, is running away from BILLY, a wiry and energetic boy, who chases after her. She is leading him toward the safety zone of their teachers, Josephine and Cheryl.

TIFFANYMrs. Master, Billy stuck his tongue out at me.

Billy catches his breath and halts the chase in front of Josephine and Cheryl.

BILLYI did not.

JOSEPHINE MASTERSONStop being mean. Play nice Billy. Please.

Billy and Tiffany leaves, chasing each other around again. Cheryl follows the action and watches the children run off, while she continues the conversation with Josephine.

CHERYLAt least he’s not cheating.

JOSEPHINE MASTERSONHe is.

CHERYLNot Blake, Josie.

JOSEPHINE MASTERSONNot with another woman.

(pausing)His work.

CHERYLIt’s better to be marry to his work then being in-between the legs of another woman girly.

JOSEPHINE MASTERSONBlake’s a prude. He’ll never cheat.

Cheryl scans the playground, keeping her eyes on the children as they played.

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CHERYL He loves you.

JOSEPHINE MASTERSONI know but I can’t believe I can’t remember making love to my own husband.

SOUND OF THE SCHOOL BELL RINGING.

Students and teacher rushing back into the building.

JOSEPHINE MASTERSON (CONT’D)

Children, time to go. Don’t run. Single file. Line up.

CUT TO:

EXT. CAFETERIA OF SEASIDE HIGH SCHOOL - SAME

Sweet takes her tray to one of the table at the end of the cafeteria where 2 outcasts are sitting. They look up and see Sweet. They quickly got their trays and leave as Sweet sits down.

INT./EXT. MASTERSON’S HOME / PATIO - DAY

Entering the living room, Josephine sees Sweet sitting on the outside patio staring at the activities on and around the lake.

Ducks are swimming or searching for food, old men are fishing, and young girls are sun tanning around the lake.

CUT TO:

INT. MASTER’S HOME - SAME

JOSEPHINE MASTERSONAre they going to charge her?

BLAKE MASTERSONThe police had no real hard evidence to do that. This incident really traumatized her.

JOSEPHINE MASTERSONIt’ll never end.

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BLAKE MASTERSONSweet is confused and hallucinating.

(pausing)She needs therapy Josie. She is creating these fantastical, unbelievable stories.

JOSEPHINE MASTERSONWhat kind of story Blake?

BLAKE MASTERSONSweet told the police that the house is evil. Haunted.

JOSEPHINE MASTERSONAnd, you made up your mind she is lying.

BLAKE MASTERSONI didn’t say that Josie.

(pausing)I think this can be explained logically and rationally.

JOSEPHINE MASTERSONEverything is so scientific to you. Not everything is that crystal clear Blake.

BLAKE MASTERSONThere are too many discrepancies in Timmy’s death, Josie.

(pausing)Sweet doesn’t have the strength and her fingerprints weren’t even on the knives.

(pausing)You see Josie. It’s the fight or flight mentality. Adrenaline rushes to her head making her do what seems impossible possible. If you’re scared for your life, like Sweet was, it makes you stronger and faster. Maybe it even gave her the instinct to kill.

(pausing)She wiped the knives clean and not realized she was doing it.

(pausing)And then her mind just shut down.

JOSEPHINE MASTERSONThat’s your explanation.

(scoffing)Your daughter is a cold calculated killer.

(pausing)Did they find any fingerprints at all?

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BLAKE MASTERSONYes, but they don’t know who they belong to.

JOSEPHINE MASTERSONWell, since you know everything already then you can solve the murder yourself. After that, maybe you can give your daughter credit for being sane. She might know what she is talking about.

(sarcastically)Good night. One more thing Blake, ask your colleagues for ‘THE FATHER OF THE YEAR’ award. You truly deserve it.

EXT. HALLWAY OF SEASIDE HIGH SCHOOL - DAY

Sweet has changed from a vivacious girl in school to an outcast. She wears no make up, fashionable clothes, or have teenager’s enthusiasm in its rebellious extreme. She roams around Seaside like a zombie.

Students leered at Sweet like she’s a freak. They ignored her as she past them in the halls.

CUT TO:

INT. LOCKER AREA OF SEASIDE HIGH SCHOOL - DAY

At her locker, Sweet jumps as a popsicle figure drops down as the door opens up. It has a noose around its popsicle neck and dripping blood hanging on the hook of her locker.

LAUGHTERS ERUPTED FROM AARON, BYRON, JENNIFER, AND SARA.

AARONYou see the look on the whore’s face Brah.

Byron whispers sinisterly to Sweet.

BYRONLiking Seaside so far B.

CLOSE-UP ON INTERIOR WITH THE WORD MURDERER SPRAY PAINTED ALL OVER THE WALLS OF THE LOCKER.

After staring as Timmy’s friends leave, Sweet cups her face in her hands and start crying.

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EXT./INT. PARKING LOT OF SEASIDE HIGH SCHOOL / MERCEDES - SAME

Sweet stands by the side of the school’s building awaiting pick-up. She is pacing the ground and kicking up gravel looking gloomy and deeply depressed.

Mercedes drives in.

Josephine sees the horror in Sweet’s eyes. She parks it and got out.

JOSEPHINE MASTERSONWhat’s the matter?

SWEET MASTERSONLet’s go home.

Sweet starts shuddering with tears.

JOSEPHINE MASTERSONOkay, okay.

Josephine opens the door for Sweet.

Sweet climbs in.

CUT TO:

EXT./INT. ROAD HOME / MERCEDES - SAME

Mercedes driving on road to home.

Inside the mercedes, Josephine shows concern.

JOSEPHINE MASTERWhat’s the matter Sweetie?

Sweet tosses the popsicle figure at Josephine.

SWEET MASTERSONLook!

JOSEPHINE MASTEROh my god!

INT./EXT. BENZ / ROADWAY - DAY

Blake is driving Sweet home from her therapy session. He glances surreptitiously over his shoulder, checking the mirrors, investigating on Sweet’s condition and welfare.

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Sweet sitting in the back, silently staring out the window and looking lost and scared.

INT. OFFICE OF PINES ELEMENTARY SCHOOL - SAME

Principal CHRIS is a Caucasian man in his 50s. He looks like a wise grandfather who is reprimanding a misbehaving student.

Josephine squirms in her chair waiting for the meeting to began.

CHRISCould we talk before school lets out?

JOSEPHINE MASTERSONOf course.

(pausing)May I ask about what?

CHRISFirst, I want to tell you that you are one of the finest teachers that Pines has ever had.

JOSEPHINE MASTERSONJust come out and say it Chris.

CHRISThis neighborhood grew up with the Reich’s.

(pausing)Most of these kids have brothers and sisters that were classmates of Timmy.

JOSEPHINE MASTERSONTell me Chris.

CHRISThe board is putting pressure on me to suspend you.

JOSEPHINE MASTERSONAre my abilities as a teacher in question?

CHRISDoing a hell of a job Josie.

(pausing)They just don’t want you doing it here.

JOSEPHINE MASTERSONAm I being fired?

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CHRISTake a leave of absence until this dies down.

JOSEPHINE MASTERSONAre you blaming my daughter for that boy’s death?

(pausing)He’s not the victim here Chris.

CHRISWe’re all victim of this tragedy.

JOSEPHINE MASTERSONMy daughter was raped. Don’t tell me about the pain of these people because I see it in my daughter’s eyes everyday. Timmy raped her and he got what he deserved.

(angrily)FIRE ME!

CHRIS Think about the neighborhood.

JOSEPHINE MASTERSONThink about the victim, Chris.

Josephine storms out and slams the door closed.

EXT./INT. PARKING LOT OF SEASIDE HIGH SCHOOL / MERCEDES - DAY

Josephine waits in the parking lot of Seaside High School, watching the mass of students saying good-bye to their peers, some walking home, some heading towards the bus, and the others having someone picking them up.

Josephine sees Sweet sauntering to her car and mechanically closing the door.

SWEET MASTERSONI was over there.

JOSEPHINE MASTERSONSorry Sweetie, I didn’t see you.

SWEET MASTERSONWhatever.

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INT. SWEET’S BEDROOM - NIGHT

Blake tucks Sweet to bed. He pulls the blanket up to her neck and kisses her on the forehead.

BLAKE MASTERSONAre you okay?

SWEET MASTERSONI’m fine. Stay until I close my eyes, Daddy.

Blake smiles at Sweet.

BLAKE MASTERSONI’ll be here.

Blake sits on Sweet’s bed holding her hands and waits for her to fall asleep.

Sweet is lying in bed with the comfort of her stuffed animals that decorate all around the head of her bed.

Sweet falls asleep.

INT. MASTERSON’S HOME - SAME

JOSEPHINE MASTERSONHas Sweet gone to sleep yet?

Blake nods his head.

JOSEPHINE MASTERSON (CONT’D)

I’m sorry for last night. I’m so sorry for making your life miserable.

BLAKE MASTERSONNo. Don’t say that Darling.

(pausing)You can never make me miserable. Without you, I wouldn’t be the man I have become. ‘Til death do us apart, remember.

JOSEPHINE MASTERSONYou don’t seem happy.

BLAKE MASTERSONIt’s never about you Josie.

JOSEPHINE MASTERSONWho is it about? Talk to me Blake. I’m your wife.

(MORE)

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(pausing)I took vows to share my life with you. Why are you shutting me out? Share your pain with me Blake.

BLAKE MASTERSONI am doing no good, all my achievements and honors, I still can’t save anybody. I can’t even save my own daughter.

JOSEPHINE MASTERSONDon’t place too much blame on yourself. You’re a good man, a good father, and a good doctor.

Josephine pulls Blake into her.

BLAKE MASTERSONThank you. Thank you for believing in me Josie.

JOSEPHINE MASTERSONAlways.

INT. BEDROOM - SAME

Josephine’s arms are around Blake and closes into his embrace. They are in their bedroom making love.

CASS, a Vietnamese woman in her 30’s, black shoulder length hair, beautiful but dead, is in the corner of the bed, watching the love making.

Cass tries to enter Josephine’s body, but Josephine’s spirit is too strong.

Cass is turned back this time, she persists, but finally she succumbs to failure.

Unable to take her eyes away from their activities, Cass watches as Blake and Josephine make love with their faces constricting with carnal pleasure.

Cass stands there watching until Blake and Josephine depleted themselves. Blake is the first to exhaust his energy and Josephine follows.

Before her orgasmic release, Josephine’s eyes open wide as she randomly scans her surroundings. At that split second, she sees the intruder watching them.

Cass vanishes when Josephine refocuses her sight to make sure her mind has not played tricks on her.

JOSEPHINE MASTERSON (CONT'D)

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Josephine nods back to sleep. She tosses and turns in her sleep.

CUT TO:

DREAM STATE:

In her dreams, she sees the intruder more lucidly. The vision is of an enchanting Asian woman, long black silky hair, and a cold stare. A heart charm hangs around her neck.

Josephine rubs her eyes, sits up, and walks toward Cass.

CASSHelp me, please help me.

JOSEPHINE MASTERSONWho are you?

Josephine reaches out to touch Cass but her hands go right through her.

JOSEPHINE MASTERSON (CONT’D)

What do you want?

CASSI don’t know who I am or what I’m doing here. It’s so dark and cold. Why do I wander here twenty-four seven, never able to leave here? It was warm in your body. Why are you keeping me out?

Cass hugs her shoulder and shudders from an inner chill.

CASS (CONT’D)I’m cold. I’m so cold here.

Josephine is roused from her deep sleep by her husband’s stirring.

Cass, the striking Asian woman, disappears.

CUT TO:

INT. BEDROOM - SAME

Josephine reaches out and wakes Blake up.

BLAKE MASTERSONWhat?

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INT. TEACHERS’ LOUNGE - DAY

Josephine sits across the table from Cheryl. She is taking small bites of her salad.

JOSEPHINE MASTERSONDo you believe in ghosts?

CHERYLI never saw one or ever met one.

(pausing)I don’t believe in ghosts Josie. Why?

JOSEPHINE MASTERSONCreepy things have been happening ever since I moved into that house. I thought I saw someone in the house last night.

CHERYLSomeone was in your house? Did you call the police Josie?

JOSEPHINE MASTERSONShe vanished. As my eyes adjusted to the dark, she reappeared in my dreams.

CHERYLWhat did she look like girly?

JOSEPHINE MASTERSONExotic, of Asian descent. Very pretty, very confused. She sounds so troubled.

CHERYLA Vietnamese woman was killed in that house.

JOSEPHINE MASTERSONKilled in my house?

CHERYLYes.

JOSEPHINE MASTERSONHow? When?

CHERYLThis neighborhood has changed a lot. People didn’t have open minds like they do now. Pretty closed minded back then Josie.

JOSEPHINE MASTERSONNot like it is now?

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CHERYLYou’re a successful, professional black woman.

JOSEPHINE MASTERSONAfrican-American, if you want to be politically correct.

(pausing)And absolutely, underpaid and under appreciated.

CHERYLYou did something right, you marry a doctor girly.

The bell rings and the conversation stops abruptly.

Josephine and Cheryl leaves the teacher’s lounge and go their separate ways.

INT. DR. BROOK’S OFFICE - SAME

Sweet is lying on a couch.

DR. BROOK, the psychiatric is sitting on the chair besides her jotting down notes.

DR. BROOKWhat else do you see?

SWEET MASTERSONI see her. I see her all the time.

INSERT CREEPY SHOTS:

SWEET IN THE BATHROOM BRUSHING HER HAIR IN THE MIRROR AND SEEING CASS BRUSHING HER HAIR INSTEAD.

SWEET GETTING OUT OF THE SHOWER WRAPPED IN A TOWEL AND INSTEAD OF WATER DRIPPING ON A MAT SHE IS DRIPPING BLOOD FILLING A CHALK DRAWING OF CASS’S MURDERED BODY.

INT. LIBRARY - SAME

Josephine is flipping through old newspaper clippings in the library’s computer, reading the tragic details of the life and death of Cass Kwai.

CLOSE UP ON PICTURE OF CASS AND YOUNG WILLIAM IN FRONT OF THEIR HOUSE.

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Josephine concentrates on the picture of Cass, the victim. She recognizes her as last night mysterious visitor.

INT. FUNERAL HOME - SAME

Mourners and Timmy’s friends are lining up for Timmy’s open casket viewing. They are gawking and glaring disapprovingly when Josephine walks in.

Eric stands in front of the casket.

ERIC REICHThanks for coming.

Josephine is next in line to give condolence to Eric.

JOSEPHINE MASTERSONMy deepest condolences to Timmy’s parents. You.

ERIC REICHI took care of Timmy after his father and mother die in a car accident.

(pausing)And now that slut of a daughter of yours killed my grandson.

JOSEPHINE MASTERSONI’m sorry for your loss.

(pausing)Let me assure you, Sweet is innocent of this tragedy.

ERIC REICHThat slut committed murder.

(pausing)Karma is a bitch the second time around.

INT. MASTERSON’S HOUSE - DAY

ALEXANDRIA, the maid, is cleaning the living room, dusting and straightening up.

ALEXANDRIALaundry is done. The floor be mop today. I’ll start dinner for the Miss when she comes home from therapy.

JOSEPHINE MASTERSONYou’re a godsend Alexandria. Thank you.

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Josephine squeezes Alexandria’s shoulder to show her gratitude.

JOSEPHINE MASTERSON (CONT’D)

Alexandria, when I came in I did not see the benz.

ALEXANDRIAI had it picked up for repair, Ma’am. The scratches will be taken out and the cracked window will be done by tomorrow.

JOSEPHINE MASTERSONI wouldn’t know what to do and where to start without you, Alexandria.

ALEXANDRIAPeople are jerks but I think it’s kids causing trouble, Ma’am.

INT. KITCHEN - NIGHT

Josephine watches Blake digging through the refrigerator.

JOSEPHINE MASTERSONDo you know why this house was so cheap?

Blake takes out the bread, the sandwich meat, and the mayonnaise bottle. He lays it on the counter.

Josephine nudges Blake out of the way.

JOSEPHINE MASTERSON (CONT’D)

Let me do it.

Blake nods and hoists himself on the counter.

Josephine spreads the mayonnaise on the bread.

JOSEPHINE MASTERSON (CONT’D)

Did you know why the house is so cheap?

BLAKE MASTERSONI’m a genius.

(grinning)I know where to look and how to invest.

JOSEPHINE MASTERSONSeriously.

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BLAKE MASTERSONWhen I saw the house for the first time, I knew it was the place where I wanted to spend the rest of my life.

JOSEPHINE MASTERSONIt’s a beautiful and elegant house.

(pausing)Did the realtor forget to disclose its history before the sales?

BLAKE MASTERSONThere were so many windows I could see its soul. The house had everything we needed. No damage. Perfect, pristine condition.

(pausing)I really liked the windows.

JOSEPHINE MASTERSONAnything else?

BLAKE MASTERSONShe mentioned a murder.

JOSEPHINE MASTERSONA woman named Cass Kwai got butchered thirty years ago here. After being killed, she was raped.

Blake bites his sandwich.

BLAKE MASTERSONWould it have mattered?

(muttering)It was a good deal.

JOSEPHINE MASTERSONIt’s not a deal. Nobody was caught. Nobody pay for that crime.

(pausing)That’s why Cass haunts us.

Blake laughs at Josephine’s explanation.

BLAKE MASTERSONI can’t believe you are actually starting to believe Sweet’s story Josie.

Josephine turns angrily away from Blake.

BLAKE MASTERSON (CONT’D)Josie.

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JOSEPHINE MASTERSONThere’s nothing shameful in believing in your daughter’s innocence.

Blake sighs exasperatedly.

BLAKE MASTERSONWe can’t start believing in ghosts and goblins just because the murder couldn’t be explained.

JOSEPHINE MASTERSONYou’re impossible.

(pausing)I can’t talk to you.

BLAKE MASTERSONLet’s say she’s haunting us.

(pausing)Why us Josie?

JOSEPHINE MASTERSONCass thinks she’s still alive. She’s not aware she has died. The first time she appeared was when Sweet cried in pain. She killed that boy to protect our daughter.

(pausing)She’s in purgatory. We need to help her.

BLAKE MASTERSONDo you hear what you’re saying Josie?

JOSEPHINE MASTERSONThe second time she made her presence known was when she made love to you.

BLAKE MASTERSONWhat are you talking about?

JOSEPHINE MASTERSONYou remember that night you said I was on fire?

BLAKE MASTERSONLast night.

JOSEPHINE MASTERSONNo, the night before that. I wasn’t the one.

(pausing)It wasn’t me. I was too tired. I didn’t have the energy Blake.

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BLAKE MASTERSONSo, I fuck a ghost. That is the craziest thing I have ever heard of Josie.

(mockingly)The exhaustion is making you insane.

JOSEPHINE MASTERSONDon’t be crude!

BLAKE MASTERSONListen even if it’s true, what do you want me to do Josie?

JOSEPHINE MASTERSONI know I have scars. I know I have to find a way to forget and forgive. But making love to the man I love, I’ll never forget that.

BLAKE MASTERSONMaybe it’s one of these freak moments.

JOSEPHINE MASTERSONWhen I was five my daddy knocked on the door to say he loved me. After he said he loved me, I had to show him I loved him too.

Josephine sobs uncontrollably as the pain settle over her. She starts wheezing

JOSEPHINE MASTERSON (CONT’D)

Why didn’t I forget that?

Blake pulls Josephine into him, comforting and soothing the pain from her.

BLAKE MASTERSONI’m sorry. I didn’t mean to bring this back up Darling.

JOSEPHINE MASTERSONShe sees pain. Comes to people who are weak minded. Sweet has seen her and I feel her in this house. Blake she needs to rest in peace.

BLAKE MASTERSONOkay, what do you want me to do?

JOSEPHINE MASTERSONHelp.

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Blake holds Josephine. In his embrace, they fades into black.

INT. MASTERSON’S HOME - NIGHT

SOUNDS OF FOOTFALLS, CREAKING STAIRS, AND THE OPENING AND CLOSING OF WINDOWS.

Josephine wakes up and goes over to the main windows of her room. It was opened.

She tries to close it. The window strains from being closed. Josephine takes another deep breath, making another attempt to close the window. The effort is futile and the window remains opened.

A strange wind and a sudden chill brush Josephine’s skin, blowing her hair in random directions. She places her hands to the screen of the window to investigate the wind but the night is still.

The wind comes from the very spot where she is standing, not from the nightly breeze outside.

A figure appears in the shadow, looking at her.

Adapting to the darkness, Josephine looks at and recognizes Cass.

CASSI wasn’t born here but I cling to this house, wandering, obsessing over every detail.

JOSEPHINE MASTERSONDo you know that you are dead?

CASSI couldn’t have died. I was so happy here. A man loved me and he promised eternity to me here. We were going to start a family, a boy and a girl.

Stab wounds suddenly appears all over Cass’s body.

JOSEPHINE MASTERSONYou got killed by an unknown assailant in this very room, raped, and eventually found by your husband the following day.

(pausing)I’m so sorry. I’m so very sorry.

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CASSMy last heartbeat beats here?

JOSEPHINE MASTERSONYes.

CASSI remember now. Where is my husband, my love?

Cass disappears and droplets of blood, one after another, plummet to the wooden floor.

The knife, used in her murder, topples down banging to the floor from thin air.

SOUND OF KNIFE BANGING ON THE FLOOR.

Josephine picks up the knife.

Blake rousing awake, and with a glint from the moonlight as he is getting his eyes accustomed to the darkness, he spots his wife holding the knife. He is instinctively searching Josephine’s body for signs of blood with his eyes.

BLAKE MASTERSONPut the knife down. Please put it down.

JOSEPHINE MASTERSONIt’s not mine.

BLAKE MASTERSONWhat have you done Darling?

JOSEPHINE MASTERSONBlake.

BLAKE MASTERSONYou cut yourself? I see blood.

JOSEPHINE MASTERSONIt’s not mine. The blood is from Cass.

(pausing)She’s looking for help. She won’t stop. She’ll never stop haunting this house if we don’t put her soul to rest.

BLAKE MASTERSONThe only way we can help her is if you put the knife down.

Josephine sets the knife down on the floor.

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Blake rushes over to Josephine checking for stab wounds.

JOSEPHINE MASTERSONWhat are you doing?

BLAKE MASTERSONMaking sure you are not bleeding to death.

Josephine wiggles from his pat down and sees the heart necklace by the window. She went over to pick it up and turns to Blake.

JOSEPHINE MASTERSONPut Cass’s soul to rest or we’re moving.

INT. DOCTOR CHARLES RYAN’S OFFICE - DAY

Sitting across from Josephine is a Freud-like looking psychiatrist with beard and glasses named CHARLES.

CHARLESSomeone inform me that you are here to see William.

JOSEPHINE MASTERSONYes.

CHARLESWilliam’s a very depress man. He gets violent.

(pausing)No one has visited him for some time now.

JOSEPHINE MASTERSONHe has no family.

CHARLESYou’re the first in over twenty years.

(pausing)He signed in thirty years ago.

JOSEPHINE MASTERSONWhy did people stop visiting him?

CHARLESI know the who but I can’t answer the why.

(pausing)It was mostly business associates. Some in-laws, but in the end, they all gave up on him. His temper you know.

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JOSEPHINE MASTERSONHave you?

CHARLESGiving up? No.

(compassionate)I don’t think there’s anything physically wrong with him.

CUT TO:

INT. KWAI’S BEDROOM - NIGHT

INSERT FLASHBACK OF CASS LYING ON THE FLOOR DEAD AND BLOODY, YOUNG WILLIAM, A VIETNAMESE MAN IN HIS 30S, FEELING FOR A PULSE ON HER NECK CHECKING FOR LIFE AND TUCKING STRANDS OF HAIR MATTED BY BLOOD BEHIND HER EARS AND SHRIEKING IN ANGUISHED.

CHARLES (V.O.)William told me that he grabbed his head and shrieked like a wild broken madman until the police pulled him off of his wife.

CUT TO:

INT. DOCTOR CHARLES RYAN’S OFFICE - SAME

JOSEPHINE MASTERSONIs this why you keeping him here?

CHARLESWilliam has been through a terrible ordeal. And for his imaginary sickness for which there is no cure, he choose to stay here.

JOSEPHINE MASTERSONWhat do you mean?

CHARLESI am one of his many doctors. His problem is psychological. His rationality is not the problem but the gnawing guilt he punishes himself with is so severe he’s a danger to himself and to others.

JOSEPHINE MASTERSONWill Mr. Kwai ever get well?

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CHARLESMrs. Master, I can’t give you a definite answer for that.

JOSEPHINE MASTERSONWhy don’t you kick him out?

CHARLESThis organization and others are in operation because of his generous donation.

JOSEPHINE MASTERSONHe’s buying his lunacy.

Josephine expresses shock over this kind of care.

CHARLESMoney, Mrs. Master. A lot of money. William is one of the more generous contributors to this establishment.

JOSEPHINE MASTERSONSo you have a sane man in a crazy house.

CHARLESI didn’t say he’s sane. He was never sane. William’s one of those crazy individual that you rarely want to offend.

(pausing)He needs to be strapped down with a lot of Prozac to calm himself down around this time.

JOSEPHINE MASTERSONWhy?

CHARLESThe anniversary of Cass’s murder.

(pausing)Last year, William grieves by stabbing one of the attendants with his own pen because he stopped him from taking his anger out on another patient.

JOSEPHINE MASTERSONMr. Kwai has a tendency for violence.

(pausing)Is that why the sanitarium won’t release him?

CHARLESLike I said, without his wife...

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JOSEPHINE MASTERSONWithout his wife, what?

CHARLESMrs. Master, William is diagnosed as being schizophrenic with paranoid delusions and suicidal thoughts.

(pausing)He has trouble interacting with other people. This place needs his money. Without his wife, he doesn’t want to leave.

JOSEPHINE MASTERSONIs he still violent?

CHARLESWilliam’s a ticking time bomb. You never knowing when he’s going to explode. The longer the time, the more his memories of her starts to fade, the worse it gets. William always have to be controlled at this time of the year.

(pausing)He doesn’t know how to deal with the death of his wife so he stays here. He can leave anytime he chooses so please be careful when you see him.

JOSEPHINE MASTERSONThanks.

INT. MIAMI LUNACY INSTITUTION - SAME

The Miami Lunacy Institution is the quintessential mental hospital, comprised of many visitor rooms, one next to the other.

A glass door lies between a gated cage, which ROLAND the bouncer like attendant, guards and permits entry to visitors.

Rowland buzzes Josephine through the first empty corridors.

INT. CAFETERIA - SAME

The cafeteria filled with patients and staffs.

A staff member guides Josephine through the maze of patients.

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INT. VISITOR ROOM - SAME

Josephine sits on the chair in the middle of the visitor room, waiting.

Josephine drums her finger on the wooden table.

The door opens.

WILLIAM, an old Vietnamese man with salt and pepper hair that reaches down to his shoulders, walks across the room and sits across from Josephine. His wrinkles bring character to his solemn hint of a smile, the paranoid stare of discontent, and a yearning for not wanting to be badgered.

SOUND OF THE DOOR LOCKING.

William levels his stone gaze down at Josephine.

Josephine extends her hand out to him.

JOSEPHINE MASTERSONMr. Kwai, I’m Josephine Master.

WILLIAMSo fucking what?

William leers at Josephine’s extended hand but he does not shake it.

WILLIAM (CONT’D)What is it you fucking want from me?

JOSEPHINE MASTERSONI need your help.

WILLIAMMy help?

(pausing)Lady, I can’t fucking help myself. Look where I am at. You got to be fuckingcrazy.

JOSEPHINE MASTERSONListen, Mr. Kwai it’s about your wife.

WILLIAM What the fuck about my wife?

JOSEPHINE MASTERSONI saw her.

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WILLIAMThe murder was in the paper and all over the fucking tube and now nutjob like you come in here and make up some shit about seeing my dead wife.

(pausing)The only fucking reason why I’m still in this fucking chair talking to your crazy ass is because you save me from isolation for a little misunderstanding.

JOSEPHINE MASTERSONI heard you stab the guy Mr. Kwai.

William smirks dangerously and smells the fear emanating from Josephine.

WILLIAMCall me William since we’re becoming fast friend. ‘AN EYE FOR AN EYE’ Mrs. Masterson.

JOSEPHINE MASTERSONI know this is going to be hard to believe because it’s impossible for me to believe.

(pausing)I think Cass has been haunting us.

WILLIAMWhat?

William angrily rose from his chair and yells.

WILLIAM (CONT’D)Opened.

SOUND OF LOCK DISENGAGING.

With keys dangling from his belt, Rowland enters.

ROWLANDThirty minutes more. Visiting hour over.

Rowland looks at William.

ROWLAND (CONT’D)Ready.

With desperation, Josephine shouts.

JOSEPHINE MASTERSONMr. Kwai I can prove it.

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William waves Roland back outside.

SOUND OF LOCK ENGAGING.

WILLIAMProve it.

JOSEPHINE MASTERSONWhen she visit me, she was wearing this heart charm. It hung around her neck. It look like something a lover would give.

INT. APARTMENT - NIGHT

INSERT FLASHBACK OF THE NIGHT YOUNG WILLIAM LOCKING THE HEART CHARMS AROUND CASS’S NECK IN A CANDLELIGHT DINNER AT THEIR APARTMENT.

CASSIt’s beautiful. I’ll never take it off.

YOUNG WILLIAMIf you have this Doll, you own my heart always.

INT. FUNERAL HOME - DAY

INSERT MEMORY OF CASS IN HER CASKET WITH THE HEART CHARM HANGING ACROSS HER CHEST AS SHE LAY CROSSED ARMS.

INT. VISITOR ROOM - SAME

Tears dripping down William’s eyes as the necklace dangled from his fingers. He turns to the back of it and reads.

CLOSE UP ON THE ETCHING IN BACK OF NECKLACE 1 + 11.

WILLIAM My Cass. I bury her with it.

EXT. CAFETERIA OF SEASIDE HIGH SCHOOL - DAY

Sweet sits by herself, dressed Gothic, and eating lunch by herself.

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EXT. ROOF OF MIAMI MERCY HOSPITAL - SAME

Blake is taking in fresh air looking at the sky until his beeper goes off.

INT. VISITOR ROOM - SAME

JOSEPHINE MASTERSONThank you for seeing me again William.

WILLIAMDid she ask about me?

JOSEPHINE MASTERSONShe doesn’t realize that she has passed.

WILLIAMHow could that be?

JOSEPHINE MASTERSONTell me?

WILLIAMYou really want to hear the truth?

JOSEPHINE MASTERSONYes.

WILLIAM The story doesn’t mean a damn thing if you don’t know what kind of woman she was. The story would be incomplete if I didn’t tell you what Cass meant to me.

JOSEPHINE MASTERSONShe sounds like an amazing woman.

WILLIAMVery.

(softly)Very much so.

JOSEPHINE MASTERSONWell, start where you like.

WILLIAM (V.O.)The beginning is always best. “Once upon a time” are how most fairy tales start. Meeting her was a fairy tale.

(pausing)“Once upon a time” is how I am going to start this. I met Cass in college.

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INT. RACQUETBALL COURT - DAY

Dressed in short and T-shirt, Cass’s body is sculpted like an athlete, as evidenced by the clothes clinging to the muscles in the back of her legs.

Young William, also dressed in t-shirt and short, is practicing his swings, back hand and so on in the racquetball court.

Cass enters the court.

CASSCare for a game?

Young William snickers at the challenge.

YOUNG WILLIAMAbsolutely not.

CASSSure?

YOUNG WILLIAMI won’t let you win.

(pausing)I’m not much of a gentleman.

CASS I never asked you to be.

Young William bounces the racquet ball and hits it against the wall. It ricocheted back, banging back and forth. Staring ahead, he catches the ball when it bounces back.

Young William glanced back at Cass to see if she’s ready.

Young William hands the ball to Cass.

YOUNG WILLIAMServe.

Cass hands the ball back to Young William.

CASSYou.

YOUNG WILLIAMEither you serve or we don’t play. I’m trying to even up the odd for you, me being a man and all.

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CASSA woman just might beat you.

Young William inhales and smirks at Cass.

CLOSE UP ON THE BALL BOUNCING LOW AGAINST THE LINE.

Cass chases after the ball, swings, and misses the ball.

YOUNG WILLIAM(mumbling)

Kill shot.

The ball shoots off the wall and Cass shoots it against the wall.

Young William could not return the ball.

CASSThat male pride of yours will get your ass kicked one day.

YOUNG WILLIAMBy a woman?

Young William confidently shakes his head, warning Cass he intends to win.

YOUNG WILLIAM (CONT’D)Never.

Cass hits a kill shot to the corner.

CASSOne zero.

Young William is unable to return the serve.

YOUNG WILLIAM It didn’t pass the line.

CASSOne one.

Young William smirks at the close call as if Cass is trying to cheat.

CASS (CONT’D)Ready.

Cass gives Young William a quick smile and serves the ball.

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CLOSE UP ON YOUNG WILLIAM MAKING A VICIOUS STRIKE AT THE BALL, BOUNCING THE BALL AGAINST THE WALL WITH FORCE AND SPEED.

Cass catches her breath after stumbling to the ground diving to return the slashing low return by Young William.

YOUNG WILLIAMI didn’t hear a time-out called.

CASSYou’re right. You do play to win. Sometimes winning is not what it’s cracked up to be. Try losing sometimes.

YOUNG WILLIAMI’ll be a gentleman next time and let you win.

CASSNo, next time I won’t be a lady.

Cass gives him another smile and picks up her racket.

YOUNG WILLIAMWhat’s your name?

Retreating from Young William, Cass pirouettes around and give him a smile before walking away.

CASSCass.

Young William resumes his practice.

INT. HOUSE PARTY - NIGHT

DANIELLE, a sorority type girl with blonde hair and blue eyes, is standing with Cass looking at a group of college students at the corner of the living room.

Cass is in a short, backless, and spaghetti string with high slits up toward her thigh high red dress.

CLOSE UP ON MALES STARING AT CASS.

Cass tugs her dress down avoiding stares from the males by shrinking closer against the wall.

SOUNDS OF MUSIC AND COLLEGE STUDENTS PARTYING.

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All around the room, pockets of students are joking, drinking, and having fun.

Young William and some college buddies - ANDY, PETER, and RICK are standing around in the center of the room.

Young William smirks at the memory of his conquest.

YOUNG WILLIAM You guys can’t believe what that girl can do with her tongue.

ANDYI bet she licked it around and around until she gets to the gum.

(pausing)Did she swallow?

The group is laughing.

CLOSE UP ON CASS AND DANIELLE NAVIGATING TOWARD THE GROUP.

Danielle pushes Cass into the circle of guys, stumbling into their domain and invading their personal space.

DANIELLEOopsy! Oopsy!

ANDYYou spilled my beer.

DANIELLESorry.

CUT TO:

Danielle locks her attention on to Young William and pulls Cass next to her.

DANIELLE (CONT’D)Guys, I’d like you to meet a friend of mine. She’s kind of shy.

Cass nods her head and greets everyone with a curtsy.

CASSHi. Hi. Nice to meet you.

CUT TO:

Danielle pulls Young William over to face Cass.

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DANIELLE Here’s the guy I want you to meet. This is William. He’s from the Orient somewhere.

YOUNG WILLIAMI’m Vietnamese.

(emphasizing)From Vietnam the country that kicked your ass in the war, remember?

Danielle makes an air quotation mark.

DANIELLEVietnam it is.

YOUNG WILLIAMDanny you got to like mind your own business sometimes.

DANIELLEWilliam’s not the typical Vietnamese.

(pausing)Not many like him. Not quiet, polite, nor hard working like the rest of them.

YOUNG WILLIAMEnough Danny.

Danielle nudges Cass on the back shoulder and whispers into Cass’s ear.

DANIELLEHe’s bad, a bad ass around here. He’ll shove his opinions down everyone’s throat.

(pausing)Some says he’s dangerous.

Young William places his palm over the back of Cass’s hand and smiles.

YOUNG WILLIAMWe’ve met.

CASSGood to see you again.

CUT TO:

Danielle pulls Rick, Peter, and Andy away leaving Young William and Cass alone.

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ANDYI can’t believe you are trying to set them up.

DANIELLEDon’t they look perfect for each other?

RICKShe’s going to end up being hurt.

PETERWhy does one guy gets all the luck?

CUT TO:

Young William and Cass smiles at each other, feeling awkward.

YOUNG WILLIAMWhat did Danny whisper in your ear?

Cass gestures Young William to lower himself to her and places her mouth next to his ear, she whispers.

CASSShe said you were dangerous.

(pausing)Are you?

YOUNG WILLIAMI’ve been around here a long time. Assimilate or adapt. I do neither.

CASSThere’s nothing wrong with belonging.

YOUNG WILLIAMThere is if you lose yourself in the process and become someone you are not.

CASSLike how?

YOUNG WILLIAMChanging your name. Acting White when you are yellow.

CASSI’m born here. An Asian-American. My parents give me that name.

(pausing)Such hypocrisy.

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YOUNG WILLIAMWhat?

CASSWhat’s William ha?

YOUNG WILLIAMMy name.

CASSYour name? From mother country?

YOUNG WILLIAMI am a true Vietnamese. The name change is for my citizenship.

CASSWhatever make you feel good.

YOUNG WILLIAMI will tell them who I am without humbling my voice. Wasn’t that what our people did, backed down from conflict? Isn’t that what you do?

CASSWe accomplish a lot.

(pausing)We don’t need to prove anything.

YOUNG WILLIAMDon’t we?

CASSYou are trying to save a world that doesn’t need saving. Nobody’s listening to you.

(pausing)If you knock that chip over your shoulder, maybe one day a nice girl will give you a second glance Jerk.

After the heated conversation, Cass gathers herself up and quickly storms off.

PRESENT:

INT. VISITOR ROOM - SAME

WILLIAMMy Cass change me in ways you couldn’t imagine.

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JOSEPHINE MASTERSONShe must have been an amazing woman.

WILLIAMVery.

EXT. CAMPUS - SAME

Young William chases after Cass. He doesn’t find Cass and the odyssey of repeated attempts to search for her is fruitless.

EXT. FOUNTAIN ON CAMPUS - SAME

Young William strolls across campus on his way home.

Cass is playing in the fountain, circling the water with her bare foot.

Young William approaches the fountain.

CASSI wanted some fresh air and then I looked up at the sky. Magnificent isn’t it?

Cass points up to the sky.

YOUNG WILLIAMYes it is.

CASS Look up there. Can you find the big dipper?

YOUNG WILLIAMI can’t tell the stars apart. All dust clouds look the same.

CASSThe backdrop and the glitter of diamonds in the heavens makes you feel so small.

YOUNG WILLIAMVery.

(pausing)I wanted to apologize for what I said.

CASSWhat did you say?

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YOUNG WILLIAMQuestioning you. Making the whole thing political.

Cass accepts Young William’s apology.

CASSIt’s okay; you’re the most passionate man I have ever met. You’re passionate about your beliefs. No one should apologize for their beliefs or their dreams. You’ve got nothing to be sorry for.

YOUNG WILLIAMI do.

(pausing)Sorry for not making the best first impression. Sorry for not being able to tell you that I haven’t been able to sleep, study, or do anything without thinking of you.

(romantically)I’ll be even sorrier if you tell me that I can’t sit here with you and watch the sunrise with you.

CASSI’ll be sorry if you leave. The night is too enchanting to be alone.

YOUNG WILLIAMMaybe this impression will be better.

Young William bends down and kisses Cass on her lips.

CASSGood so far.

EXT. FOUNTAIN ON CAMPUS - SAME

WILLIAM (V.O.)That night at the fountain I knew I am, I was so sure that I loved her.

(pausing)I’ve been in love with her ever since.

Young William’s head is rested on Cass’s lap.

Cass wakes Young William up.

Young William’s arms flail around as he gets up.

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SOUND OF PURSE FALLING OFF THE FOUNTAIN WALL AND CONTENTS SPILLING TO THE GROUND.

YOUNG WILLIAMSorry.

Young William picks up her lipstick, mascara, and other make-up paraphernalia. He stuffed it inside her purse and then hands the purse back to Cass.

CASSIt’s okay.

YOUNG WILLIAMCan I see you again?

CASSTonight.

YOUNG WILLIAMEvery night.

Cass fishes a pen out of her purse. She takes Young William’s hand and flips it around to his palm.

CLOSE UP ON PHONE NUMBER WRITTEN ON PALM.

Cass closes Young William’s fingers around the inked numbers.

Cass kisses Young William on the cheek and leaves.

Young William is looking lovingly at the numbers, treasuring the memento.

WILLIAM (V.O.)When she wrote those numbers on my palm, those magical numbers I held it up in my fist like a triumphant warrior that led his troops to victory.

(pausing)I keep peeking at it, making sure my sweaty hand would not fade the ink away.

PRESENT:

INT. VISITOR ROOM - SAME

ROWLANDVisiting hours are over.

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INT. PATIO - NIGHT

Sweet sits on the upstairs patio staring into the darkened sky.

Blake approaches Sweet to console her.

BLAKE MASTERSONHoney, you need to go to bed. You have to sleep.

SWEET MASTERSONI can’t. If I sleep, I see her, Daddy.

BLAKE MASTERSONWho?

SWEET MASTERSONThe woman that died here.

BLAKE MASTERSONLet me put you to bed. I’ll stay until you close your eyes.

SWEET MASTERSONYou promise, Daddy? You are not going to leave until I sleep?

INT. SWEET’S BEDROOM - SAME

Blake tucks Sweet in.

Blake leaves.

Sweet falls asleep. She tosses and turns as she talks in her sleep.

SWEET MASTERSONPlease leave me alone. Whoever you are, please leave me alone.

CUT TO:

DREAM STATE - SAME

Sweet tries to run away from the shadow, but it will not leave her alone.

In the darkness, a skeletal hands reaches out and grabs Sweet’s wrist.

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Sweet wiggles and struggles to escapes out of its hold, tottering away from the reach of the skeletal hand.

Skeletal hands are reaching out to Sweet’s shoulders.

Sweet runs away from the skeletal hands.

Unable to grasp Sweet, skeletal hands disappears.

Sweet looks over her shoulder to search for its whereabouts and hide. Inhaling and exhaling, she looks over her shoulder checking for the skeletal hands. After finding no one, she slows down and begins to walk. She is trembling and afraid to make any noise. Afraid that the skeletal hands will find her again, Sweet runs.

CLOSE UP ON FEET TANGLING UP AND SWEET FALLING TO THE GROUND.

Something gets a hold of her, lifting her from the ground, and as Sweet turns to look, the figure appears before her.

Cass emerges as Sweet’s eyes look down at the force that lifted her.

Sweet sees the skeletal hands and screams.

Cass disappears.

CUT TO:

Sweet is breathing heavily and sobbing into her cupped hands.

SOUND OF FOOTSTEPS RACING TO SWEET’S BEDROOM.

Door bang opens.

Josephine is holding Sweet and she clings tightly to her embrace as tears rain down her face causing Josephine to also cry.

JOSEPHINE MASTERSONWhat do you want from me?

INT. VISITOR ROOM - DAY

Josephine is back talking with William.

JOSEPHINE MASTERSONYour wife visited my daughter again.

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WILLIAM Did Cass say anything?

JOSEPHINE MASTERSONNo!

INT. LIVING ROOM OF APARTMENT - DAY

WILLIAM (V.O.)From that day forward, my only goal is to be with Cass.

Young William is standing at the door.

As Cass approaches, she ties her robe.

CASS Hi.

YOUNG WILLIAMLong night?

CASSI was up late, studying for finals. So, what’s up?

YOUNG WILLIAMPicnic at the park. You’ll keep me company.

CASSI wish you had called me. I might be busy.

YOUNG WILLIAMI don’t know what to say. The phone doesn’t let me see your face.

(smiling)I like seeing your face.

CASSI’m a woman. I need time to get ready. Are you going to wait for the rest of your life?

YOUNG WILLIAMYeah, the rest of my life.

EXT. PARK - SAME

Young William and Cass are eating at the park, laughing, and talking.

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INT. CLASSROOM HALLWAY - SAME

Cass exits the classroom, noticing Young William waiting for her.

YOUNG WILLIAMHey Doll.

CASSWhat are you doing here?

Young William hands Cass a single rose hiding behind his back.

CASS (CONT’D)It’s beautiful.

(kissing him)Are you going to walk me out to my car?

EXT. PARKING LOT OF COLLEGE - SAME

Cass approaches her car, jamming her key into the lock of the door.

CLOSE UP ON LOCK BEING ENGAGE.

To her surprise, Cass is unable to open the door and looks through the window and she spots the bouquet of roses.

CASSOh my God. How did you get into my car?

(pausing)It’s you, right.

Cass jams the key into the lock and opens the door.

YOUNG WILLIAMI wanted to congratulate you for passing your finals.

CASSWe just took them. The grades have not come back yet.

YOUNG WILLIAMI know. My excuse to surprise you.

Cass picks up the roses on her car seat and places them to her nose.

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CASSEverything with you has been a pleasant surprise. I’m never going to fall out of love with you.

(pausing)Am I?

YOUNG WILLIAMNever.

CASSYou make the best lasting impression.

Cass returns her attention back to Young William and kisses him.

CASS (CONT’D)One plus eleven.

They get into the car and leave.

PRESENT:

INT. VISITOR ROOM - SAME

JOSEPHINE MASTERSONThat’s so romantic.

INT. THEATER AUDITORIUM - NIGHT

WILLIAM (V.O.)My Cass took a lot of shit from me but in the end I think it has all been worth it.

Carrying in a tub of popcorn and a cup of soft drink, Young William enters the dark auditorium searching for Cass.

Young William spots Cass and climbs the stairs to talk to her.

YOUNG WILLIAM The movie having started yet. I don’t feel well.

(pausing)Can we call a raincheck on this?

CASSSure.

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INT./EXT. CAR - PARKING LOT OF THEATER - SAME

Young William waits in the car, drumming his fingers on the steering wheel, and looking annoyed.

At the front of the theater’s parking lot, Young William spots Cass walking out the front door.

Cass saunters over to the car.

Young William inches the car forward as Cass’s fingers touch the handle of the car.

Cass approaches the car again and shakes the car handle to open it.

Young William pushes the automatic lock button.

CLOSE UP ON LOCK ENGAGING.

The car inches further up.

Dumbfounded and agitated, Cass walks to the car. She tries to open the car door again.

Young William inches the car up a little further.

CASSThis is ridiculous. Can we stop playing this game?

CLOSE UP ON WINDOW ROLLING DOWN.

YOUNG WILLIAMI asked you to go out the side entrance with me. Why didn’t you?

CASSBecause I didn’t want to.

YOUNG WILLIAMYou were right behind me.

(pausing)Where did you go?

Cass storms away from Young William and walking away from the safety of the entertainment complex - with its theater, shopping centers, restaurants, and other conveniences.

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EXT. HIGHWAY - SAME

Cass walking down the path sprawling into the highway which the entertainment complex lays upon.

CUT TO:

EXT. PARKING LOT - SAME

Car pulls in and parks.

Lost in traffic, Young William lost sight of Cass.

Door swings open and Young William gets frantically out to search for Cass.

EXT. HIGHWAY - SAME

Young William chases after Cass.

YOUNG WILLIAMBe careful Doll.

CASSWhy are you so worried?

YOUNG WILLIAMIt’s rush hour out there. Traffic venting out like demons.

CASSI don’t need you.

YOUNG WILLIAMPlease.

Cass runs blindly out into traffic to cross over onto the other side.

Cars flash their high beams warning Cass to be careful.

Cass gives them the finger.

YOUNG WILLIAM (CONT’D)Will you stop?

In a desperate effort, Young William wrestles Cass down on to the grassy median of the highway.

Cass wiggles out of Young William’s hold and throws him off of her. She continues to run when a car almost comes crashing into her.

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Young William dashes in front of Cass, tosses her back on to the grassy median, and pins her down.

YOUNG WILLIAM (CONT’D)Are you going to listen to me now? You almost got run over.

Young William is getting angry, his voice slowly rising.

YOUNG WILLIAM (CONT’D)Be careful, all right.

Cass is crying in anger.

CASSAre you ashamed of me? I saw your friends on my way to the ladies room.

YOUNG WILLIAMDoll, I just don’t like to explain to no one about you and me. I don’t like people meddling in our affairs.

Young William calms down and tries to regain his breath.

YOUNG WILLIAM (CONT’D)I asked you to leave with me. Why did you refuse?

CASSI had to pee.

YOUNG WILLIAMI’m sorry. I thought you didn’t respect my feelings. I was angry and it makes me crazy.

(tenderly)I acted like a fool.

CASSVery much so.

(pausing)Let me up!

YOUNG WILLIAMNo. Not until you promise me you won’t do anything stupid.

CASSOkay.

(assuring)Okay.

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YOUNG WILLIAMI don’t know how to act around you Doll. I can’t think. Everything I do is because of you. I am afraid my friends will say something wrong to hurt you.

(reluctantly)I love you.

(pausing)Sometimes, I’m such an idiot.

CASSNo you’re not.

YOUNG WILLIAMI love you.

Cass washes her tears over his chest and wipes the last drop on his shirt.

INT. APARTMENT - SAME

WILLIAM (V.O.)That was the first time I told her I love her.

Young William takes a heart charm out of his pocket.

CASSIt’s beautiful. I’ll never take it off.

YOUNG WILLIAMIf you have this Doll, you own my heart always.

Young William tries to make love with Cass tenderly as if she is an antique vase fragile to his touch.

Cass is ferocious. She tears at Young William’s clothes.

CLOSE UP ON BUTTONS POPPING OFF YOUNG WILLIAM’S SHIRT FALLING RANDOMLY AROUND THE BED.

BACK TO PRESENT DAY

INT. VISITOR ROOM - DAY

Josephine is listening to William telling her about their love affair.

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WILLIAMWe made love that night. I wanted it to last forever.

Josephine is impressed by the vividness in William’s rendition.

JOSEPHINE MASTERSONContinue please.

WILLIAMShe was the love of my life. I found my soul mate.

William gasps exhaustively.

WILLIAM (CONT’D)After my graduation, I bought real estate. I must have bought at the right time because the prices skyrocketed.

William voice get softer and humbled.

WILLIAM (CONT’D)I wanted to make more money. I did more investing. We made more.

JOSEPHINE MASTERSONThen what happened?

WILLIAMWe got married. We were going to start a family. Everything have gone better than we ever expected. We had each other and we didn’t need any more than that. But We had more, so much more.

(pausing)I was retiring.

JOSEPHINE MASTERSONHow old were you?

WILLIAMThirty.

JOSEPHINE MASTERSONRetire?

WILLIAMYeah. Young and rich.

(pausing)I didn’t need to work anymore, neither did my wife. But opportunities were knocking again.

(MORE)

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(pausing)There was a buzz around the world, Miami was going to be the next hot spot. I knew there would be investors pouring in so I decided I wanted to be the first to establish contacts. I threw a lot of parties to draw in potential clients. It was not favorable to the neighbors - the noise, crowds of people, and the cars.

JOSEPHINE MASTERSONWhat happened at the house?

WILLIAMWe partied.

JOSEPHINE MASTERSONWhat happened to your wife?

The memories start to make William’s voice crack.

WILLIAMSeventeen stab wounds, holes from head to toes. Forensics didn’t know which one killed her. There were so many.

(pausing)She got raped afterward in the master bedroom with the lights on.

(emphasizing)Nobody saw anything.

JOSEPHINE MASTERSONWhat are you saying?

WILLIAMThe window was open, someone must have seen what was happening or heard something.

(angrily)Nobody, not one damn witness.

JOSEPHINE MASTERSONAre you saying it’s some kind of conspiracy? A deliberate act, a cover up from your neighbors.

WILLIAMExactly. The house was noisy. I was entertaining guest downstairs.

(almost in tears)I couldn’t help her.

(ashamed)I didn’t hear a damn thing.

WILLIAM (CONT'D)

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JOSEPHINE MASTERSONWhat make you think someone was awake?

WILLIAMSomeone must have been awake, the police knock on my door warning me to keep the noise down. They wanted us dead and they got their wish.

JOSEPHINE MASTERSONWho?

WILLIAMThe neighborhood killed her.

(angrily)Don’t tell me no one was awake. Someone somewhere saw something.

JOSEPHINE MASTERSONThe neighborhood?

WILLIAMI’m a minority, a Vietnamese refugee, making more money than them. The neighborhoods were made up of professional people but they never got their financial independence. I did. They couldn’t compete. I was too rich and I shoved my money in their face. I threw elaborate functions almost every day of the week. I was better than them. They were jealous so they got rid of the competition.

JOSEPHINE MASTERSONWhy didn’t they kill you?

WILLIAMThey did. Just cause I am sitting here doesn’t mean I am alive.

(annoyed)I am breathing but I haven’t been fuckingalive ever since the morning after.

JOSEPHINE MASTERSONThat’s crazy.

WILLIAMVery much so.

JOSEPHINE MASTERSONWho would believe a story like that?

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WILLIAMNobody.

(scoffing)Not even you.

William placed his hand on the table. It is shaking.

Josephine covered her hands over William’s hand to comfort him.

WILLIAM (CONT’D)These people never embraced our differences.

JOSEPHINE MASTERSONWhy not?

WILLIAMI told you we were different.

Josephine prepare to poke hole in William’s conspiracy theory.

JOSEPHINE MASTERSONAmerica is the melting pot.

(pausing)Immigrants own this country.

WILLIAMYou’re so naive.

JOSEPHINE MASTERSONBecause I believe in the beauty of individuality.

William pulls his hand from the table and folds his arms over his chest.

WILLIAMNo. You are naive because you think people will welcome what isn’t similar to their own. We scared them. I scare them.

JOSEPHINE MASTERSONI am not ready to accept that a whole neighborhood would plot to kill you and your wife. I don’t think any kind of prejudice would validate taking a life like that.

William springs from the chair causing the chair to fall.

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WILLIAMThey wanted us to eat our food the same way they do, holding a fork and a spoon instead of a chopstick.

(pausing)Anyway you look at it, we like people like ourselves.

JOSEPHINE MASTERSONEverybody’s different.

WILLIAMYet, the people in the neighborhood still denied their prejudice.

William waves his arms around frantically.

WILLIAM (CONT’D)Our habits conflicted with theirs. Don’t you see!

JOSEPHINE MASTERSONYour story is so hard for me to believe.

(pausing)Something as petty as that can’t turn a neighborhood into a lynch mob.

WILLIAMIt adds up but you choose what you believe. With all their advancement in science, DNA, they never found the killer. They didn’t even find a trace of him.

Emptied of emotion, he walks across the room to the door and knocks.

SOUND OF DOOR UNLOCKING.

The door opens.

CUT TO:

Josephine watches.

CUT TO:

William disappear.

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INT. POLICE STATION - DAY

O’BRIENWhat are you trying to do?

JOSEPHINE MASTERSONI want to help you solve a crime that should have been solved thirty years ago.

O’BRIENWhat crime?

JOSEPHINE MASTERSONThe murder of Cass Kwai.

(pausing)Prove to you beyond any reasonable doubt that Sweet is innocent.

O’BRIEN And how are we supposed to do this?

(pausing)How are you going to prove this?

JOSEPHINE MASTERSONThrow a party.

O’BRIENLeave the police work to the professionals.

JOSEPHINE MASTERSONDetective O’Brien, two innocent people lost their lives. The Kwai’s were good people, one is physically dead and the other is emotionally dead.

O’BRIENLeave it alone, Mrs. Master.

INT. MASTERSON’S HOME - DAY

Everyone is rushing around to decorate and prepare the house for the party.

ALEXANDRIAMa’am I called the caterer. I also called the bartender and the parking attendants. Have I forgotten anything?

JOSEPHINE MASTERSONDid you get my video camera?

(pausing)(MORE)

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Other then that there’s nothing else that I can think of. Make sure invitations are sent to everybody in the neighborhood.

(pausing)Don’t worry about Blake’s colleagues and friends. I’ll handle that.

ALEXANDRIAYes ma’am.

JOSEPHINE MASTERSONAre you coming?

ALEXANDRIANo ma’am. Family emergency ma’am.

JOSEPHINE MASTERSONIs there something I can help you with?

(pausing)Anything I can do?

ALEXANDRIANo ma’am. I can handle it.

JOSEPHINE MASTERSONOkay! Do come if you can.

ALEXANDRIAYes ma’am.

Alexandria turns on the vacuum and begins vacuuming.

INT. MASTERSON’S HOME - DAY

A penetrating rain makes the party a welcome event in the suburbs.

BLAKE MASTERSONDid you ask our neighbors if we can park in their driveways, in case we needed the extra space?

JOSEPHINE MASTERSONI covered all the details Blake.

BLAKE MASTERSONYou went overboard with this thing Josie. Valet parking, waiters and waitresses, food, and drinks.

(jokingly)This catered affair is more extravagant then our wedding.

JOSEPHINE MASTERSON (CONT'D)

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JOSEPHINE MASTERSONWhy you think I marry myself a doctor?

Josephine sidles to Blake.

Blake turns and holds Josephine in his arms.

JOSEPHINE MASTERSON (CONT’D)

Everything has gone wrong since we moved into this house. Maybe this is our new beginning. Maybe we can start calling this house a home.

BLAKE MASTERSONWho’s going to pay for all this?

JOSEPHINE MASTERSONThat’s is why I married a doctor.

INT. DR. BROOK’S OFFICE - SAME

Sweet is laying on the couch as Dr. Brook peppers her with advice and questions.

DR. BROOKTerrible thing has happen Sweet. You must learn how to deal with this. Let it go. Can you do that?

SWEET MASTERSONI’m trying.

DR. BROOKDon’t let the despair swallows you. It is not your fault.

SWEET MASTERSONI feel it’s all my fault.

DR. BROOKIt’s not.

EXT. MASTERSON’S HOME - NIGHT

GUESTS ARE ARRIVING FOR THE MASTER’S PARTY.

TED steps out of a porsche.

TED Wow, what a party?

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Valet named DANNY opens the door.

Ted gets out.

DANNYMay I take your keys, sir.

TEDSure.

(pausing)Be careful.

DANNYOkay. You don’t need to worry sir when you leave it’ll be out here waiting.

Another car arrives and another couple gets out of their car.

Guests within walking distance walk over.

CUT TO:

INT./EXT. LIVING ROOM/STAIRS/MASTERSON’S BEDROOM/YARD - SAME

Pockets of guests around the house, gossiping among themselves and hectic partygoers looking for acquaintances.

CUT TO:

CHERYLI’m impressed. Looks like it’s going to be a hell of a party.

JOSEPHINE MASTERSONI hope so. I wanted it to be as extravagant as the previous parties.

CHERYLWhat do you mean Josie?

JOSEPHINE MASTERSONLike the Kwai’s.

CHERYLDon’t put your goal up so high. This is your first effort.

JOSEPHINE MASTERSONWilliam used to throw some extravagant ones here.

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CHERYLWho?

JOSEPHINE MASTERSONThe previous owner.

Josephine scans her surrounding.

JOSEPHINE MASTERSON (CONT’D)

Mingle. Lots of eligible bachelors.

CHERYLDon’t make me look so desperate, Josie.

Cheryl walks away and mingles with the new arrivals.

CUT TO:

O’Brien saunters over and bumps into a server. He takes a glass of champagne from the tray.

O’Brien spots Josephine and navigates his way toward her.

O’BRIEN Everything’s set to go.

JOSEPHINE MASTERSONPretty much.

CUT TO:

The camera pans around shooting the guests as they are enjoying the party.

THE CAMERA HALTS AT THE GRAND PIANO, IN THE MIDDLE OF THE LIVING ROOM, A PIANIST IS SERENADING THE GUESTS WITH MELODIC SOUNDS.

CUT TO:

SUEAre you still dating that guy in the accounting room?

SALLYHe does my taxes for me.

SUEHow about you?

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SALLYNo, never mix business with pleasures.

CUT TO:

Across the room, Blake is telling Bob a joke.

BLAKE MASTERSONBob, how many mother fuckers do you know?

BOB RILEYNot many.

BLAKE MASTERSONMe. I know one.

BOB RILEYWho?

BLAKE MASTERSONOedipus.

Blake and Bob is laughing as Josephine walks over, escorting a couple, TAO WINN and his wife HEATHER.

JOSEPHINE MASTERSONWhat’s so funny?

BOB RILEYYour husband told me a joke. Great party, Josie.

Blake looks over at Tao and Heather.

BLAKE MASTERSONTao, Heather glad you made it.

TAO WINNWonderful party Blake.

Blake looks over at Bob.

BLAKE MASTERSONMy friend Bob Riley, Tao Winn, and his wife Heather.

Heather bows and smile demurely.

Tao extends a hand out to Bob.

TAO WINNNice to meet you, Mr. Riley.

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BOB RILEYPlease call me Bob. How about refresher?

TAO WINNWe’ll join you.

Blake turns to face Josephine.

BLAKE MASTERSON How’s everything?

JOSEPHINE MASTERSONGood.

Josephine turns to Bob and hints to him about matching him up with Cheryl.

CUT TO:

The crowds gather in the living room.

Bob raises his glass and clinks it with his finger. He calls Blake up to the front and asks him for a speech.

BOB RILEY Make a speech Blake.

The crowd is chanting.

CROWDSpeech. Speech.

From the bar server’s tray, Blake holds up a champagne bottle and pours two glasses. He hands Josephine a glass.

Blake and Josephine hold the glass in the air.

JOSEPHINE MASTERSONMake it good, Blake.

Blake toast the crowd.

BLAKE MASTERSONI want to thank everyone for sacrificing their time to come to our party. Your attendance is deeply appreciated because it makes us feel welcome here. We feel so much love. Enjoy yourselves and feel free to stroll around our home. We want to celebrate our new life at 7668 Crystal Lanes. Have a good time all.

CUT TO:

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The stagnant crowd stay downstairs and the upstairs is not trespassed by any uninvited guests.

Eric cloaks in mystery sneaks away from the other guests, keeping close to the wall, he climbs upstairs. He heads to the master bedroom. His strides are confident, sure, and careful.

In that obscurity, the camera from the framed pictures concentrates on Eric’s movements as he enters the room. A shadow of Eric is cast by the flickering iridescence from the lights of the master bedroom.

INT. MASTER BEDROOM - SAME

ERIC REICHIt’s been a long time. 30 years ago, I was here.

(reminiscing)This was the spot. You remember screaming. Remember me putting my hands over your beautiful delicate mouth. You didn’t make a sound. Don’t you remember your last heartbeat?

(angry)No one heard you. Did you think if someone heard you, they would come to help you? They hated you. I was the only one who loved you. So pretty, so pretty, like a China doll. My China doll.

Eric is calm as he turns his shoulder and is on his way out of the room. His confession seems to right a wrong he did long ago. It releases him from his guilt.

CASSWhy? Why? I did you no wrong. I didn’t deserve to die.

ERIC REICHWho is there? Where are you? I searched this place. No one’s here.

CASSI am here. I heard you.

ERIC REICHIt’s not true. I was only talking, an old man’s babble.

CASSYou killed me.

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Cass manifests herself in the same dress that she died in and with her heart charm on.

CASS (CONT’D)I’m dead. See.

(haunting)Tell me why. Why?

ERIC REICHI was chosen to deliver the message that we didn’t want your kind here.

(pausing)You wore out your welcome.

CASSMy kind was always here.

Eric’s shock brings him back into reality knowing that he is face to face with the woman he butchered to death.

The light bulbs in the Masterson’s bedroom blow up. It gets dark.

CUT TO:

Like the Domino Effect, the rest of the light bulbs start exploding one by one until the entire house is blanketed in darkness.

CUT TO:

CLOSE UP ON CHANDELIER PLUMMETING TO THE FLOOR DOWNSTAIRS.

Guests scattering and storming out in alarm.

KENLook out!

KIMMYHelp.

An intoxicated Ted is grumbling.

TEDEverything is blowing up.

(pausing)Shit, I was just starting to have a good time.

Guests bumping into each other trying to escape.

SUESorry.

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SALLYLet’s go.

Guests run out of the house into the courtyard.

CUT TO:

INT. MASTER BEDROOM - SAME

CASSWhat have I done to you Eric? Why? Why?

ERIC REICHI did what was best for the neighborhood. We didn’t want your kind coming here lowering the property values down.

Eric backs off, terrified, as Cass draws closer to him.

CLOSE UP ON GUN PULLING OUT OF ERIC’S WAIST.

Eric fires at Cass.

The bullets pass through Cass and into the wall.

Eric is confused. Tripping over his own feet, he tumbles to the ground.

Cass comes over to Eric, enters him, and then possesses him.

EXT. FRONT YARD - SAME

The tawny smoke rising from the cigarettes of the smokers, swirling in the wind floating up to the stars.

Guests stand around, surveying the chaos, and others are searching for their companions.

BOB RILEYThere were gun shots.

Cheryl intentionally bumps into Bob.

CHERYLProbably kids playing with fire crackers.

(pausing)By the way, you look familiar. Bob, Josie’s lawyer friend?

BOB RILEYYes.

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Josephine and Blake race over and join Bob and Cheryl.

JOSEPHINE MASTERSONGlad you two made it out safely.

BLAKE MASTERSONWhat the hell is going on?

INT. BEDROOM - SAME

Eric’s back silhouetting along the window.

CUT TO:

EXT. FRONT YARD - SAME

Cheryl points up at the window.

CHERYLLook up there, the window.

BOB RILEYWhy is he standing by the window?

JOSEPHINE MASTERSONIt looks like Eric, Eric Reich, Timmy’s grandfather.

BLAKE MASTERSONAll I want to know is what the hell is he doing in our bedroom.

CUT TO:

INT. MASTER BEDROOM - SAME

The door slams open.

O’Brien barks out orders to Eric.

O’BRIENDrop the gun. Lay it on the floor. Now!

ERIC REICHYour kinds lower the property values down.

The gun slowly comes into Eric’s mouth; he swallows the nozzle of the revolver, and nonchalantly pulls the trigger.

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The bullet blasts into Eric.

CLOSE-UP ON ERIC SOMERSAULTING DOWN INTO THE YARD FROM THE WINDOW AND LANDING ON HIS BACK.

SUEOh, my.

The other guests start flipping out their cellular telephones, calling for help.

Cheryl squeezes her eyes close and places her head on Bob’s shoulder.

BOB RILEYI dialed 911.

CHERYLSo did everyone else.

CUT TO:

Josephine and Blade head over to where Eric fell.

JOSEPHINE MASTERSONIs he dead?

BLAKE MASTERSONLooks like it.

EXT. MASTER’S HOME - SAME

SOUNDS OF SIREN BLARING.

Emergency vehicles, ambulances, and police cars surround the house. Their lights keep the block from being cloak in total darkness.

Police are directing guests around the chaos.

A new set of headlights breaks the darkness.

Sweet drives home, surprisingly jolted to see the chaos.

SWEET MASTERSONExcuse me. Can someone tell me what happened?

Policeman name TOBY is directing traffic.

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TOBYMove. Everyone needs to move out of the way.

SWEET MASTERSONI live here. I need to find my parents.

TOBYWe need everybody away from this property. We can’t let you in.

(pausing)Miss, remove yourself immediately before you get arrested.

SWEET MASTERSONFor what?

TOBYMeddling in police business. Leave now!

CUT TO:

More people arrive to see the commotion.

Guests are waiting for the confusion to end. Others are overwhelmed with the situation, surprised, and shocked as they stand around waiting to be told what to do.

CUT TO:

After searching the area again, looking for her parents, Sweet sits on the curb of the street.

Ted walks past.

SWEET MASTERSONExcuse me. Can you tell me what happened?

TEDSome old guy offed himself.

Sweet sits back down on the curb, feeling isolated and lonely.

BLAKE MASTERSONSweet. Honey. Sweet.

Sweet spots Blake. She runs to him and hugs him.

SWEET MASTERSONI come home and I see this.

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BLAKE MASTERSONThere was a shooting.

SWEET MASTERSONSomeone said it was an old man. Did we know him?

BLAKE MASTERSONIt was Timmy’s grandfather.

Sweet starts to sob and then rages into a full tear storm.

BLAKE MASTERSON (CONT’D)It’s okay, Honey. Everything will be okay.

SWEET MASTERSONI thought it was you. I thought...

BLAKE MASTERSONNo, no. Eric committed suicide.

Josephine observes Blake and Sweet get close, and realizes this is the first time she sees them needing each other, swallowing in their own pain. She leaves them alone.

CUT TO:

O’Brien is inspecting the calamity. He is giving out orders to Toby.

O’BRIENRemove these people from the premises.

(pausing)Get everyone’s name and number before we release them. It’s hasn’t been ruled a suicide yet.

INT. POLICE STATION - DAY

Josephine comes in carrying a big purse with her. She is smiling when O’Brien puts down his coffee and directs her to his desk.

O’BRIENMorning.

JOSEPHINE MASTERSONGood morning Detective. How are you doing?

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O’BRIENFine. What brought you in here at this time?

Josephine opens up her purse and takes out a video camera. She hands it to O’Brien.

O’BRIEN (CONT’D)What is this?

JOSEPHINE MASTERSONSomething very interesting.

(pausing)Detective, karma is a bitch the second time around.

INT. MASTERSON’S HOME - NIGHT

SOUND OF FOOTFALLS ECHO THROUGHOUT THE HOUSE.

JOSEPHINE MASTERSONI can still hear her, Blake. Cass still haunts us.

BLAKE MASTERSONDidn’t we solve her murder? Haven’t we righted the wrong?

Blake shouts at the wall hoping Cass will hear him.

BLAKE MASTERSON (CONT’D)What more do you want from us?

JOSEPHINE MASTERSONWho are you speaking to Blake?

BLAKE MASTERSONLeave us alone.

JOSEPHINE MASTERSONIt’s not her fault. I’m pretty sure Cass doesn’t know why she’s still here.

BLAKE MASTERSONThen how are we to know?

JOSEPHINE MASTERSONWait for her to speak. Wait for her to tell us what she wants.

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INT. SWEET’S BEDROOM / MASTER BEDROOM / HALL - SAME

Sweet screams.

SWEET MASTERSONHelp me. Help! Please leave me alone.

CUT TO:

Josephine runs out of master bedroom, followed by Blake. She wrestles the exhaustion out of her eyes.

JOSEPHINE AND BLAKE IS RACING THROUGH THE HALL.

CUT TO:

The door to Sweet’s bedroom slams open.

Sweet is at her dressing table by the light, writing. Sweet presses the pen down onto the paper, ripping the paper with every stroke, and carving into the desk. The writing is not from the smooth stroke of the pen.

JOSEPHINE MASTERSONWhat are you doing Sweetie? What are you writing?

Sweet does not answer and continues writing.

JOSEPHINE MASTERSON (CONT’D)

Say something. Please say something. Talk to me Sweetie.

Josephine nudges at Sweet trying to get her attention.

BLAKE MASTERSONYour mother is asking you a question young lady. Answer her.

JOSEPHINE MASTERSONCan we see what you are writing? Let Momma see.

Sweet is slump over the table and ignores Josephine and Blake.

Josephine goes over and grabs Sweet’s arm. She pries the pen out of her grip. She takes the paper.

SWEET MASTERSON (OMINOUS VOICE)

Give it back! Give it back!

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Josephine escape Sweet’s lunges and Blake is holding her back.

JOSEPHINE MASTERSONI’ll give it right back.

Josephine straightens up the paper and reads it.

BLAKE MASTERSONHow she get so strong?

SWEET MASTERSON (OMINOUS VOICE)

Give it to me.

CLOSE UP ON THE PAPER AND THE SAME WORDS ‘CHAU’ INKED ON THE PAPER OVER AND OVER AGAIN.

BLAKE MASTERSONThat’s it young lady, you are grounded.

Blake forces Sweet on to the chair.

JOSEPHINE MASTERChow. Chow. She’s writing this word over and over again. Blake do you know what this word means?

Josephine places the pen down on the desk and hands the crumbled paper to Blake. He unfolds the paper, looks at it, and reads it.

BLAKE MASTERSONI don’t know.

(annoyed)We’ll look it up in the dictionary later.

Sweet grabs the pen and digs the pen into the wooden desk and carves the word ‘Chau’. Josephine looks down at the carving on the desk.

JOSEPHINE MASTERSONShe is carving the same word into the desk.

Sweet is chanting.

SWEET MASTERSONJoe. Joe. Joe. Joe.

Blake wrestles the pen out of Sweet’s fingers.

BLAKE MASTERSONWho the hell is she calling?

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JOSEPHINE MASTERSONI don’t know. Cass never spoken of that name before.

Blake shakes Sweet.

BLAKE MASTERSONGet out of my daughter. Tell us what you want. We don’t know what you want.

Sweet continues chanting.

SWEET MASTERSONJoe. Joe. Joe.

Cass finally releases Sweet. She awakens and buries her head into Blake’s chest, crying.

JOSEPHINE MASTERSONBlake, put her back to bed. She’ll be fine.

BLAKE MASTERSONWhat do you mean she’s going to be fine? She’s trembling all over. Don’t tell me she’s going to be fine.

JOSEPHINE MASTERSONSweetie, are you okay?

Sweet hug Blake tighter. She murmurs something.

SWEET MASTERSONUh-uh.

JOSEPHINE MASTERSONShe had a nightmare. She’ll be alright.

BLAKE MASTERSONShe had no nightmare Josie. That dead woman is ruining our family. We can’t live here any longer.

JOSEPHINE MASTERSONBlake please put Sweet back to bed.

BLAKE MASTERSONYou want to stay. Stay! My daughter and I are getting the hell out of this house.

JOSEPHINE MASTERSONThis is our home.

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BLAKE MASTERSONNo, it’s her home, her fucking home Josie. And she wants it fucking back.

JOSEPHINE MASTERSONCass wants to leave.

(pausing)We need to help her leave.

BLAKE MASTERSONHow can you be so insensitive? She can’t stay here. Can’t you see that?

JOSEPHINE MASTERSONOkay.

BLAKE MASTERSONI’m making arrangements for Sweet to stay with my sister for a while. Tonight, we’re going to find a hotel.

The Masterson pack up some of their belongings and leave.

INT. HOTEL - EVENING

JOSEPHINE MASTERSONBlake, I know this is a bad time to bring this up.

BLAKE MASTERSONWhat?

JOSEPHINE MASTERSONI don’t want to leave our house. I want to rest her soul in peace so she can leave.

BLAKE MASTERSONWhat is it about her that makes you so adamant about helping her Josie?

JOSEPHINE MASTERSONIt’s the right thing to do.

(pausing)Cass suffer so much already. She lost so much.

BLAKE MASTERSONLook at your family, Josie.

Blake walks away from her. He is frustrated and angry.

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BLAKE MASTERSON (CONT’D)We’re breaking apart. Look at your daughter, take a good look, she can’t sleep. You are choosing a stranger over your family. And she isn’t even alive.

(pleading)We’re alive.

JOSEPHINE MASTERSONI can’t let her go like that.

Blake throws up his hands in deep disgust over Josephine’s suggestion of staying at the house.

BLAKE MASTERSONMake a choice; it’s us or the damn ghost.

JOSEPHINE MASTERSONThat’s no choice.

(pausing)My choice is always with you and Sweet.

Josephine kisses Blake.

Blake carries Josephine into bed.

INT. MASTERSON’S HOME - DAY

Josephine is helping Alexandria get ready for her move.

JOSEPHINE MASTERSONWe’ve got to let you go until we get things situated, Alexandria.

ALEXANDRIAMa’am.

JOSEPHINE MASTERSONWe’ve got a problem we need to solve. We need to know if we still want to live here.

ALEXANDRIAI understand Ma’am.

(pausing)You know how to reach me.

Alexandria leaves.

Josephine fishes the crumpled piece of paper out of her pocket and stares at it.

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INT. VISITOR ROOM - DAY

William is sitting at the table.

Josephine enters.

WILLIAMAnother visit so soon?

JOSEPHINE MASTERSONYes.

WILLIAMWhat for this time?

JOSEPHINE MASTERSONCass still haunts us. She’s not leaving. I did what I thought would release her tortured soul.

(pausing)It didn’t.

WILLIAMYou’re the only one who will know what she wants.

JOSEPHINE MASTERSON She’s not so lucky William. Cass is in-between worlds, walking among the living and the dead.

(pleading)She’s in purgatory. If you love her, put her soul to rest.

(softly)Give her peace.

WILLIAMIf she really is haunting you, maybe it’s because something in her life isn’t resolved.

JOSEPHINE MASTERSONHelp me to help her.

WILLIAMCass was butchered in the worst way. After she was killed, she got raped. The murderer took a shower after that.

(pausing)Now, you tell me why the hell would I give a damn about you or your family.

JOSEPHINE MASTERSONWe found the killer.

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WILLIAMWho? How many?

JOSEPHINE MASTERSONThere was only one.

William yearns to hear who the culprit is as he squirms for a better position and his voice reflects his desire to know.

JOSEPHINE MASTERSON (CONT’D)

Eric Reich. One of your neighbors thirty years ago.

WILLIAMThere were no more suspects.

JOSEPHINE MASTERSONNo, only him. He was obsessed with your wife. He confessed to the murder.

WILLIAMI thought they hated me. I thought those people conspired to kill me.

Looking embarrassed, William sweeps his hair from his face.

WILLIAM (CONT’D)What a fool I was? I made myself out to be an idiot.

JOSEPHINE MASTERSONNo, you did not.

WILLIAMYes. I made my self too important. I acted like a fool.

JOSEPHINE MASTERSONYou loved her. Everyone needs an excuse when they lose a loved one, you are no exception.

(pausing)And you are not far off base.

Tears fall down on William’s cheeks.

WILLIAMThank you. Thank you for helping me. Thank you for everything.

(pausing)(MORE)

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Thank you for making room for Cass in your heart.

JOSEPHINE MASTERSONYou’re welcome. I hope you can forget the hate now. I hope you can forgive yourself.

Josephine takes the piece of crumpled paper out of her pocket and hands it to William.

William irons the crumpled sheet out, straightening it.

CLOSE UP ON THE INK ON THE PAPER INSCRIBING THE WORD “CHAU” OVER AND OVER AGAIN.

William flips the paper from the front to the back.

JOSEPHINE MASTERSON (CONT’D)

Do you recognize this word?

WILLIAMYes.

JOSEPHINE MASTERSONWhat does it mean?

WILLIAMIt’s my birth name, actually it is my first name.

(pausing)My full name is Chau Van Truong.

JOSEPHINE MASTERSONYour name is “Chow.”

WILLIAMYou pronounce it Joe.

(pausing)The spelling is different but the pronunciation is the same.

JOSEPHINE MASTERSONJoe.

WILLIAMWe say the alphabet like the Spanish say their alphabet.

(pausing)It also has a hat shaped accent mark on top of the letter a. In Vietnamese, one wrong accent will change the meaning of the word totally.

WILLIAM (CONT'D)

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JOSEPHINE MASTERSONJoe.

WILLIAMJoe.

JOSEPHINE MASTERSONEasy enough.

WILLIAMYou’re not here for a language lesson, so why the interest?

JOSEPHINE MASTERSONWhy did you change your name?

WILLIAMI changed my name to get my U.S. Citizenship. I didn’t want to argue with people or teach people how to say my name.

JOSEPHINE MASTERSONThis is the name your wife made my daughter write.

WILLIAMThe name change was a mistake on my part. I lost my identity and I lost a part of myself so you Americans can say my name.

JOSEPHINE MASTERSONWilliam.

Josephine realizes her mistake and corrects herself.

JOSEPHINE MASTERSON (CONT’D)

Joe.(pausing)

Cass loves you.

William nods his head and closes his eyes, tears streaming down his face.

JOSEPHINE MASTERSON (CONT’D)

I think that is why her spirit won’t rest.

(pausing)You can set it right.

WILLIAMI’ll do anything for her.

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JOSEPHINE MASTERSONTell her that.

WILLIAMI’ll always love her. Cass is my devotion as well as my obsession.

William rakes his hair and sobs. His voice cracking up.

WILLIAM (CONT’D)I am still and will be forever in love with her.

Josephine leaves.

William folds up the paper and place it across his lips, cherishing it as if it is his salvation.

INT. FRONT OFFICE - DAY

William walks to the front office and talks to RECEPTIONIST, a fat motherly White woman in her 50s.

Receptionist looks up from her computer.

RECEPTIONISTWhat can I do for you Mr. Kwai?

WILLIAMI’m leaving.

(pausing)Tell Dr. Ryan that I’m feeling better? I don’t need to be here any more.

RECEPTIONISTWe can’t release you without Dr. Ryan’s okay.

WILLIAMI signed myself in. I’ll sign myself out.

(pausing)Bye bye.

INT./EXT. ROOM / BALCONY OF HOTEL - NIGHT

Josephine and Blake is watching television.

Enjoying the solitude of the evening’s calm, Josephine and Blake walks out to the balcony.

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BLAKE MASTERSONIs this going to end tonight Josie?

JOSEPHINE MASTERSONI hope so Blake.

Josephine takes Blake’s hand, her eyes leveling to his, she holds his hand and points at the sky.

INT. HALLS AND STAIRS OF MASTERSON’S HOME - SAME

Cass manifests herself because of the smell of the fragrances of a spring day, scattered by trails of potpourris, all across the stairs and the hallway, leading to the master’s bedroom.

CLOSE UP ON THE WHITE AND RED DRIED UP FLOWER, LOTUS BLOSSOM AND ROSES, BLOWING ONE ON TOP OF THE OTHER, GUIDED BY THE WINDS OF CASS’S STEPS.

Cass’s movements, unhurried, one step after another, until she reaches her destination.

INT. BEDROOM - SAME

The door blows open.

A dim light flickers on.

Cass slowly saunters into the room. Her gaze catches sight of a table, and on top of the table, a Champagne bottle with two glasses of sparkling liquid.

CLOSE UP ON MOONLIGHT ROMANCING THE GLASSES OF CHAMPAGNE WITH SHADOWS DEFLECTING WILLIAM’S IMAGE.

CASSWho are you? What are you doing in this house?

WILLIAMI’ve been waiting.

CASSWaiting.

WILLIAMYes, waiting. Waiting for you Doll.

CASSWhy?

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WILLIAMI’ve missed you so much. I died the day you left.

CASSMy love, my darling husband.

WILLIAMYes it’s me. Older, a lot older. It’s been 30 years, I haven’t loved another. I was always waiting, but I never knew why.

William grabs one of the glasses and he makes a toast to Cass.

WILLIAM (CONT’D)Now I know why.

CASSI’ve been walking in this house for so long. I felt no warmth. I was always so cold.

(pausing)Where have you been?

William pulls the glass away from his lips and gazes at Cass.

WILLIAMAfter losing you, I couldn’t live here anymore. Too many happy memories, and even the bad ones, I couldn’t endure it without you. I moved into the city.

William takes a sip of the champagne.

WILLIAM (CONT’D)I’m back now.

CASSThe man who killed me is no more.

(confused)I’m still here. I can’t leave. Where do I go from here my love?

William puts the glass on the table and place his finger to his lips.

WILLIAMSh! Sh! Say no more.

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CASSI want to be with you my love. It’s impossible, because you are among the living and I walk among the dead.

William looks lingeringly at Cass for a few minutes.

WILLIAMDon’t talk. Don’t say a word. Let me have this moment.

CASSYou can have every moment.

WILLIAMI want this moment to toast your return.

CASSHow can we be together? I don’t know how we can be together.

WILLIAMDo you remember what I promised?

CASSYou promised me eternity in your arms.

WILLIAMI promised you my everlasting love, in life as well as death.

CASSYou promised nothing will tear us apart.

WILLIAMNothing.

CASSOnly this.

WILLIAMNothing Doll.

(pausing)Without you I have no life and without me you have no peace. You and I were destined to be together. Tonight, I toast my love to you.

With these last words, William puts the glass of Champagne to his lips.

Cass watches as William drinks the glass of Champagne.

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The Champagne washes William’s lips and in one gulp, it empties down his throat.

CLOSE UP ON GLASS FALLING TO THE FLOOR.

William soon follows, dying instantly from the poison.

CASSWhat did you do? Don’t die on me, my love. If you die, I’m truly dead forever.

Cass rushes to William, crouching onto the floor, and grabs his hands. She feels warmth and she knows he is in her world.

WILLIAM’S FINGERS REJUVENATE, THE WRINKLES OF AGE SLOWLY FADE, AND REGENERATE HIS FACE BACK TO HIS YOUTH. HE HAS FOUND THE FOUNTAIN OF YOUTH IN HER TOUCH.

William opens his eyes, and once again he sees the face of the woman he loves. He is young again, in his thirties, the same age as when he found Cass butchered to death.

WILLIAMNothing can separate us, as I promised. Nothing.

CASSNothing.

WILLIAMWe go now Doll.

CASSWhere?

WILLIAMTo heaven. This is no longer our home.

INT. MASTERSON’S HOME - DAY

The Masterson live the rest of their lives at 7668 Crystal Lane and became fruitful. The house is kept from generation to generation, and the story changes with every telling. They never called anywhere else home, for this is their home.

DIANAMommy, mommy.

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SWEET MASTERSONWhat?

DIANADoes Cass still haunt this house?

SWEET MASTERSONNo sweetie. She left a long time ago. She found her true love.

DIANAIs that the same way you love daddy?

SWEET MASTERSONYes, I like to think so.

DIANANo love should be said here if it’s not true. Tell me the story again, Mama.

Sweet pulls the blanket up to Diana’s neck.

DIANA (CONT’D)Please mama.

SWEET MASTERSONThis is the house where love does not exist; at least, love that is not true does not exist here. Empty promises, along with empty words by the stretch of a man’s imagination in the prowess of seducing another person’s heart, can’t be said here. Be careful, people say, a woman haunts this house, warning every man to be true to every promise for the sake of love.

(softly)Nobody can say “I love you” without meaning it. Now, go to sleep.

Sweet’s husband, DON, comes into the room, hugging Diana.

DONIt’s late, Princess. Time for bed.

DIANAGood night, daddy.

Sweet and Don responds simultaneously.

DONNight.

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SWEET MASTERSONNight.

FADE TO BLACK.

108.