THE PRESENCE BY THE FIRE
Int. A Room - Day
We are in a room, a big room. The type of room that you imagine is in a mansion. There is a big, elegant red bed, with a woman laying unconscious on it. At her bedside is Reid, her husband. He is holding her hand and staring at her beautiful, yet tired face. She has lost most color in her skin; her face is as pale as can be. But still, Reid sits at her side acting as if nothing is wrong. The room is empty except for the presence of Reid and Mary. Doctor walks in from the hallway, as he enters you can see family members waiting outside, crying and comforting each other.
FLASHBACK:
December 24, 1985
Int. Christmas Eve Party – Late Night
We are in a big fancy club, the type of club that it doesn’t just take an ID to get into. There are many people packing the dance floor dancing, bad 80’s clothes, and all. We go over to the outside of the dancing crowd, and see a younger Reid sitting and drinking. He looks to be in despair, looking on at the happy people. He downs the rest of his large glass and asks a passing waiter for another. The waiter notices that Reid is not in the best condition.
WAITER
Sir, I think this should be your last.
REID
I agree; fill the motherfucker up and it’ll be my last.
The waiter takes the glass and walks away. Reid slams his head against the table a few times; not hard enough to even leave a scratch. He looks to his right to see a couple making out at their table. He looks to his left to see a young Mary, slamming her head on the table as he once was. Reid stands, puts a pair of sunglasses, and walks towards Mary’s table. Mary notices Reid’s rickety body walking towards her and sighs.
MARY
Oh god.
Reid arrives at the table in not so cool style, planting himself across from Mary. He takes off his glasses and smiles, only then noticing that Mary is quite beautiful. Silence continues until the waiter that was at Reid’s table before arrives.
WAITER
Here, this is the last one.
REID
Okay Sir, the last.
The waiter walks away.
MARY
Why did you come over here?
REID
I think because I noticed you where alone, and I was alone, and I thought that no one should be alone in a place like this.
MARY
Well, I came here for the drinks, not to be hounded by drunks like you.
REID
Well baby, you came to the wrong damn place. (Beat) You see I came here for drinks too. I came because I lost me small nothing job today, and went home to find my so-called girlfriend in bed with my best friend. And a thought came to me… I have no friends. My girlfriend is fucking a guy I know, I get insulted every time I ask my boss a question, and I come home and fall asleep, alone.
MARY
Why do you people drop all your problems on people like me? I have two jobs, I get 5 hours of sleep a night, and I don’t even have time to have a boyfriend. I come to a nice Christmas Eve party here to drink, and some bum that thinks he has a bad life wont leave me alone.
REID
Would you like to go out with me?
MARY
No.
REID
Just one date, I swear.
MARY
No.
REID
Come on, I’m not that ugly am I?
MARY
You’re not ugly at all. (Beat) I have to go.
Reid reaches into his pocket and gets a card out.
REID
Here is my number, if you want to go out, call me.
Mary takes the card and walks away. Reid sits back down and picks up his drink. He puts the drink back down and smiles.
REID
Damn I hope she calls.
CUT TO: Back In The Room
Reid notices that the doctor is in the room, so he kisses Mary and walks to him.
REID
Hello, Mr. Johns, how can I help you?
The doctor struggles to find words to say. He glances over at Mary, almost shakes his head as if to think, "How sad." He then looks back over at Reid, noticing that Reid is having trouble accepting what is going on.
DOCTOR (Mr. Johns)
Reid, I’ve done house calls for you and your family ever since you where a child. So it pains me to say this.
REID
Say what? (Beat) What are you talking about?
DOCTOR
Reid, Mary is not going to make it. I’m sorry I had to tell you, but I can’t stand here while you wait by her side, expecting her to wake up, and for everything to be fine.
With this, Reid’s face turns a pale white, his face seemingly emotionless. The doctor walks out slowly, making sure that Reid is fine. But Reid just stands, almost in shock. He looks at Mary again, from a distance. He smiles as he stares, looking at every feature of her. After the doctor leaves the room, Reid walks back over to Mary’s side, holding her hand once again, as if to try and forget what the doctor has told him. All the sudden, Mary opens her eyes. Reid seems too shocked to say anything, as he waits for her to talk.
MARY (Weakly)
Baby.
She bends her body a bit, as if to try and speak distinctively.
MARY (Whispering)
... I’m so sorry.
She falls back, and goes to sleep. Reid then stands, kisses her forehead, and sits back down and stares at her.
Outside the window in the distance we can see a man dressed in a black trenchcoat. His slick combed back hair and black attire suggest he may be a priest, but something doesn’t look right about him. Reid looks up and sees the man, only for a millisecond.
Montage:
Reid sits for another hour, as she passes away. He sits still, as the coroner gets the body of Mary, and takes it away. He still sits though, without moving. Finally, Mary’s sister comes to Reid and taps him on the shoulder. Reid snaps out of it and leaves the room slowly.
Ext. Garden Outside The House - Day
Reid is walking, slowly, around a huge garden. It has just about every flower, plant, or fruit growing that one could imagine. There is a walkway going through the garden, almost like a maze, yet from where you are, you can see where the end is. Reid walks patiently around the walkway, admiring every plant but not stopping to take a closer look. In the backdrop of this big garden is Reid’s mansion. It is a large, elegant house. It looks as if it has been standing for quite a while, even though the paint looks fresh, and everything is polished up real nice. Reid continues walking, but now he has stopped looking at the garden and seems to be fixated on a woman worker that is watering a few plants a good distance away from him. She has the same beautiful brown hair as Mary did, and looks, at a distance, just like Mary herself. Reid jumps on to a new path that heads towards where the woman is. He begins walking faster as the woman starts walking away from where she was; she seems to be hurried as she walks more quickly. To the right of Reid the Man in Black appears… Reid stops for a moment.
REID
Who are you?
THE MAN IN BLACK
She is gone Reid. Stop pretending.
The man again disappears; Reid notices that the woman is still walking. He walks quickly to try and catch up. Reid then begins to run to her and finally catches up. He taps her on the shoulder. She then turns around, revealing the face of Mary. Reid gasps and falls down, taken back by the fact that it is Mary. He then gets up quickly and looks again, only to reveal a different woman.
WOMAN
Are you okay Sir?
REID
Yeah... ah... yes… sorry to intrude.
WOMAN
It’s all right Sir, you are going through a tough time.
REID
Yes... well, it appears so. Thank you.
Reid walks away confused, and wondering what just happened.
WOMAN (Raising her voice)
You have my condolences Sir.
Reid stops, he doesn’t turn around however.
REID
Thank you.
He begins to walk again, looking around for the man.
Int. Reid’s Bedroom – Night
Reid’s room is dark; he is trying to sleep. He turns over to his left side; he looks at the painting that is on the wall, a simple bowl of fruit. He turns back around to his right side and looks at a picture of his deceased wife, Mary. She is lying on a blue blanket, in the garden. The sheer beauty of her is almost haunting. We zoom in to the picture and see it come to life.
CUT TO:
Ext. The Garden – Afternoon
It is a sunny day outside; Mary and Reid are laughing and lying on the blanket.
REID
Ok, ok. Maybe… I had a few pimples.
MARY
It doesn’t matter… you are beautiful.
Reid reaches over and kisses Mary.
REID
No Mary, you are beautiful.
Mary smiles and blushes, a red pallor invading her cheeks at the compliment.
REID
Didn’t you say you had something to tell me?
MARY
Yes honey, I have some great news.
REID
Well, what is it?
Mary rubs her hands through Reid’s hair, and kisses him again.
MARY
I’m pregnant.
Reid looks like he is in shock, but slowly it turns into happiness.
REID
I’m going to be a father?
MARY
Yes honey, you are going to be a Daddy.
Reid stands.
REID
Yes! Wahoo! This is such great news!
Reid looks down at Mary to see she is not smiling. He sits back down.
REID (Concerned)
What’s wrong?
MARY
I’m still not feeling better; I think I might need to visit the doctor this week.
REID
I’ll arrange it; it’s probably nothing at all.
Ext. Graveyard - Day
The ceremony for Mary has ended and Reid is still at the graveside of Mary. Tears are rolling down his cheeks as he tries to stay composed. Valerie stands in the distance behind Reid, staring at him with such sadness. Reid now wipes the tears from his face, and walks closer to the freshly dug grave. Reid kneels as if to get closer.
REID (Whispering)
It’s okay… everything will be okay. We’ll fix this. (Beat) We’ll fix this.
Reid stands and looks back to see Valerie turn her back and begin walking. Reid looks back at the coffin and mumbles some more. We move away from the scene slowly, when we are too far away to see Reid, we see the Man in Black staring on. We close up on his face; again we see that something about him looks wrong. The skin seems too thin, the look on his face never changes, and not a hair on his head is out of place.
Int. Reid’s Bedroom – Day
Reid sits in a chair staring blankly at the walls. Valerie walks up to the doorway, and stops at it.
VALERIE
How are you doing Reid?
REID
I’d be a lot better if there weren’t people that I have never meant before telling me that they are sorry that my wife died.
VALERIE
Well, most of these people are here for free drinks. I’ve never met half of them.
REID
And another thing why is it that every time someone dies… people keep using it as an excuse to have a party? Someone has died, that’s not exactly a good reason for a party.
VALERIE
Well I guess that’s just what people like to think, that we have to move on… so why not have a party?
REID
Heh, thanks, I agree fully.
VALERIE
So are you going to come out?
REID
No, I just want some time to myself.
Valerie stares at Reid for a few seconds, then leaves.
FLASHBACK:
Int. A Hospital – Midday
We are in Mary’s hospital room, which only has one bed, the one she is lying on. Reid is by her side, brushing her hand and giving it kisses. She looks weaker than before, but her beauty still shines through.
REID
How are you doing, baby?
MARY
Besides from all these tubes put in me, I’m just fine honey.
REID
I’m sorry, I was out, and they had trouble getting to me.
MARY
Don’t worry about it you’re here now.
Reid looks at the weak face of Mary and tries his best to get serious.
REID
What’s wrong with you Mary?
MARY
They say I have some sort of virus, something they’ve never seen before.
REID
When can you come home?
MARY
As soon as they are done running all these damn tests.
REID
I’ll be here with you as long as you are here, I promise.
MARY
No Reid, you need to get back to your work. You are the big dog around there, how would they manage things without you?
REID
I’ll only go back to work if you tell me to.
Mary scoots up, and kisses Reid.
MARY
Go back to work honey. This is nothing, I’m sure I’ll be out by tomorrow.
Int. Inside the House - Night
All of the family is in the house; it is some sort of gathering after the funeral. Reid is nowhere to be seen. The rather high-class nature of the house can be seen now more than ever. Everyone is gathered, drinking wine and talking. The strange thing is, they are only talking small talk, and nothing about Mary seems to be spoken. Valerie is talking with Reid’s mother.
VALERIE
But you don’t understand… he can’t let go.
REID’S MOTHER
Let him have his time. It was a hard loss for him; just let him have his time.
All around the room we can hear people speaking about one thing or another. In the background we suddenly hear crashing sounds. Everyone is startled as Reid screams, "Mary! Mary!" a desperate edge to his voice. Valerie runs down the hall to the room that Reid is in. She tries to open the door only to find that it is locked.
VALERIE
He’s gone and locked the door!
REID (Mumbling quietly)
Why, why did you take her? Why?
Valerie walks slowly away from the door.
VALERIE
Let him be.
The crowd walks away together, and continues as if nothing happened.
Int. Reid’s Office - Night
Reid is asleep at his desk. It seems as though he has not been doing work, but instead looking at pictures of Mary. There is a scratching at the window and it awakens Reid. He looks around, and sees nothing. He then looks out the window and sees a white figure walking in the garden. It looks as if it’s Mary, in a white dress. Reid scrambles to his feet and over to the window. He opens is quickly and exits the house from there. He then starts running and falls. He slowly gets to his feet, as it seems the figure has stopped. It turns around to reveal... nothing. It looks as if it is a woman without a face. Reid is taken back by it and just stands transfixed, staring at it. The next moment the figure is gone.
CUT TO: Inside the house
Reid is stumbling around the house, now in the hallway. He is breathing hard, and can’t seem to grasp what he has seen. He runs into his room, slamming and locking the door. He runs his hands through his hair, and begins to pull on it like he is losing it. He sits on his bed, still nervous. He manages to catch his breath, and tries to calm down. He runs his hands through his hair one more time, and lies down on his bed.
Ext. The Garden – Day
The sun is shining through a few beautiful trees; the garden almost looks like the Garden of Eden. Reid is on his knees, trying to replant a few of the dead flowers, and is doing it very nervously. Valerie walks to him, and puts her hand on his shoulder.
REID (Startled)
What the…oh. Hello Valerie.
VALERIE
What are you doing there?
REID
Just trying to make things look presentable. (Reid Stands) I don’t want anyone I don’t know doing it.
VALERIE
I was thinking you might need some help maybe I could hire somebody.
REID
No, I don’t want you to. Things are pretty weird around here; I don’t want to bring anyone into this.
VALERIE
Reid, are you okay?
REID
No, I am very not okay. I think Mary is trying to contact me.
VALERIE
She’s dead Reid, she’s gone.
REID
I wish I could tell you I’ve moved on, but I can’t. She’s still here. I’ve seen her here. I’ve seen her walk through the garden and roam the hallways. She’s still here.
VALERIE
Walk with me.
Reid and Valerie begin walking through the garden and back of the house.
VALERIE
You need someone here. You need someone to help you. You can’t go on like this; you’ll die of a broken heart. You some how some way, must move on.
REID
That’s easy for you to say.
VALERIE
I’ve had my husband die, so no; it isn’t easy for me to say it. He died a week after our marriage. I’ve experienced this.
REID
I didn’t know that, I’m sorry. (Beat) It’s not just her; there’s someone else.
VALERIE
Who else could there be?
REID
I don’t know… a man. A man that is dressed all in black, he just appears, and then he’s gone.
VALERIE
Would you like me to bring someone from the church to bless the house?
REID
No, I never believed in religion.
The two stop at a bench, and sit.
VALERIE
Maybe you just need to get together with some friends.
REID
She was my only friend.
VALERIE
Maybe you need to… find someone else.
Valerie moves closer to Reid.
REID
I couldn’t bear looking.
Valerie holds Reid’s hand.
VALERIE (Looking squarely into Reid’s eyes)
Maybe you wouldn’t have to look.
The two make eye contact, and Valerie kisses Reid. Reid pulls back.
REID
No, this isn’t right.
VALERIE
Why is it not right? We’ve experienced the same thing; we belong together.
REID
This is wrong. This is too wrong.
Reid stands up, looks at Valerie one more time, and walks away.
Ext. Outside Reid’s House - Day
It is a beautiful sunny day, as Valerie and a man are standing at the driveway of Reid’s house. The man looks like a butler; he is young. The house looks like it has been not taken care of for quite some time, besides the garden. Everything is blooming in the garden; the man takes notice of it.
MAN (Ryan Gosling)
That’s quite a garden.
VALERIE
Yes, that’s all he seems to take care of these days.
They continue walking until they reach the door.
VALERIE
Listen, he has lost his wife, so don’t ask about her.
MAN
Yes, I was told.
VALERIE
Be kind, do your job, and you will get a hefty salary.
MAN
All right then.
Valerie knocks on the door. It takes some time but Reid eventually answers. He opens the door quickly, and looks, unlike the house, in good shape.
REID
Hello Valerie.
VALERIE
Hello Reid, how are you doing?
REID
Just fine, who is this?
VALERIE
This is Joseph; he is your new housekeeper.
REID
No, don’t use that word. Well, hello Joseph. You’ll find this job rather easy so you shouldn’t worry.
JOSEPH (The Man)
Good, I’m glad I got the job.
REID
Will you be staying Valerie?
VALERIE
No, I have an appointment in a half-hour. I’ll stop by later this week, all right?
REID
Okay.
Valerie walks away from the two. Reid looks like he’s fixated by her, and almost has to shake his head to ignore her.
REID
Well, come in.
Reid looks out one more time, and sees the Man in Black standing in the driveway. The two men stare at each other until Reid turns his back and angrily slams the door.
Int. Hallway Of The House - Day
Reid and Joseph are walking through the hallway; Joseph looks as if he is confused as Reid points to paintings and such, talking up a storm.
REID
She likes that painting. I never did, but she hounded me enough to let her put it on the wall.
They continue walking, stopping at a vase full of flowers.
REID
Mary loves those big white lilies, she always has. This year they are finer than ever.
JOSEPH
Sorry to interrupt Sir, but what work would I be doing around here?
It almost seems as though Reid snaps out of the mood he was in. As if he was knocked off the cloud he was on.
REID
Yes... I will explain all of that later.
They continue walking.
REID
I’ll show you the garden now; she loves to attend to it.
Ext. Outside The Library – Night
We can only see inside the library from the window. Reid still looks to be waiting for the man to come back that appeared before. Reid stands and walks to a certain part of a bookcase that has all the family photo albums. Reid picks up one entitled "A Summer in Paradise"; he scrolls though it laughing at times. We begin to go back from the scene, first a few footsteps, then a few yards, and then we are at the driveway. From there, however, we can still see the library alive with light, too much just to be a lantern.
Int. The Study - Night
Joseph is asleep at the study; it looks as though he was doing some type of schoolwork. There is a knock at his window, which the curtains cover. Joseph wakes up quickly and walks over to it; he opens it to reveal Reid. Reid looks very frightened; his skin is a pale white. Joseph opens the window.
JOSEPH
What are you doing out there at this hour Sir?
Reid hesitates, looks around, and then talks.
REID
I... I have seen her.
JOSEPH
You have seen whom?
REID
Mary, she has come to me. I have waited for so long, but she has now come to me. I could feel her presence for months, but now she has visited me!
Reid is now excited at the thought that she has come, while Joseph looks at Reid and sighs.
JOSEPH
What happened, explain it to me.
REID
Well, I was sitting in my chair, the one in the library room. I started up a fire and opened up one of our vacation picture books. I looked through the whole thing; it took about a half-hour. Then, after I closed it, I looked up and saw her sitting in her armchair! At first she looked like mere smoke, but then it turned into a figure, and into her! But she was gone the next second. Then, I looked back and she was standing behind the chair! She smiled at me!
JOSEPH
Are you sure it was she? How do you know it wasn’t just some smoke from the fire?
REID
I am sure she was wearing her nightgown. It was not just smoke. Her presence was right where it always had been in the days before, next to the warm fire as I do my wok.
JOSEPH
Sir, it is late. Maybe you should sleep it off.
Reid looks taken back by Joseph’s comments.
REID
Do you believe me?
JOSEPH
Yes, I do, but I think you should just sleep it off.
REID
She told you I was crazy, didn’t she?
JOSEPH
Who?
REID
Valerie, she told you I was crazy, didn’t she?
JOSEPH
No, she did not.
Reid looks harder at Joseph as if to examine him, he then storms away from the window.
JOSEPH
Goodnight Sir, get some sleep.
Int. Library Room - Night
Reid is sitting in the library room, waiting for Mary to appear again. He sits, so lonely, waiting for her to reappear. He looks away from the chair and into his book, and up again. He does it repeatedly to no avail. He throws the book against the wall and walks to the door, and then stops to the sound of a man clearing his throat.
THE MAN IN BLACK
Sit down.
Reid turned to see the same man he has seen so many times before. He slowly walks to his chair, making sure to keep eye contact with the man.
REID
Who are you?
THE MAN IN BLACK
It doesn’t matter who I am. (Beat) She has come to you, hasn’t she?
REID
I don’t know what you are talking about.
THE MAN IN BLACK
Yes you do. She has only one more chance to leave this place; I suggest you tell her she should take it.
The man disappears again. Reid looks high and low for the man throughout the room, and finds nothing.
FLASHBACK:
Int. Hospital Room – Day
The sun shines through a window; Mary lies on a hospital bed, looking more and more weaker with every breath. Reid is in the hallway talking with a doctor.
CUT TO:
OUT SIDE THE ROOM
REID
What the hell is it?
DOCTOR
We have never seen it. (Beat) These things are rare, she could have it for another year or another day, we have no idea what it is.
REID
Don’t you fucking doctors know anything?
DOCTOR
Sir, we are doing every---
REID
Yeah everything you can, (Yelling) well it isn’t working!
Reid looks around to see a few people looking at him. He lowers his tone and walks closer to the Doctor.
REID (Whispering)
What is going on?
DOCTOR
I’m sorry Sir, we honestly don’t know.
REID (A tear trickles down his cheek)
She’s all I have.
Reid looks around again, wipes the tear from his face, and coughs.
REID
What about the baby?
DOCTOR
If she isn’t getting better in two weeks, we’ll have to perform a surgery to get the baby out.
REID
Will it live?
DOCTOR
It would just be too underdeveloped. I’m sorry Sir.
REID
I’ve heard enough apologies, if she isn’t better in two weeks and you do the surgery, she’s coming home.
Reid walks back into the room slowly, trying not to wake his wife.
MONTAGE:
The two weeks pass, with each passing day Reid at the side of his wife. Every day he argues with the doctors about the surgery. Finally the two weeks are done; Mary is being rolled away on a stretcher while she is barely conscious. Reid walks with the men that are pushing the stretcher keeping good eye on his wife. They arrive at the room the surgery will be performed in; Reid has to stop at the door. He waits for what seems to be an eternity for it to be done, and then, a doctor comes out. All we can see is he relaying the news that the baby, as thought before, didn’t make it. As he is told the news Reid looks through a window into the room the surgery was done in and touches it, longing for things to be as they once where.
Ext. The Garden - Day
Joseph is in the garden, attending to all the plants and flowers. Reid is walking around, slowly, pondering what happened days ago. He notices Joseph and walks to him.
REID
It couldn’t have been smoke.
Joseph for the first time notices Reid’s presence.
JOSEPH
You saw it Sir, not me. I cannot say whether what you saw was real or not, because I wasn’t there.
REID
I see. I just don’t understand.
JOSEPH
Understand what Sir?
REID
She was young. She was... she was pregnant. Why would God do such a thing? Why would he take her away?
JOSEPH
They say God works in mysterious ways.
REID
I’m having trouble believing that there is a God.
Reid begins to walk away and stops.
REID
Thank you.
Ext. Reid’s Father’s House - Day
Reid and his father walk through the acres of land his father owns. He resembles his father’s appearance, but in the same tone Reid almost looks older than his father in some ways, or just worn out.
REID
I don’t know Dad, I really don’t. Your first wife died, how where you ever able to get over it?
REID’S FATHER
I didn’t. I had to find another love. I met your mother a year after my previous wife had died your mother comforted me. She understood my loss, and she really helped me through it.
REID
There will never be another for me. She was the one.
REID’S FATHER
That’s the way I felt too. But you have to understand; death is a part of life. Sooner or later we all will die, and those who love us will remember us and we will remember those who we have lost. But in the end, we have to move on.
REID
Yeah, I guess you’re right.
REID’S FATHER
Give her the morning time she deserves, but understand that you must move on. Reid, she has not come to you as some sort of ghost, she will always be with you though. You did not see her; it was just what we call wishful thinking.
REID
She seems so real.
REID’S FATHER
All illusions do. Listen, I could stand here and talk to you for hours, tell you to move on, tell you it is hard… or we can get in there and eat some dinner, which I am not opposed to.
REID
I always know when you’re hungry. Let’s go eat!
Reid’s Father puts his arm around his son in love, and they walk away happily.
FLASHBACK:
Ext. The House – day
It is the early 90’s, and this is the first time that Reid and Mary have been to the house. They are ecstatic with joy as they walk through the garden. They sit at a worn down bench, not the one that is now in the garden.
REID
So… what do you think of it?
MARY
I think it’s great! We have to get this place.
REID
It looks like it needs some work though, are you up to it?
MARY
Of coarse I am!
REID
Good, he is offering a price we can manage, so this is the place then.
MARY
Oh Reid, this is the place. It’s exactly as I imagined. There is something about this place, something sad. We need to bring our happiness in to this place. We need to make it our own.
Reid hugs Mary and kisses her. Out of the corner of his eye he sees something, He glances over to see nothing. We pull away from the scene as Mary and Reid rejoice.
Int. Reid’s Basement – Dark
Reid and his father enter the basement with flashlights. Reid stops at the last step.
REID
Why are we doing this?
REID’S FATHER
You need to have something to do… a project. We’ll just clean this place out and then we can put your stuff down here, not someone else’s.
REID
You want me to put Mary’s stuff down here don’t you?
Reid’s father stares at him, disgust written on his features.
REID’S FATHER
No, Reid, I thought this could be fun.
REID
Sorry Dad.
Reid’s Father finds a light bulb, which leads to 4 more. He turns on them all and it lights up the room.
REID’S FATHER
That’s all right, you get the right side I get the left, okay?
REID
sounds good.
Reid and his father both walk to separate parts of the room. Reid’s side has mostly toys and things left behind. Reid takes one box and walks it to the foot of the steps.
REID’S FATHER
Come take a look at these, it looks like a portrait from the early 1900s.
REID (Walking to his father)
What boring stuff did you find now?
REID’S FATHER
This stuff is great, Sir William Parker, looks like a creepy guy doesn’t he?
REID
Let me see.
Reid’s father turns it around to reveal The Man in Black. Except this man looks more sophisticated and for lack of a better word, "alive."
REID
That’s him. Oh my god that’s him.
REID’S FATHER
Who, that’s who?
REID
The man… that owned this place first, I always wanted to see what the fellow looked like.
REID’S FATHER
Well now you know. Doesn’t he look like he is at the top of his game? I mean, really.
REID
Yes he does, yes he does.
Int. A Public Library
Reid is sitting at a computer, searching for something that involves William Parker. He finds nothing. He stands up and walks to the service desk.
REID
Hello, I am looking for anything involving William Parker; he lived here some time ago. Do you recognize the name?
WOMAN
Why yes, he is a very know man here. Have you heard the stories?
REID
What kind of stories?
WOMAN
Well, he was a very rich man, which lead to his demise. He came here in 1897, and set up shop, he was always a charming man, and very active in the community. But one night, during which he was out of town, his wife and son were murdered. He returned to find that he was the prime suspect. He ran; he went to another state. A year later he was seen in town, a shadow of the man he was before. He went back to his old home, a beautiful mansion, and killed himself. The saddest thing is that the killers of his son and wife were found a week after Parker killed himself.
REID
Thank you.
WOMAN
Your welcome, if you need further info just come back any time and ask.
Reid walks away, shaking his head in disbelief.
Int. The Hallway
Reid is walking down an empty hallway; the mere fact that he is alone brings great tension to the hallway. As if you just know something is going to jump out on the next corner. Reid enters the library.
CUT TO:
The Library
At the same chair as before, is William Parker (The Man in Black). Reid makes sure to keep his eyes on him.
WILLIAM
I see you found a few of my things.
REID
Yes.
WILLIAM
I suppose they where bound to be found sooner or later.
REID
Why are you here? (Beat) I mean, are you a ghost?
WILLIAM
Don’t you hope so? (Beat) I am stuck here, until the end of time. I don’t care to tell you anything you don’t know.
Reid scoots to the end of his chair, and closest to William he can get.
REID
Why is she here?
WILLIAM
She didn’t want to die. (Beat) Now I know you’re thinking, "Well, no one wants to die!" and you’re exactly right. But she never accepted she was no longer with you. So she stayed. Her contact with you can only be little at her current state; she’s half way between heaven and earth.
REID
I don’t understand.
WILLIAM
Yes, it is indeed a hard thing to understand, but you must.
REID
What can I do?
WILLIAM
Ignore her, move on. She has to know that it is not right for her to be here.
REID
I have moved on.
WILLIAM
You have not moved on. You are still trying to believe she is just on vacation, like death is just a temporary thing.
Reid Stands.
REID
I can’t take this anymore. I am going to sleep.
Reid walks to the door.
REID (Not looking at him)
Please help her.
Ext. The Garden – Day
Reid is sitting on a bench, we see Valerie walk towards him. Reid marvels at her, and can’t take the smile he has off his face.
REID
So you didn’t try to scare me this time, why?
VALERIE
If you must know, it’s because I couldn’t think of a good place to hide.
Valerie sits.
VALERIE
So how have you been? It’s been about two weeks since I’ve seen you, are you doing okay?
REID
Yes, I’m doing fine. I mean besides the fact that there are ghosts walking around my house.
VALERIE
Oh, you’re still seeing them?
REID
Yes, I’m almost sure that it will end soon. (Turns to Valerie) As you said, maybe I need to find the right person.
VALERIE
Are you sure about this?
REID
I wouldn’t do this if I weren’t absolutely sure. You have cared for me; you have been there for me. You have no idea how much that means to me.
VALERIE
Reid, I love you.
REID
I think I love you too.
Reid kisses Valerie without warning. As they kiss Joseph walks up to them, they notice him and quickly stop.
JOSEPH
Oh I’m sorry, am I interrupting something?
REID
No, ah, no. Valerie was just leaving.
VALERIE
Yes, I was. (Valerie stands) I bid you both farewells.
Valerie walks away quickly. Joseph looks at Reid and smiles.
REID
Oh stop it.
Int. Dinner Room - Night
Reid and Joseph sit at a big dinner table eating their food. Reid seems happier than before, almost like he has accepted the death. Joseph looks at Reid smiling, noticing the fact that Reid is happier.
JOSEPH
Did you have a good talk with Valerie Sir?
REID
Yes Joseph, I did. We have something to talk about though.
Joseph sits up as if to be more serious.
REID
Can you please, please quit calling me Sir?
Joseph is relieved and laughs.
JOSEPH
Of course.
REID
Thank god, I hate being called Sir.
They continue on eating, Joseph seems even happier then Reid.
REID
But listen. I know things have been weird around here. But all of that is going to stop. My wife is not visiting me from beyond the gra...
Reid stops and looks over to Joseph in terror. We see that Mary is standing right behind him smiling, almost toying with Reid. Reid shakes his head and looks down.
JOSEPH
Is there something wrong Reid?
REID (His head down)
No, ah no. Just continue eating.
Reid looks up and sees Mary again, looking straight at him. He again looks down at his food.
REID
Go away Mary!
Reid saying this startles Joseph.
JOSEPH
Reid, there is no one in here. There is only you and I.
Reid looks up again to see that Mary is gone.
REID
No, she is here. She won’t leave me alone.
JOSEPH
Okay, why don’t you go to sleep Sir? I can clean up this food.
REID (yelling)
Why don’t you quit acting like I am crazy?
Reid keeps his head down as he storms out. Joseph looks around the room to see if there is in fact anything in it.
JOSEPH
Dammit, only job I can get is taking care of some sort of nutcase.
Int. The Library Room - Night
Reid is sitting in the dark, with only a big fire to light the room. Reid is falling asleep as he stares at the fire, endlessly waiting for something to happen. As he closes his eyes the fire doubles in size and the flames grow massive. But as soon as the fire blew wildly, it stops. Reid looks slowly around the room.
REID (Softly)
Mary!
Reid looks around some more. He then looks over to her chair once again and sees her, not clearly, but sees her. It looks as if she is made of some sort of cloud of smoke, as she sits not saying a word. Reid stands tentatively as if he is scared that if he moves to quickly she will turn to dust.
REID
Mary? Is that you Mary?
Her image begins to fade as he walks closer. He backs off as if he thinks he has done something to make her fade, and sits in his chair. The image that once was her as seemed to fade to mere smoke and nothingness. Reid puts his hands over his face and begins to cry, saddened because he thinks he may have caused her to disappear. He wipes his tears away, stands as manly as possible and turns to walk out. Suddenly Mary appears at the door, in clear view. She walks to Reid slowly, and puts her arms around him. She speaks into his ear.
MARY
I just want you to be happy.
Reid backs Mary’s face away from his ear and looks at her in the face.
REID
You are all I want please don’t leave again.
MARY
I’m sorry Reid I must go. Please be happy Reid that is all I want. I just want you to be happy.
As soon as she appeared she disappears again.
REID
Mary! Mary come back, please!
Ext. The Garden - Day
Reid is walking around the garden, almost with a new sense of self. Joseph is watering the lilies that Mary loved so. Reid smiles and walks over. He taps Joseph on the shoulder and seems to turn serious as Joseph turns around.
REID
Seeing as how I told you what happened before, I find that it would not be right if I did not tell you this.
JOSEPH
Okay Sir, what would you like to tell me?
Reid hesitates to tell him, but smiles and does.
REID
She will come no more.
Reid pats Joseph on the back and smiles.
REID
She will come no more.
Ext. The Garden – Day
Reid and Valerie sit at the bench. Both are very serious and not talking.
REID
She said she wanted me to be happy. This is the only way I can be happy without her, and she knows it. I’m glad this is all finished; she can go on to her next life and be happy.
VALERIE
I’m glad you feel better.
Reid leans over and kisses Valerie, but it looks like she’s seen something.
VALERIE
Who is that?
CUT TO: The Other Side of the House
The Man in Black stands with his usual darkness; he walks away from the scene and disappears.
THE END