- Script Excerpt -
Sarah
by

Gordon Hayes

FADE IN

EXT LONG SHOT NEIGHBORHOOD SARAH'S HOUSE - DAY

OPEN WITH SHOT of neighborhood, middle-class, afternoon. ZERO IN on one backyard with a shed near back fence. A hedge surrounds yard from onlooker's views. Near center of yard is a picnic table, a clothesline strung over it across the yard. Table is offset from center of yard, nearer to the back of house (Sliding glass door off of dining area). Drapes shut.

CAMERA ZOOMS into neighborhood from sky, down along alleyway, into backyard, over grass with a depression forming in ground near picnic table, where sinkhole is rapidly forming in the LATE AFTER NOON LIGHT.

Quickly move up to see a large window with an old woman (SARAH) sitting, looking out of window. 360 DEGREE CAMERA ROTATION shows hole getting bigger, continue to show Sarah lying on bed, staring at the ceiling. PAN LEFT to see, curtained back door, as child (Long blond haired, 11 year old LYSSA) and dog (PUMPERNICKLE, a miniature Sheltie) open sliding door, look out and then turn back into house, closing door

INT

CAMERA ENTERS, then door is closed behind.

CAMERA FOLLOWS Lyssa into kitchen, then CUTS AWAY. Lyssa and "Pumper" go right, CAMERA LEFT into kitchen. Witness woman (TERRI) doing dinner stuff, PASS THROUGH into den where husband (TOM) is studying reports, News on TV, quietly. Lyssa enters den from opposite end of room from CAMERA--CAMERA PASSES THROUGH TO ENTRANCEWAY where CAMERA entered house. VIEW DOOR--MOVE LEFT into tight little hallway, bathroom on left--few feet more, bedroom on right--door mostly closed, but for 5 or 6 inches--CAMERA ENTERS, VIEW Sarah (Hair in bun) lying still, blank, staring at a crack in the ceiling.

CAMERA MOVEMENT FOR EFFECT, UP AND DOWN ON TO woman's face, FOCUSING only upon her eyes. HOLD THERE. Silence. BRING UP TV AUDIO A BIT. She (Sarah) finally looks over at the door.

Sarah (With REGULAR LENS) standing in hall by kitchen & den. Visible through bar. Kitchen (Other bar) also opens into dining room. Tom notices Sarah. She doesn't notice him. He stares at her, then goes back to his papers.

Terri in kitchen making dinner. TIGHT SHOTS of her and her work progressing until she turns around and almost walks into Sarah, which startles her. She gets angry, then controls herself and allows her true feelings of fright surface. They look at each other, motionless for a moment.

TERRI

Oh...Mother. You gave me a terrible fright. Can I get you something?

SARAH

(Her expression changing)

Please, Terri, may I help you? I used to be very handy in the kitchen.

TERRI

(Look of "Oh, no, the kitchen terror again"--then plastic cheerfulness)

No. Mother. Remember what happened the last time you hel-...no. You just take it easy. You go and rest till dinner. Dinner will be ready soon, anyway, dear.

Turning to get something, trying to get the point across that Sarah is in the way--Terri then looks back at Sarah

And don't pout dear.

A phrase Sarah obviously used to use on Terri, and the bitter look in Sarah's face reflects this.

SARAH

But, Terri...last time you promis-...(Terri cuts her short with a look. Then, pouting, and kind of stamping her foot)

...I want to hel-...

TERRI

(Stern, but humorously)

Don't you talk to me that way, young lady, now you march right back to your room.

Looks, on the women's faces, say Terri got that line from Sarah also uneasy. PAUSE--Sarah tries to smile, but it is a poor attempt. Terri turns away--starts whipping potatoes and ignores her mother, who quietly and dejectedly, looks down, a loser. Sarah's eyes. Sarah lying on her bed again. Sarah's eyes. Her left eye twitches a little bit.

We hear SOUNDS OF METAL (Doctor's instruments being moved around in the exam room--it is earlier that day)

INT CLOSE SHOT DOCTOR'S EXAM ROOM SARAH' EYES - DAY

PULL BACK from Sarah's eyes to show--we are at the Doctor's office. A NURSE is there with Sarah and the DR. ANNESTI. He is 55 and healthy, muscular. Sarah is sitting on the exam table. Sarah sits quietly playing with her fingers, barely moving any other muscles at all. Nurse finishes what she is doing and helps Sarah on with her shoes and light jacket. Then out of the blue:

SARAH

(Plastically animated)

My daughter let's me cook the meal every day

NURSE

Yes? Oh...and very good for you, Mrs. Terrance.

SARAH

(Paranoid)

But she DOES let me help.

(Switching moods too quickly)

...and we feed the birds...all the time. (Nurse simply looks up into her face, pitying her)...and Lyssa always...

Doctor's spacious office with Tom and Terri. Leather desk with gold leaf trim. Expensive. Leather chairs, swivel, all around. Lush office--degrees on wall, not behind doctor. There is a spot where a degree had been for years, and has now been removed. Tom and Terri across desk from Doctor, listening. Tenseness. V.O. of Sarah continuous unbroken.

SARAH

(Continuing, obviously lying)

...my grand daughter always stops and talks to me, we do things together all the time.

FADE TO:

SILENCE, THEN BRING UP DOCTOR'S VOICE TO NORMAL. CLOSE SHOT of Terri's eyes and face, serious.

DR. ANNESTI

(Gently)

I'm sorry. But if she does have this condition...five years may be the most she may have left. Snapping her out of this, as you put it,

(Looking at Tom)

is simply not a probability here. All we can do is to make her comfortable and try to give her the fullest of the few years left to her.

TERRI

Five years?

TOM

I saw a lot of creepy things in the special services in Nam' but sometimes what she is going through really gives me chills.

DR. ANNESTI

So you see...why...an Institution would only make things all the worse for her.

(TAPS Mont Blanc pen on leather desk top)

Perhaps...(Avoiding)...not for you...(Confronting)...but for her...for Sarah...it's a matter of life or death.

(pause)

Best damn baby sitter Jane and I ever had. A good woman, sharp, astute. You know, she loaned me money to get through medical school. But, then, this happens.

(Thoughtful)

This happens. I've strong feelings for her, I'll do anything I can to help, of course. Tom and Terri look sad at each other--they hold hands.

DR. ANNESTI

You know, it's too bad she didn't keep up her acting career. Even if she did only play parts in horror movies, it gave her purpose. She really isn't that old of a woman.

(Vacantly)

She is still a handsome looking woman. Such a shame.

TERRI

(Upset)

I...I just don't know what...what to do. I mean...

DR. ANNESTI

Here. Take these pamphlets...they're just background, and some helpful hints. Two of them are made especially for the client, also. Be sure you all read all of them, especially those two...WITH Sarah. Lyssa and the public helper, too. Then come back, the two of you, alone. Next week, if you can.

(Nurse peeks inside the door)

Her night vision appears to be extraordinary, for some reason.

(He looks over at the Nurse)

Yes?

NURSE

(Gently)

Mrs. Terrance is ready to go home now, Dr. Annesti.

DR. ANNESTI

(She Exits)

Thank you, Gail. Please consider everything I've said. Let her help, do things around the house, she need to think...use her mind...exercise what she has...left. Then come back and see me...we'll work this out just fine. And please, Terri, Tom, call me anytime, or even Sarah's day helper, or Lyssa, if any of you need anything, or if you notice ANYTHING out of the usual deterioration...which you may find to appear quite rapid. Things sometimes escalate very rapidly, and it could potentially be dangerous to her.

TERRI

(Frightened)

Dangerous? What about...I mean...Lyssa?

TOM

What about any of us?

---

End of Script Excerpt for Sarah

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