HAUNTED
1X04: ABBY
ORIGINAL AIR DATE ON UPN: 10/15/2002
TRANSCRIBED FROM UPN
Written by: MOIRA KIRKLAND DEKKER
Directed by: MARTHA MITCHELL
Transcript by Intrepid
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Please do not archive this transcript without permission from the
Transcriptionist
RATING: TV-PG-V
==========================
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==========================
SUMMARY: Marcus asks Frank to help him out on a case that has the same m.o. as
a murder he investigated six years before. The more Frank investigates, the
more he learns that there's a malevolent spirit out to destroy the last
remaining descendants of her own son, including the woman Marcus loves.
==========================
HAUNTED
1X04: ABBY
==========================
COLD OPEN:
[EXT. CITY STREET - NIGHT]
(FRANK gets out of his car and walks past the various police officer cars with
their sirens and lights flashing. OFFICERS mill about the street as something
has just happened. FRANK walks across the street and into the building.)
(FRANK makes his way down the stairs where he passes more OFFICERS talking with
potential witnesses. He walks through the small back alley, turns the corner
and walks down the stairwell.)
(Cut to: FRANK walks through the dimly lit underground hallway.)
(Cut to: FRANK reaches the area where it opens up into a larger warehouse-like
storage area. He looks down from the catwalk and sees a dead body in the center
of a circle of candles. An OFFICER stands just outside the circle looking at
the body.)
(FRANK makes his way down the stairs.)
(MARCUS meets him.)
MARCUS: Thanks for coming. Middle of the night and all.
FRANK: Couldn't sleep anyway.
(They make their way toward the body.)
FRANK: Nasty business.
MARCUS: Yup. Fact is I saw something just like this a couple years back. Same
body positioning. Same occult paraphernalia. Same cause of death.
FRANK: In L.A.?
MARCUS: I was still in New Orleans. The Landry case. Murder/suicide.
FRANK: What happened?
MARCUS: It looked open and shut. James Landry -- 20 years old. Loses it one
night and kills his parents. He leaves them out with the candles and the pins.
He writes a note confessing everything. Then he shoots himself.
FRANK: Sounds pretty open and shut.
MARCUS: Yeah ... but then I saw this. The crime scenes are practically
identical.
(They walk to the side to speak privately.)
MARCUS: (lowers voice) I got to tell you, Frank. I hate to think I might have
been wrong about that other case.
FRANK: What can I do?
MARCUS: I need someone to work with me on this one. Someone I can trust to
have my back.
FRANK: You need a partner.
MARUCS: Like old times, man.
(FRANK laughs.)
MARCUS: You know how you miss the job.
FRANK: The bad pay, the scumbag bosses.
MARCUS: Bad coffee.
FRANK: Stop it. You're going to make me cry.
(They chuckle.)
MARCUS: What do you say?
FRANK: Yeah. Of course. Whatever you need, I'm in.
(Someone calls MARCUS.)
OFFICER: (o.s.) Detective?
(FRANK heads toward the body. He walks up to the circle on the platform, kneels
down and looks at the body. He sighs.)
(He looks down and notices the blood pouring from the body's head down toward
the drain nearby. The amount of blood alarms him. He stands up and looks at
it.)
(He watches as the blood unnaturally flows to the side near the wall, then makes
its way up the wall.)
(The blood starts writing a message. Up and down the wall, the letters form
where blood drips off of the wall.)
MINE
(Off to the side, there is a forced unnatural laughter.)
(FRANK turns and sees the figure of a woman standing in the middle of the
warehouse. She stands there and laughs. No one else notices her but FRANK.)
(FRANK turns back to look at the message on the wall.)
MINE
(He looks at the woman as she continues to laugh. As he watches, right before
his eyes, she disappears.)
(FRANK swallows.)
HARD CUT TO
END OF TEASER
ROLL TITLE CREDITS.
INTRODUCTION:
[FRANK]: Two years ago, my son was taken from me. Since then, I've lost
everything: My job, my marriage, even my life. But I came back, and the dead
came with me.
(COMMERCIAL SET)
FADE IN.
[INT. CHURCH - DAY]
(Camera moves in slowly from the back of the church. In the front, RACHEL
LANDRY stand in front of the open coffin. She gazes down JAMES LANDRY in the
coffin.)
(MARCUS and FRANK both walk into the church. They walk up to one of the men
sitting in the pew.)
MARCUS: Alex Dalcour? Detective Bradshaw.
(He stands up and they shake hands at the introduction.)
ALEX DALCOUR: You're handling my brother's case?
MARCUS: Yeah, that's right. This is Frank Taylor.
(They shake hands.)
FRANK: I'm very sorry for your loss.
ALEX DALCOUR: Thank you.
MARCUS: We'd appreciate any help you can give us.
ALEX DALCOUR: Of course. We just ... don't understand how something like this
could happen again.
FRANK: Again?
ALEX DALCOUR: This kind of violence isn't new to our family. Just a few years
ago ... Rachel's parents ...
(The mention of the name surprises MARCUS.)
MARCUS: Rachel?
ALEX DALCOUR: My cousin ...Rachel Landry.
(He turns and indicates the woman standing in front of the open coffin. At the
mention of her name, RACHEL LANDRY turns around and looks back at MARCUS. Their
eyes meet and they recognize each other. MARCUS is stunned by this.)
(FRANK, standing behind MARCUS, definitely notices his friend's reaction.)
CUT TO:
[EXT. OUTSIDE CHURCH - STREET - DAY -- CONTINUOUS]
(MARCUS and FRANK walk out of the church. )
FRANK: So, that case back in New Orleans -- that was Rachel's parents that were
murdered?
MARCUS: She found the bodies and her brother's confession.
FRANK: So, now you're thinking maybe the brother's suicide was a frame job?
MARCUS: I don't know what to think. None of this adds up.
FRANK: What about Rachel? Did she have an alibi for that night?
MARCUS: Rock solid. Ten people saw her at the library and a friend drove her
home. You get any kind of hit off this Alex Dalcour?
FRANK: He seemed pretty cool in there, considering.
MARCUS: Well, if he did kill his own brother you got to think he could have
murdered the Landrys, too.
FRANK: Here's where a motive comes in handy.
(They reach the car and MARCUS leans against it.)
FRANK: Is there anything else I should know about?
MARCUS: Like what?
FRANK: Like, what's going on with you and Rachel Landry?
MARCUS: (shakes his head) Nothing. I haven't seen that girl for six years.
As soon as the service is over I'm going to bring them both downtown. Can you
back me up?
FRANK: That's why I'm here.
(FRANK steps away.)
CUT TO:
[INT. POLICE STATION - MARCUS' OFFICE -- DAY]
(MARCUS interviews ALEX DALCOUR.)
MARCUS: You and Henry had a business together.
ALEX DALCOUR: Computer software.
MARCUS: How's it going?
ALEX DALCOUR: It's a competitive field.
MARCUS: Any idea why your brother was in such a bad part of town?
ALEX DALCOUR: Sometimes he had meetings down there, but nothing scheduled for
Tuesday night.
MARCUS: And what about you, Mr. Dalcour? Anything scheduled for that night?
ALEX DALCOUR: I assume that's your clumsy way of asking for an alibi,
Detective. Except that you have no reason to consider me a suspect.
MARCUS: Two murders, same M.O., same family done by two different people?
That's a little hard to swallow.
ALEX DALCOUR: (shouts) As far as the Landrys are concerned ... as far as
they're concerned my cousin James killed his parents then committed suicide.
You handled the case yourself. Or are you now saying that you made a mistake?
(MARCUS leans forward on the desk.)
MARCUS: I'm saying, I'd like to know where you were Tuesday night.
ALEX DALCOUR: At home. Alone.
CUT TO:
[INT. POLICE STATION -- BREAK ROOM - DAY -- CONTINUOUS]
(RACHEL is in the break room with FRANK who is pouring them a cup of coffee.)
RACHEL LANDRY: I know what Marcus is thinking ... but Alex would never hurt
anybody.
FRANK: Detective Bradshaw's just doing his job. He's a good cop.
RACHEL LANDRY: Yeah, and a good man. He was very kind to me after my parents
were killed.
(FRANK sits down at the table.)
FRANK: Must have been very hard for you. To lose your family like that.
(She sighs and sits down at the table.)
RACHEL LANDRY: My brother James had emotional problems but he was very gentle.
I still can't understand how he could have ... and now Henry ... when I heard, I
knew I had to be here. And ...
(She starts crying. FRANK reaches into his pocket and pulls out a handkerchief
which he offers to her. She takes it and looks at it.)
RACHEL LANDRY: I'm fine, thank you detective, okay.
FRANK: I'm not a cop. You can call me Frank.
RACHEL LANDRY: Oh, not too many men today carry handkerchiefs.
FRANK: (chuckles a bit) My grandfather told me that a gentleman should always
carry one in his pocket just in case.
RACHEL LANDRY: He sounds like a southerner.
FRANK: Only if you can count the south bronx.
(They both laugh.)
CUT TO:
[EXT. BLACKHAWK - STREET - NIGHT]
[INT. BLACKHAWK - NIGHT]
(Inside the bar, MARCUS and FRANK sit at the counter having a drink while
discussing the case.)
MARCUS: I'm betting this ritualistic crap is just there to throw us off. Make
us think thrill kill when really ... the only reason these people were murdered
was for money.
FRANK: It does make the world go round.
MARCUS: Mm-hmm.
FRANK: Question is, who had the most to gain financially from Henry Dalcour's
death.
MARCUS: Well, little brother Alex gets everything.
FRANK: He also inherited when his aunt and uncle died. You're looking at a
pretty strong motive.
MARCUS: Well, we're checking it out now.
FRANK: Good.
(The two settle down into silence. FRANK decides to bring it up.)
FRANK: So when do I get to hear about the rest of it?
MARCUS: What do you mean?
FRANK; You wanted my help. Don't keep me in the dark. Come on, Marcus. You
looked at that girl like ...
MARCUS: Like I'd seen a ghost?
FRANK: For lack of a better cliche, yeah.
MARCUS: We met on the case. She had just lost everyone who was important to
her and she ... needed a friend. I'd take her to the movies or out to dinner.
Next thing I knew, we were in love and talking about having a life together.
FRANK: What happened?
MARCUS: I bought a ring. Stashed it in a drawer and waited for the right time.
Then one night I swing by her house, and she's gone. Closet empty. She sold
her car. And what she couldn't carry, she just ... left behind.
FRANK: How did you get through it?
MARCUS: I'll let you know when I do.
CUT TO:
[EXT. STREET -- NIGHT]
(FRANK drives his car up slowly through the street and parks. In the
background, we hear rhythmic beats. FRANK looks around, then gets out of the
car. When he does, we realize that he's where they found the body earlier.)
(He turns and enters the building. As he walks through the corridor, we hear a
newborn baby's cry. FRANK turns around to look behind him.)
(We definitely hear the newborn baby cry. FRANK continues down the corridor.)
(FRANK reaches the opening into the area where the body was actually found. It
is taped off with crime scene tape. FRANK breaks the tape and continues
forward. He walks down the stairs with his flashlight as his guide.)
(Halfway down, he pauses and listens. He continues.)
(He looks around the area, then at the spot where the body was found. In the
center of the white chalk-marked circle surrounded by various symbols and burned
out candles.)
(FRANK pauses, then continues to look around.)
(FRANK sees something crammed in between the columns. He walks toward it.)
(Suddenly, the candles on the floor burst to life. As if they were flares, they
light one by one, until all twelve are lit.)
(FRANK steps toward the candles. As he does, the candles flare higher and
stronger. Their sudden heat sends FRANK back a step.)
(Now, we hear rhythmic music and a woman singing-semi-chanting in the darkness.)
WOMAN (ABBY):
Papa legba / ouvri baye-a pou mwen.
Pou mwen pase.
Le ma tounen, / ma saltie lwa yo.
Le ma tounen...
(FRANK rushes and turns around. He heads back to the column and grabs the item
that he had seen just before the candles flared to life. He takes it and looks
down at it. It's a small ornate woman's pull-string purse.)
WOMAN (ABBY):
papa legba / ma saltie lwa yo.
ouvri baye-a pou mwen / Pou mwen pase.
Pou mwen pase.
Papa legba / le ma tounen, ma...
(Out of nowhere from behind, shallow breathing sounds are heard. It's the only
warning FRANK has before he swings around, flashlight raised to see what's
happening.)
(Coming straight toward him, flying high above the ground, is a dark-skinned
woman in a long white nightgown. She's screaming loudly and swings her hands at
FRANK as if to hit him. Attack him.)
(FRANK dodges out of her path and turns to see where she's gone. He sees
nothing.)
(He looks around and sees nothing. The rhythmic music is louder and FRANK is
breathing heavily and still he sees nothing.)
HARD CUT TO BLACK
(COMMERCIAL SET)
FADE IN.
[INT. FRANK'S APARTMENT - DAY]
(FRANK is pacing the floor of his apartment. Thinking.)
(He empties out the contents of the small pull-string pouch onto a white piece
of paper. FRANK looks through the concoction of things. He picks up a small
piece of bound twine. He unfolds a small folded photo of HENRY DALCOUR.)
(FRANK stares at the photo trying to put the pieces together.)
CUT TO:
[INT. SHOP -- DAY]
(FRANK walks into the shop. The door shuts behind him. He starts looking
around. The sales woman walks up to him carrying a stack of items to put out on
the table.)
SALES WOMAN: Can I help you?
FRANK: Uh ... I'm interested in how to go about ... cursing someone.
SALESWOMAN: Oh, mad at your boss? No, let me guess-- your girl left you for
another man and now you want to put a hex on her.
FRANK: Not exactly.
SALES WOMAN: Good. Because we don't do that here. I don't traffic in that
boku nonsense, but you have a good day now.
(She dismisses him, but FRANK stops her.)
FRANK: Wait. Wait a minute. Please. It's important.
SHORT TIME CUT TO:
[INT. SHOP -- BACK ROOM -- CONTINUOUS]
(The SALES WOMAN walks to the back of the room. FRANK follows her.)
SALES WOMAN: So how did you find us, Mr. Taylor?
FRANK: Your web site.
SALES WOMAN: Oh, one thousand hits a day.
FRANK: Very impressive. You must really be the expert on this stuff.
SALES WOMAN: How can I help you?
(She puts two cups of tea on the table and they take their seats. FRANK takes
out the small pouch and hands it to her.)
SALES WOMAN: Ah ... it's a black magic charm. An ounaga.
(She opens the pouch and starts explaining the items inside as she takes them
out.)
SALES WOMAN: These are the coffin nails and the dirt is most likely from a
graveyard. And the picture is of a man who was cursed.
FRANK: That man is dead.
SALES WOMAN: It's a bad spell. Lots of mojo behind it, but not quite enough to
kill someone.
FRANK: Okay, but what is the point? Does any of this actually do anything?
SALES WOMAN: Mostly scares the crap out of anyone who believes but you're not a
believer, Mr. Taylor. In fact, I smell doubt coming off of you like cheap
aftershave.
FRANK: Well, I actually wear cheap aftershave so ... (chuckling)
SALES WOMAN: Everything I've told you you could have read in a book. So I'll
ask you again -- how can I help you?
FRANK: (hesitant) I've, uh ... I've seen things. Things that I can't explain.
Enough to know that even if I don't believe there's nothing I can dismiss out of
hand. Now something's going on here, and I don't understand it. But people are
dying.
SALES WOMAN: In my religion, we believe that there is evil at work just as
there is good. If a person wants badly enough to do harm, they can buy the help
of a malevolent spirit. But there's always a price.
FRANK: And what about if this person is dead? Are negotiations still open?
SALES WOMAN: Well, after death you have the greatest offering to give the
spirit in exchange for its help: Your soul.
(FRANK'S cell phone rings. He answers it.)
FRANK: (to phone) Yeah?
MARCUS: (from phone) Frank, it's me. Just got some information on Alex
Dalcour. Time for another sit-down.
FRANK: Where?
MARCUS: (from phone) His place.
CUT TO:
[EXT. DALCOUR RESIDENCE - DAY]
[INT. DALCOUR RESIDENCE -- DAY]
(MARCUS and FRANK question ALEX DALCOUR.)
ALEX DALCOUR: I don't need money, Detective. Our parents left us well taken
care of more than I can spend in a lifetime.
MARCUS: Lucky you.
ALEX DALCOUR: Luck runs in the family.
FRANK: When did your parents die, Mr. Dalcour?
(ALEX DALCOUR slowly sits down in the chair.)
ALEX DALCOUR: When Henry and I were small.
FRANK: (nods) Were they murdered?
ALEX DALCOUR: An accident. My father fell asleep at the wheel.
(He turns to look at RACHEL LANDRY who is also sitting in the room.)
FRANK: Do accidents run in your family, too, Mr. Dalcour? Murders suicides ...
ALEX DALCOUR: (uncomfortable) I don't know what you mean.
RACHEL LANDRY: Yes, you do.
(ALEX looks at RACHEL. He knows and he doesn't want to say anything.)
MARCUS: What's going on here?
(Without breaking her eye contact with ALEX, RACHEL doesn't flinch. ALEX looks
away.)
RACHEL LANDRY: Tell them.
(MARCUS takes a couple of steps forward and sits down.)
ALEX DALCOUR: It's an old family story. Some crazy employee of my great-
grandfather's put a curse on the Dalcours. It's absurd.
RACHEL LANDRY: It's true. We have everything you could ever want-- love,
money, happiness. Everything, but time. And sooner or later anyone we're close
to ... anyone we care about gets caught in the crossfire.
(RACHEL glances at MARCUS. FRANK also turns to look from MARCUS, then back to
RACHEL.)
CUT TO:
[INT. MARCUS'S APARTMENT -- NIGHT]
(There's a knock at the front door. MARCUS comes down the stairs.)
MARCUS: Who is it?
RACHEL LANDRY: It's me. Rachel.
(He turns on the lights and opens the door.)
RACHEL LANDRY: I won't stay long. I just wanted to talk.
MARCUS: About what? How you threw us away over a curse?
RACHEL LANDRY: Marcus, it's much more complicated than that.
(RACHEL walks into the apartment.)
MARCUS: Oh, yeah?
RACHEL LANDRY: Yeah.
MARCUS: Well, for me it was real simple. I loved a woman. Thought we'd always
be together, then one day she was gone. No explanation, no nothing.
RACHEL LANDRY: I know it sounds ridiculous but you haven't seen the things I
have. You haven't heard the stories...
MARCUS: That's just what they are -- stories. You and me, we were real.
RACHEL LANDRY: I know. I know that. About five months after my parents died
Henry came to visit me. I told him all about you. How much I loved you and,
and how happy I was. Then he, he told me some things. He showed me records
going back 100 years. Terrible things. Henry knew it wouldn't be long.
Eventually, she'd come for all of us. I was just trying to protect you.
MARCUS: That wasn't protecting me, baby. That was leaving me. Now don't you
know I would have done anything to keep you safe? We could have worked it out
together, but you ran. You broke my heart.
(MARCUS turns and walks across the room.)
RACHEL LANDRY: I was trying to do the right thing. For both of us. Marcus ...
(RACHEL turns and heads for the door. MARCUS turns around and calls out to her.
Asking her.)
MARCUS: Stay here.
CUT TO:
[INT. FRANK'S APARTMENT -- NIGHT]
(FRANK is busy working on the DALCOUR-LANDRY family tree, crossing off those who
died, comparing the names to various news articles. He crosses off HENRY
DALCOUR. And circles the two names left: ALEX DALCOUR and RACHEL LANDRY. )
(FRANK sighs and looks at the news clipping on the laptop. He presses the key
and prints it out. The printer whirls.)
(A baby cries.)
(FRANK looks up and around as the baby continues to cry. He stands up to look
for the source.)
(FRANK walks out into the middle of the living room and looks around. The baby
continues to cry. He sees nothing. He walks into the hallway and looks around.
He peers into the bathroom. Nothing. The baby continues to cry.)
(He listens, then opens the closet door. He sees nothing, but he feels
something. He looks around and still sees nothing.)
(The baby continues to cry.)
(FRANK turns back to the darkened closet to close the door and stops. Standing
inside is a woman carrying a baby in her arms. She's bouncing the baby up and
down while staring at FRANK, her eyes wide, a grin on her face.)
(She stands there for a long while looking at FRANK with that strange
anticipatory glint in her eyes. The baby continues to cry. She takes a step
backward into the hanging coats and disappears.)
(FRANK breathes heavily at the sight that shocked him. He turns and looks down
trying to get his breath.)
(Suddenly there's a woman's laughter coming from the next room.)
(FRANK turns and sees a woman standing up, her hand on the wall, searching for
something. FRANK moves away from the closet and to the living room to look at
the WOMAN. She's laughing and writing something on the wall in blood.
THEIR SOULS WILL
(FRANK takes a step forward. The WOMAN turns around and looks at FRANK. She
sticks her finger into her mouth that's dripping with blood, then continues to
write on the wall.)
BE MINE
(When she's done, she turns to look at FRANK. She smiles suddenly and starts
laughing. The words on the wall are now dripping as the blood runs down the
letters. She laughs.)
(FRANK reads the message on the wall:
THEIR SOULS WILL BE MINE
(The WOMAN is gone.)
HARD CUT TO BLACK.
(COMMERCIAL SET)
FADE IN.
[INT. MARCUS' APARTMENT -- NIGHT]
(RACHEL is on the bed sleeping, the bed sheets and blankets rumpled all around
her. She moans and shifts.)
RACHEL LANDRY: (sleeping) No ... (groans) Oh, no...
(She shuffles and mumbles. Sitting in the chair next to the pull out couch-bed
is MARCUS. He's in the nearby chair with a blanket over him. He wakes up when
RACHEL starts to mumble.)
(He reaches out a hand to wake her up.)
MARCUS: Hey...
RACHEL LANDRY: mmm. No...
MARCUS: Hey. You had a bad dream.
(RACHEL opens her eyes and looks at MARCUS.)
RACHEL LANDRY: I'm sorry. Did I wake you?
MARCUS: No. I was already up.
( Sighs )
RACHEL LANDRY: So, what are you going to do? Sit there all night and just
watch me sleep?
MARCUS: Yeah. I'm going to look after you.
RACHEL LANDRY: Oh.
MARCUS: You got a problem with that?
RACHEL LANDRY: No. I just don't understand why you have to do it so far away.
(At the invitation, MARCUS smiles. He climbs up on the bed next to RACHEL. He
leans in and they kiss.)
CUT TO:
[EXT. PARK -- DAY]
(MARCUS is sitting at the park table. FRANK walks up to him.)
FRANK: Hey.
MARCUS: Hey, man. What's up?
(FRANK sits at the table across from MARCUS.)
FRANK: Just... wondering how things are going. Just, uh ... concerned about
Rachel.
MARCUS: Normal concern, or one of those weird hunches having lately?
FRANK: Both.
MARCUS: Well, turn off your Spidey sense, she's cool. Hey, and get this: I
checked out Alex Dalcour's whereabouts for the Landry case. Three guesses where
he was the night of the murder.
FRANK; New Orleans.
MARCUS: Yeah. For a conference. Says he has a friend who can alibi him for
the time of the murder but I'm betting her statement will come up shaky.
FRANK; Six years is a long time.
MARCUS: Yeah. Too long. I-I just keep thinking if I hadn't taken the Landry
scene at face value dug a little deeper into the family maybe Henry Dalcour
might still be alive.
FRANK: You did the best you could with the evidence you had.
MARCUS: Yeah. Well, anyways, we'll be able to arrest Alex in a couple of days.
FRANK: It'll be hard on Rachel.
MARCUS: Yeah, I know. Maybe that's why she's so wrapped up in this curse
business. You know, it's too painful to think your own cousin's a killer.
FRANK: Well, I guess it goes without saying she shouldn't be staying at his
house.
MARCUS: (smiling) It's already taken care of.
FRANK: Yeah?
MARCUS: Yeah. Yeah. Hey, man. Me and her, you know, I can't explain it.
It's like ...
FRANK: Fate?
MARCUS: Yeah.
FRANK: Well, it's good to see you smiling for a change, man.
MARCUS: Almost forgot what it felt like.
FRANK: Yeah. I'll catch you later.
MARCUS: All right, man. Take it easy.
(They shake hands. FRANK gets up and leaves.)
CUT TO:
[EXT. DALCOUR'S RESIDENCE -- DAY]
(ALEX DALCOUR sits outside in front of the pool. FRANK walks up through the
path to meet with him.)
ALEX DALCOUR: Mr. Taylor, these visits to my home are becoming a nuisance. In
the future, you'll have to contact me through my attorney.
FRANK: I thought you were an innocent man, Mr. Dalcour.
ALEX DALCOUR: I'm also a very busy one.
FRANK: What do you make of this?
ALEX DALCOUR: Nothing. Why don't you enlighten me?
FRANK: It's the Dalcour family tree. I've been working on it, putting it
together.
ALEX DALCOUR: How sentimental of you. It's even suitable for framing.
FRANK: It looks like you and Rachel are the last of your bloodline.
ALEX DALCOUR: Fascinating. (He hands the paper back to FRANK.) This is how
you spend your time instead of solving my brother's murder?
FRANK; Alex, I want you to listen to me very closely. Right now, you're the
only suspect the cops have got. And every day they're getting closer to an
arrest, so if you want to prove your innocence you're going to have to help me
out here.
ALEX DALCOUR: What do you need?
FRANK: Family documents, contracts, letters, anything. I've still got some
gaps that I need to fill in here.
ALEX DALCOUR: Any reason I should hand all of this over to you without a search
warrant?
FRANK: Because you're an innocent and very busy man?
(ALEX DALCOUR doesn't say anything.)
CUT TO:
[INT. MARCUS' RESIDENCE -- NIGHT]
(MARCUS walks into the apartment. RACHEL is setting the table and putting out
an intimate dinner for two.)
MARCUS: mmm! Is that jambalaya I smell?
RACHEL LANDRY: My specialty.
MARCUS: I remember.
RACHEL LANDRY: Mmm.
MARCUS: Now, I know you didn't find the makings in my bare cupboards.
RACHEL LANDRY: Baby, I couldn't make a sandwich with the slim pickings around
here, okay?
(He laughs.)
RACHEL LANDRY: I went to the market this afternoon and stocked up.
MARCUS: Yeah! Got you some new clothes, too.
RACHEL LANDRY: Oh, yeah, well, what can I say? The market just so happened to
be next to this cute little shop.
MARCUS: Ooh, sharp dresser and a good cook. You know, maybe I'm going to keep
you around for a while.
(He slides his arm around her waist. She turns around to greet him hello.)
RACHEL LANDRY: Oh, really?
MARCUS: Yeah.
(They kiss.)
MARCUS: Mmm.
RACHEL LANDRY: Listen. Baby, last night was, was wonderful. But it doesn't
mean our problems are solved.
MARCUS: No. You're here, right?
RACHEL LANDRY: Bringing my same old baggage with me. I know you don't believe,
but I can't help it.
MARCUS: Listen, I'm going to show you something.
(He takes out a small jewelry box and opens it. Inside is a solitaire diamond
ring.)
MARCUS: I been carrying this thing around for six years. I'm still waiting for
the right time to give it to you.
(He puts the box away and pulls her into his arms. RACHEL doesn't look as if
she believes him.)
MARCUS: So listen, we're going to work this out and one day ... I'm going to
put this on your finger. That's what I believe.
CUT TO:
[INT. FRANK'S APARTMENT -- NIGHT]
(FRANK is working furiously with the new documents and other papers that ALEX
DALCOUR gave him.)
(FRANK starts with the DALCOUR family tree and compares the names with the news
clippings: TRAVIS DALCOUR DROWNS CHILDREN & SELF.)
(He writes on a piece of paper:
TRAVIS DALCOUR
BIRTH MOTHER
UNKNOWN (double underlined)
(GUS suddenly lifts his head and barks.)
(At the same time, drums beating and music playing can be heard coming from the
closed door. FRANK gets up to check. A woman chanting in a foreign language is
also heard. The closed door rattles.)
(FRANK opens the door and everything stops. There's a whooshing exhale sound,
but nothing in the next room.)
(FRANK walks in to check. He sees nothing. He walks through the living room
and down the hallway. He pauses in front of the closet door where he saw the
young woman with the baby and looks at the closed door.)
(He sees nothing.)
(FRANK heads back to the office where he turns the corner and looks at GUS.)
FRANK: Gus, it's okay.
(FRANK turns around and sees THE YOUNG WOMAN in a long nightgown floating
through the air and down the hallway directly at him. She doesn't stop. She
puts her hands out in front of her and pushes FRANK away. FRANK flies backward
and hits the wall behind him. He falls to the floor.)
(He looks up and the YOUNG WOMAN is gone.)
(FRANK looks down the hallway and she's gone. He looks up into the room and he
doesn't see her.)
(FRANK gets to his feet and walks back into the office.)
(On the table is an old journal.)
SHORT TIME CUT TO:
[INT. FRANK'S APARTMENT -- NIGHT]
(FRANK is sitting on the couch reading the journal.)
MAVIS: (v.o.) Her name was Abby. She was just a child
(Quick flashback to: ABBY is in bed. The shadow of a man approaches the bed.
He crawls onto the bed and starts kissing her.)
MAVIS: (v.o.) ... but Mr. Everett took a fancy to her. Time came, Abby was
having his baby and she wanted it to have his name.
(Cut to: ABBY is in bed, her hands tied to the headboard for leverage and
gripping the pieces of cloth around her wrists.)
MAVIS: (v.o.) Mr. Everett couldn't let her bring that shame on him. I did
what I could, but locked away like that the girl went mad.
(The MIDWIFE stands above ABBY.)
(Cut to: ABBY is still tied to the headboards. She's laughing hysterically.)
(End of flashback. Resume to FRANK reading the journal.)
(He flips the page. ABBY'S laughter echoes in the room.)
(Quick flashback to the room where ABBY is still in bed and laughing madly.
MAVIS: (v.o.) The baby wouldn't come. He said, "save the child!"
(A man is there in the room and holds out a knife to THE MIDWIFE.)
(The MIDWIFE takes the knife and walks toward ABBY. Tied to the bed, ABBY
starts talking in a foreign language.)
MAVIS: (v.o.) Abby cursed their baby. Cursed their family for 100 years.
(As ABBY curses, MAVIS puts the knife over her swollen stomach to cut the baby
out of her. ABBY screams.)
(End of flashback. Resume to FRANK reading the journal.)
(He flips the page and continues reading.)
(Quick flashback of TOP VIEW of the bed. ABBY is dead, her blood soaked through
her lower half of her body.
MAVIS: (v.o.) He took the child in.
(MAVIS stands next to the bed, the baby in her arms. Standing at the foot of
the bed is MR. EVERETT. MAVIS hands the baby to MR. EVERETT.)
MAVIS: (v.o.) No one knew he was the daddy. Mr. Everett called him "Travis
Dalcour."
(End of flashback. Resume to Black Magic Shop.)
[INT. BLACK MAGIC SHOP - NIGHT]
(FRANK paces the floor while he waits for the SALES WOMAN to finish reading the
journal.)
MAVIS: (v.o.) So, Abby's baby had his name in the end for all the good it did
him.
SALES WOMAN: You're telling me this girl's ghost showed you this book?
FRANK: After I stumbled across some information about Travis Dalcour. Official
records didn't list a birth mother.
SALES WOMAN: And so she made her presence known. (She shakes her head.) What
have you gotten yourself into, Frank Taylor?
(FRANK shakes his head and sits down.)
FRANK: Bigger question is ... how do I stop her?
(She sighs.)
SALES WOMAN: If I tell you the truth, you going to believe me or you going to
ask questions and start trouble?
FRANK: I'll believe you.
SALES WOMAN: You can't stop her.
FRANK: What?
SALES WOMAN: A man like you, you can't fight this kind of anger. You don't
understand it.
(He sighs and shakes his head.)
FRANK: Maybe I do.
SALES WOMAN: You've lost someone?
FRANK: A child. My son ... Kevin-- he's been missing for two years.
SALES WOMAN: But you still feel his spirit.
FRANK: Sometimes. Not enough.
SALES WOMAN: Because you love your son and he's part of your soul. This girl
... she's wished pain on her child. Can you understand that?
FRANK: Are you saying that I should just give up?
SALES WOMAN: Girl's been running on pure fury for about hundred years and she's
not going to quit now because you say pretty please.
FRANK: She is trying to hurt people -- a very close friend of mine.
SALES WOMAN: (softly) You wanted the truth, and I'm giving it to you. Little
Abby is going to work her will. And if she can't get around you, Frank then
she's going to go through you.
FADE OUT
(COMMERCIAL SET)
FADE IN.
[INT. DALCOUR RESIDENCE -- DAY]
(The front door opens. RACHEL LANDRY and MARCUS walk into the foyer.)
RACHEL LANDRY: (calling out) Alex? (to MARCUS) Wait here. I'll just be a
second.
MARCUS: Oh, you need any help?
RACHEL LANDRY: No. It's just the one bag. I'm fine. It's cool.
(RACHEL walks into the house. MARCUS turns around and looks outside the front
door.)
(RACHEL screams.)
(MARCUS takes out his gun and runs toward RACHEL. She's in the office looking
down at something on the floor.)
MARCUS: Baby, what's wrong?
(She starts to cry. On the floor in front of the desk is ALEX DALCOUR, bloody
and dead.)
CUT TO:
[INT. DALCOUR RESIDENCE -- DAY]
(Short time later, FRANK walks past the officer at the front door and into the
house.)
FRANK: I got your message. What the hell happened?
(The CORONER'S wheel out ALEX DALCOUR'S body on a gurney.)
MARCUS: Suicide. Looks like he slashed his own throat. And here's ... his
confession.
(FRANK puts on his gloves. MARCUS leads FRANK into the OFFICE where he points
to the writing in blood on the cabinet.)
FORGIVE ME
FRANK: Open and shut, huh?
MARCUS: You're not buying it?
FRANK: Are you?
MARCUS: Fits in with my theory. Dalcour murdered his aunt and uncle for money.
When his cash got low, he offs his brother and kills himself out of remorse.
FRANK: He said he had plenty of money.
MARCUS: He also liked to gamble. We're still checking his accounts but he was
into a couple of casinos for a bundle.
FRANK: Rachel said that he would never hurt anyone. She also said that about
her own brother.
MARCUS: She's a sweet, trusting girl. What's your point?
FRANK: People acting so completely out of character. It's almost like they're
... taken over by something.
(MARCUS turns away for a moment. FRANK looks around for the pouch and finds it
in between the couch cushions. MARCUS turns around and sees FRANK.)
MARCUS: Yeah, greed.
(FRANK opens up the pouch and takes out the folded photo, something he
completely expected to find.)
MARCUS: (curious) What's that?
FRANK: A charm. A hex. It's something you give to your enemies.
(FRANK stands up.)
FRANK: It's not something you make right before you kill yourself.
MARCUS: What are you talking about? Don't tell me you're buying into this
curse business.
FRANK: I think you were right the first time, Marcus. I think that Henry
Landry murdered his parents. I just don't think he did it in his right mind.
(FRANK walks over the bag on the side of the room and looks inside at the ticket
stubs.)
FRANK; This ticket was for two days before Henry was murdered. She said she
flew out here the day she heard.
MARCUS: What are you saying?
FRANK: Where's Rachel, Marcus?
MARCUS: Upstairs lying down.
(FRANK turns and leaves the room. MARCUS steps forward to stop him.)
MARCUS: Hey, Frank, leave her alone.
(An OFFICER holding out a phone receiver stops him.)
OFFICER: Detective, it's the Lieutenant.
(Frustrated, MARCUS takes the phone.)
CUT TO:
[INT. DALCOUR RESIDENCE - UPSTAIRS - DAY -- CONTINUOUS]
(FRANK rushes up the staircase to the second floor. He takes his gloves off and
knocks on the door.)
FRANK: Rachel? (There's no answer) It's Frank Taylor.
(FRANK opens the door to the bedroom.)
FRANK: Rachel?
(Inside the room, he finds RACHEL sitting on the floor in a circles of candles.
She has a large knife held up to her wrist.)
(She's crying.)
(FRANK closes the room door and takes a step closer where he kneels down to her
eye level.)
FRANK: Rachel ... it's okay.
(RACHEL still holds the knife to her wrists.)
FRANK: Why don't you just give me the knife?
(FRANK holds out his hand. RACHEL jerks the knife away from him.))
RACHEL LANDRY: No! No.
FRANK: Rachel ... it's okay. Everything's going to be okay.
(RACHEL cries.)
RACHEL LANDRY: I remember. She made me remember ... what I did. And I didn't
want to.
FRANK: I know that.
RACHEL LANDRY: I loved them.
FRANK: I know that.
RACHEL LANDRY: No. I didn't want to, but she made me do it. Just like she made
my brother hurt people. I loved them.
FRANK: Let me help you.
RACHEL LANDRY: You can't help me. I have to end it. It's what she wants.
(RACHEL raises the knife as she looks just beyond FRANK. FRANK turns around and
sees ABBY standing in her bloody nightgown, laughing at them in glee.)
(FRANK turns around back to RACHEL.)
FRANK: Listen ... you can fight her.
RACHEL LANDRY: No, I can't. I killed them. I can't live like this.
FRANK: You didn't know what you were doing. Rachel ... Marcus -- he loves you.
And if you're going to have a life with him you're going to have to make a stand
and fight for it right now. Come on. Look at me.
(RACHEL turns away from FRANK, her eyes shut closed.)
RACHEL LANDRY: No.
FRANK: (loudly) Look at me, Rachel!
(RACHEL turns and looks at FRANK, but what she really sees is ABBY standing just
beyond FRANK behind him. Her presence is imposing.)
FRANK: (quietly) Come on. You can do this. That's right. Why don't you just
give me the knife? It's okay.
(FRANK sighs and reaches for the knife. RACHEL gives FRANK the knife.)
(FRANK stands up and turns around to look at ABBY standing there.)
(There's a shallow breathing, then ABBY appears next to RACHEL, whispering into
her ear.)
ABBY: ouvri baye-a ...
(RACHEL whimpers as ABBY continues to whisper into her ear.)
RACHEL: Frank ... I'm afraid. I'm afraid.
(FRANK turns around back to RACHEL and sees ABBY crouched next to her.)
MARCUS: (through the door) Rachel!
(FRANK turns back to the door and heads toward it to stop MARCUS from barging
into the room.)
RACHEL LANDRY: Marcus, don't!
(FRANK opens the door and finds MARCUS standing there
FRANK: Marcus, it's okay. I'll handle this.
MARCUS: What the hell is going on, Frank? I'll explain everything. Just give
me a minute with her.
(RACHEL cracks the mirror with her fist and picks up the largest shard. She
holds it up against her neck.)
RACHEL LANDRY: I can't live with this.
(FRANK and MARCUS turn and rush into the room to stop her.)
MARCUS: Oh, my god, Rachel!
FRANK: No, don't!
MARCUS: No, Rachel
FRANK: Don't!
(RACHEL slits her own throat and falls to the floor.)
(MARCUS reaches her and holds her in his arms.)
MARCUS: Oh. I'm here. I got you. I got you.
(FRANK turns away at being too late. An OFFICER appears in the doorway.)
OFFICER: Detective?
FRANK: Call it in. We need an ambulance.
(The OFFICER doesn't move.)
FRANK: (shouts) Now!
(RACHEL cries.)
RACHEL: I'm so sorry.
MARCUS: No, don't talk.
RACHEL: I love you.
MARCUS: Shh! Don't talk. Don't talk.
RACHEL: I love you.
MARCUS: It's okay.
MARCUS: I love you, too.
RACHEL: I'm so sorry.
MARCUS: Shh! Shh!
(RACHEL dies.)
(MARCUS starts to cry.)
(FRANK stands silent in the room as his friend mourns.)
(A baby coos.)
(Cut to: ABBY stands there with the cooing baby in her arms. She looks down at
her baby and smiles. She looks back up at FRANK and smiles.)
(FRANK swallows, his eyes filled with tears.)
CUT TO:
[INT. CHURCH -- DAY]
(MARCUS stands in front of the open coffin looking down at RACHEL inside.)
MARCUS: Good-bye, baby. You were my first and truest love. Always.
(MARCUS opens the jewelry box and takes out the diamond ring. He slips it on
her finger.)
CUT TO:
[EXT. GRAVEYARD -- DAY]
(MARCUS and FRANK stand next to each other looking at the headstone.)
MARCUS: There's something going on with you, Frank.
(FRANK turns to look at MARCUS. He doesn't say anything.)
MARCUS: You haven't been right since the Masson case. And I know dying and
coming back to life has got to bring heavy changes, but ...
FRANK: (murmurs) It's more than that.
MARCUS: (turns to look at FRANK) All these hunches you get. Knowing where
people are going to be. What's going to happen when ... somebody's in trouble.
You don't want to talk about it. Well, right now I guess I really don't want to
hear about it. But as my friend ... and my partner ... I need you to answer me
one question. And I want to trust you to tell me the truth, because I think
somehow you know. Is there anything I could have done to save her?
(FRANK shakes his head.)
FRANK: You did everything you could, man.
MARCUS: It doesn't feel like it.
(cc) FRANK: It never does.
FADE OUT.
========================
THE END
========================
[Captioning sponsored by Viacom Productions and UPN Captioned by Media Access
Group at WGBH Access.Wgbh.Org]
Courtesy of http://www.webphilia.com/~anthology/wnp.html
Contact the Transcriptionist at (intrepidly002@yahoo.com)
Please do not archive this transcript without permission from the
Transcriptionist.
========================
BEGINNING/TITLE CREDITS
========================
HAUNTED
1X04: ABBY
ORIGINAL AIR DATE ON UPN: 10/15/2002
TRANSCRIBED FROM UPN
Starring
MATTHEW FOX as Frank Taylor
RUSSELL HORNSBY as Marcus Bradshaw
Created by: ANDREW COSBY & RICK RAMAGE
Special Guest Star
GOLDEN BROOKS
Guest Starring:
MAHERSHALALHASHBAZ ALI
TAMARA BASS
and Special Apperance by
MYA
Music by MARK SNOW
Co-Producer: MOIRA KIRLAND DEKKER
Co-Producer: ERIN MAHER
Co-Producer: KAY REINDL
Producer: ROB WRIGHT
Produced by: TIM IACOFANO
Supervising Producer: ANDREW COSBY
Co-Executive Producer: RICK RAMAGE
Written by: MOIRA KIRKLAND DEKKER
Directed by: MARTHA MITCHELL
========================
END CREDITS
========================
Executive Producer: SCOTT SHEPHERD
Executive Producers: EMILE LEVISETTI
Executive Producers: KEITH ADDIS
IE (tm) Industry Entertainment
CBS Productions
Viacom Productions, A Paramount Company
Coordinating Producers: BRIAN L. CHAMBERS / ROBERT P. COHEN
Co-Starring
LOUISA ABERNATHY as Mavis (Midwife)
Featuring
DAVID J. WRIGHT as Uniform Officer
MARTIN BEDOIAN as Homeless Man
JOI STATON as Old Woman
Director of Photography: GORDON C. LONSDALE
Production Designer: GREG MELTON
Edited by: DANY COOPER
Unit Production Manager: ROBERT P. COHEN
First Assistant Director: TENA YATROUSSIS
Second Assistant Director: DAN SUHART
Casting by VICTORIA BURROWS and SCOT BOLAND
Production Executive: DAVE WATSON
Set Decorator: NATALI POPE
Costume designer: MARTY McLEOD
Camera Operators: GREG RHINEER / BENGT JOHNSON
Chief Lighting Technician: JACK TODD
Key Grip: JASON HODGES
Make-Up Artist: DONNA CICATELLI
Hair Stylist: MICHAEL WHITE
Property Master: CHUCK McSORLEY
Script Supervisor: HILARY MOMBERGER
Special Effects Coordinator: ROBERT WILLARD
Production Coordinator: MATT MUSGRAVE
Casting Assistant: JOSH EINSOHN
Production Sound Mixer: MAURY HARRIS, C.A.S.
Supervising Sound Editor: MICHAEL O. LYLE
Music Editor: JEFF CHARBONNEAU
Post Production Supervisor: COLIN A.B.V. LEWIS
Assistant Editor: TOM DeMAURI
Re-Recording Mixers: RICK ALEXANDER / RICHARD ROGERS
Script Coordinator: MEGHAN DOWD
Assistant to Mr. Shepherd: STACIA RAYMOND
Assistant to Mr. Addis: S. FISH
Assistant to Mr. Levisetti: MICHELLE CLARK
Assistants to Producers: TARYN P. KELLY / JENNIFER THOMPSON / KENNETH MOK /
CHRIS KELISHES
Post Production Video Services Provided by THE POST GROUP
Post Production Sound by ECHO SOUND SERVICES, INC.
Film Processing Provided by FOTOKEM
Main Title by THE PICTURE MILL
Filmed with PANAVISION (R) Cameras & Lenses
Executive in Charge of production: BRUCE KERNER
The persons and events in his film are fictitious. Any similarity to actual
persons to events in unintentional.
(c) 2002 VIACOM Productions Inc. All Rights Reserved.
First Publication USA.
Viacom Productions Inc. is the author of this program for purposes of Article
15(2) of the Berne Convention and all national laws giving effects therein.
This motion picture is protected under the laws of the United States and other
countries. Unauthorized duplication or exhibition may results in civil
liability and criminal prosecution.
Dated:07/17/2003~lky
http://www.webphilia.com/~anthology/wnp.html