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THE EXPERIMENT Cast: Gary (Philips): Only shows up as a concept since there are no real lines for Gary

Philips (all through the movie, he is Phil) Gary Philips is the real self. Gary Summers is what he created in his mind as the person to become. Gary (Summers) : Protagonist Mundane run-off-the-mill guy, married, works a steady job, dressed corporate. Phil : Antagonist (kind of). Opposite traits as Gary Summer, hippy-ish, loose clothing, shabbily kept hair. No job, no woman. Just quit his last teaching/studying job. Officer Willis : No-nonsense cop. Draws answers from Gary during the script to glue things together. Doctor Williams/ (Professor Williams) : The Mentor. Dr. Williams helps Gary Philips (or Phil) develop the experiment and helps teach some of the theories in the script. Julie: Gary Summer’s wife. Her role is to make Gary Summer’s life (which is made up in Gary Philip’s head) more believable so her being Jillian in a different universe is a stronger turn. Jillian : Phil’s (actually Gary Philips’) ex-girlfriend. The caring figure who is one of the few people (alongside the dr.) who Phil (actually gary philips) considers as close. Tim : Julie’s colleague at work who Gary Summers (her husband) thinks she is having an affair with. Tommy : Jillian’s boyfriend (doesn’t appear in the movie except as sitting in the dr’s waiting room in the end, and even then we dont see his face). Tim is his counterpart in the other universe. Andy: Gary Summer’s friend. An extra character added to show the shift in universes later, but might not be needed Mrs. Philips: Gary Philips’ mother Very Important character as her issues drive the whole plot. She suffers from persecutory delusions and triggers the set of incidents in Gary’s life to turn him into the mess he became.

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Mr. Philips: Gary Philips’ father Strict, Disciplinarian, No-nonsense, stubborn about ideals, army-background. Leaves wife when she becomes difficult to handle with her persecutions. ’Ground’ is an important location in the script. It’s where Young Gary Philips kills the man, and where later Gary Summers’ kills Phil. *** Note: This version of the script is not finished. Certain parts need to be revised, and some need to be edited together. In most places, italicized paragraphs have been written to indicate the intention and method of sections still to be finished. Note: ’Long scene template’ is referenced to in some of these paragraphs which is used, more than anything else, to help the structure. It refers to is a group of scenes alternating between the 4 different narratives of the script (’Gary Summers and Phil’, ’Dr. Williams and Phil’, ’Officer Willis and Gary Summers’, ’Flashbacks’). This allows the story to keep moving in interesting shifts. The combination of all these is referred to as long scene template. ACT 1 EXT: ’GROUND’, DUSK We’re facing an open ground, dusk, pretty summer evening with lots of flowers lining the road that leads to this ground, but the ground doesn’t have too many flowers. It’s grassy in patches, but otherwise bare. We see two men facing each other. One, dressed in a suit, which looks dirty as if he’s been in a brawl holding a gun. The other man is relatively shabbily dressed, baggy pants, loose t-shirt, long unkempt hair, but confident. More confident than the guy with the gun. There is a bag lying on the ground to the side of the man in the suit. There is no-one else around. PHIL You know why your wife doesn’t love you? Because you’re not half the man she deserves. GARY (threatening) Back Off!

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CONTINUED: PHIL (still moving) I think the only reason she might be fucking that Tim would be because he shows her power, like she expects her man to. GARY Stay where you are! PHIL (still moving in) It’s not your fault when you think about it. You’ve never been challenged. GARY (still not pointing the sun at Phil but pointing it to the ground) I said- STAY WHERE YOU ARE !! PHIL (stopping) How would you react if I told you I banged your wife? GARY Fuck you. PHIL Julie Decosta Summers, works as an analyst at McFarler Bank, brown hair, blue eyes, great ass... GARY (going red in the face) Would you be quiet! Let me think for one... PHIL (interrupting, moving again) When you were in Seattle. Two weeks back was it? GARY SHUT THE FUCK UP! PHIL (decidedly moving forward) This is making you angry. Good. Finally. Point that gun now. Show me your anger.

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CONTINUED: GARY (angry, nearing a corner) You’re fucking crazy. Why don’t you go kill yourself?

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Phil takes a few last steps forward and in one swift move has his fingers around Gary’s on the trigger with the gun pointing at himself. Gary is red with fear. PHIL (whispers) The nature of things. That’s just how it has to be. Remember me when you wake Gary. I was a part of you. Just like you are me. Screen fades to black. We hear the bang of a gunshot. CUT TO: (revision: this scene may be unnecessary.) EXT: STATION: DAWN From the black screen emerges the scene of Lester from American beauty lying on the table, and his narrative about ’Life flashing in a second...’ starts as we zoom out and see the movie playing on a small TV screen mounted on a small table on the side of a newspaper stand. We see that the newspaper stand is on the platform of a railway station. People whiz by at this early hour, catching their trains to work. Two men, in their early forties maybe man the newspaper stand, sitting drinking tea in coffee cups, in complete silence, eyes glued to the screen. Until one of them erupts. MAN 1 That’s it man! MAN 2 I swear MAN 1 Every time I see it, Every time. MAN 2 I must have seen it at a billion times.

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MAN 1 You know I see it every other morning when I open the stand at 4 a.m. At least the last twenty minutes if not the whole movie. It helps me go about my day. MAN 2 Every experience being one of great importance. MAN 1 And absolutely essential. Good, bad, evil, ugly, beautiful, all and nothing. Everything having it’s purpose in the grand scheme of things, you know? MAN 2 I know what you mean brother. You never know how the next minute’s gonna change you, eh? MAN 1 And every minute we’re changing, it’s so important that we do! . MAN 2 It’s all very important. MAN 1 And necessary. MAN 2 And beautiful. GARY (out of frame) How much for this? MAN 1 (half-completing his sentence while turning to see Gary) And purpose-(ful) His POV: We see Gary, impeccably dressed in a suit. Pre-occupied on a phone call, he is gesturing to the daily newspaper. MAN 1 75 cents

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GARY Here’s a dollar. He throws a dollar on the stack of magazines lining the stand, picks up the newspaper and turns to run to catch his train, all the while talking on the phone. MAN 2 He’s missing it. MAN 1 He’s missing a lot of things. MAN 1 (calling out to Gary) Slow down Sir! Life is beautiful. CUT TO: INT: INTERROGATION ROOM, TABLE IN BETWEEN OFFICER SITS ON ONE SIDE, GARY ON THE OTHER, HANDCUFFED. We enter the scene in Gary’s POV. Gary slowly opens his eyes (camera blinks and focuses). It’s a room with very low lights. Almost dark. Across from him sits a man in his early fifties, dressed in uniform. OFFICER WILLIS Do you remember your name? GARY (looks up, dishevelled, gaining balance of sorts in his mind) Gary... Summers. OFFICER WILLIS Hmm... (pause) And do you know why you’re here? CUT TO: EXT: PRISON COMPOUND, LATE EVENING A man and a woman both in a suit walk to the prison JULIE I’m so nervous. God knows what must have happened.

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TIM Don’t worry Julie. We’ll take care of everything. Tim gives Julie a re-assuring smile. She smiles back. They show their ID and enter the building. Inside the building, they walk up to the first officer they see. JULIE Hi, I’m here because my husband, Gary... OFFICER 2 Oh yea. I was just reading this file here. He’s with Officer Willis. Shot a man. We found him in the ground with the gun he’d used. The body was recoverd a mile from the location. JULIE (panicking) That can’t be! TIM Now Now Julie, calm down. I’m sure it’s all a misunderstanding. JULIE Can I see him? OFFICER 2 Wait in that area over there. I’ll tell you when Officer Willis is done with him. Julie and Tim walk over to the waiting area, while Officer 2 tells a subordinate to check when Officer Willis is done. CUT TO: INT: INTERROGATION ROOM, LATER GARY Because you think I killed a man. OFFICER WILLIS We think so?

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GARY Yea. OFFICER WILLIS What do you think? GARY I’m not a killer. OFFICER WILLIS Ok. And what are you? GARY I’m Gary Summers. I’m a marketing manager. I work for Greenworld Clothing. OFFICER WILLIS Hmm.. And what do you think about the gun in your hands? GARY It wasn’t mine. OFFICER WILLIS Of course. Did the man die on his own too? GARY No. (Pause) I killed him. OFFICER WILLIS I see. GARY But I’m not a killer. It was his gun. He was mad, I tell you! Mad! He grabbed my attention like a hypnotist. I was under his spell. I skipped work, I skipped town. Charming bastard. He’s the one you should have been after. Of course he’s dead now. We hear a bell ringing while Gary says the last words. CUT TO: INT CLASSROOM: DAY We see a pencil moving on paper. Writing slowly the words ’Am I creating this world right now?’

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The voice of the professor becomes louder as we hear him lecture PROFESSOR/DR. WILLIAMS And hence this school of thought suggests that at the core of it all are just vibrating strings. Everything is composed of, vibrating strings. Now can anyone tell me what that really means? A couple of hands go up. STUDENT 1 E = mc squared! PROFESSOR WILLIAMS Well... yea. Einstein said that long back. But what does this imply? These strings, and that we’re all made of them. What does it really mean TO YOU? STUDENT 2 That we can create energy from mass? PROFESSOR WILLIAMS Umm, yea. (pause) No you’re right. And we have. Nuclear bombs and all. But think about it a little deeper. Anyone? Everyone is silent. We hear scratching of Phil’s pencil on his notebook. We see that the pencil and paper we saw belong to an unkempt but good-looking, wasted looking guy sitting separately closer to the professor. Clearly not a student like the others. PROFESSOR WILLIAMS Noone? umm, Maybe I’m asking the question wrong. PHIL (interrupting) That we can create mass from energy. And we’re doing it all the time. PROFESSOR WILLIAMS (sighing as if in relief) Exactly! (Pause) Don’t you see guys? If all mass is created from (MORE) (CONTINUED)

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PROFESSOR WILLIAMS (cont’d) energy. And we all know our thoughts have energy. That’s what they’re made up of. Our dreams, emotions, everything is vibrational energy. Now reverse Einstein energy creates mass - and we’re creating the world with our thoughts. The bell rings. PROFESSOR WILLIAMS Well, I’ll leave you kids to think about that one! See you next week. The class starts shuffling throwing their books in their bag. We see Phil hurriedly packing his notebook. The class has almost emptied and the professor is almost at the door when Phil taps him on the shoulder. PHIL Professor, you have a minute? PROFESSOR WILLIAMS For you, my boy, anytime. Can we keep walking? I’m late for an appointment. PHIL Sure. They start walking out. As they walk from the classroom to the parking lot outside, we see that it’s a small local community college. The kids hang around outside smoking, loud chatter. PROFESSOR WILLIAMS So.. What’s up? PHIL It’s time. PROFESSOR WILLIAMS Oh! (pause, stops walking) Are you sure? PHIL Yea, it’s time. These last few years have been great. Thanks to you.

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CONTINUED: PROFESSOR WILLIAMS (starts walking again) Oh no problem! It was a pleasure. But.. PHIL And I’ve learnt a lot. So many answers. And so many questions. But. I’m ready. PROFESSOR WILLIAMS Are you positive? Isn’t there more to learn, more to develop? PHIL (small laugh) Oh there is! So much. Which is why I have to go. I feel like my heart is finally open for what lies in front of me. PROFESSOR WILLIAMS You’re one of the brightest minds I have had the pleasure of working with. I want you to remember that, no matter what you hear. PHIL Thanks professor. It means a lot. PROFESSOR WILLIAMS Thank YOU! I do wish you could have stayed longer. And there was more time. But I understand. All the students loved the lectures you gave. I am going to miss you in the classes, too. Next week, I was planning a lecture on parallel dimensions. PHIL We already talked about it, remember? PROFESSOR WILLIAMS Oh, yes, of course. (pause) I remember. That was one long night. And quite an animated discussion! I remember your eyes popping.

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They both laugh. We’re almost at Professor WILLIAMS’s car now. He opens the car and throws his bag in. Then turns to face Phil

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PROFESSOR WILLIAMS (suddenly serious) If you’re sure it’s time, it’s time. When? PHIL Today? PROFESSOR WILLIAMS sighs. PROFESSOR WILLIAMS Alright. Can I ask what made you suddenly want to do this? PHIL We both know it’s not sudden. PROFESSOR WILLIAMS Of course. But you know, why today? PHIL I’m ready today. And I’m afraid of what tomorrow will bring. You know this better than me: I can’t trust tomorrow. A beat. PHIL I will come by later. Professor WILLIAMS hesitatingly and gently pats Phil’s shoulder. He looks teary-eyed. PROFESSOR WILLIAMS What upsets me is that I’d never get to see you again. PHIL (smiling) You could see me whenever you’d want. PROFESSOR WILLIAMS No no, you know what I mean. I don’t know what tomorrow will bring for you or for me. But I don’t know if I’ll ever get to talk to you again. Like this. As the friends we are.

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PHIL I hope so professor. Maybe in a parallel universe? They both laugh. Phil extends his hand for the professor to shake. The professor hugs him instead. CUT TO: EXT: APARTMENT LATER PHIL IS STANDING OUTSIDE HIS APARTMENT. HE TURNS THE KEY. INT: APARTMENT CONTINUOUS We see a messy but beautiful apartment. There is one couch, one table with books, one chair in the middle of the main room, with a kitchenette off to one side. Pictures of a girl, framed, line one wall but we cant make out the face. Overall the apartment has a very womanly feel to it, we don’t perceive it as his apartment. All his stuff is next to his table and couch. He throws the bag on the couch, goes to the table, looks through papers and pulls out a train ticket. He opens his bag, and empties it out, packing it now with the notebook he had, the ticket, and money he pulls out of a drawer in the desk. He then packs everything else in a small box. It’s not much work because he doesn’t have too much. He gets himself a drink of water, sits down on the couch. Minute of silence. We see his expression change, become more determined, yet calmer and quieter as if he’s meditating. He closes his eyes and whispers ’I create my world’ He then abruptly gets up, and slowly, as if possessed, walks to the side of the kitchen, where we see 2 doors, one open clearly the bathroom, the other closed. He opens the closed door, we see faint lights and an eerie looking room with a mat in the middle (we can’t see the whole room as we’re following him and only get a peek through the open door. He goes in and closes the door behind him (on us). CUT TO: INT: TRAIN: DAY GARY (hanging up the phone) Ok! Yea! I got it, alright! Dinner tomorrow night, dress well. Well, if my train’s late how’d I be on (MORE) (CONTINUED)

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GARY (cont’d) time. But I’ll be back on time. My god! You make meeting with your colleague and his wife sound like dinner with the queen. Yea,yea, I know. Anyways, I have to hang up, alright? Take care. Bye. PHIL (looking up, sleepy eyes) Rough start? GARY (taking a seat, and putting his bag down) Can’t believe how crowded it is so early in the morning. PHIL (decidedly waking up) Oh you know.. places to reach, miles to go before ... (yawns) I sleep GARY (chuckling) That was a well-timed yawn PHIL (smiling) It’s a gift. GARY I’m Gary, by the way. PHIL Phil. Nice to meet you. GARY So what do you do, Phil? PHIL Oh to some eyes, a bunch of things. And to some eyes, nothing. I’m a writer, but I also teach physics and mathematics part-time at a community college, and do freelance photography work for a few magazines. GARY Wow, that does seem like a lot.

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PHIL (smiling) Like I said, a lot depends on how I phrase it and who’s listening. I define when I work and to those who have work as structured routines, I can come across as a bit of a vagabond. GARY I guess I know what you mean. I would classify under the structured routine type, although I wouldn’t necessarily classify under the people who believe that’s the only way to work. PHIL Appreciate it. GARY So where does this particular ride be take you? PHIL This might sound strange, again, but I’m not sure. GARY (laughing) You’re not sure? THAT is odd. I don’t think I can relate to traveling in a filled-to-the-brim hot and stuffy train, at this ungodly hour of the morning without a reason! PHIL Well, at least you’re honest. GARY Seriously? PHIL (smiling) Yea. (Short pause) What about you? GARY Chicago. Work. PHIL Sure.

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GARY Do you live in New York? PHIL I did. And you? GARY Well, just outside. I work in the city though. Where do you live now? PHIL Still contemplating that one. GARY You’re a strange fellow. Phil laughs loudly. PHIL If I had a penny for every time I heard that. GARY So where were you living then? PHIL I just moved out of my place in New York. Last night. GARY Oh! Any particular reason? I don’t mean to intrude.. but.. PHIL No no, not at all. Just an impulse. I had been living and working and doing what I was doing for a while. GARY As 99% of the world does? PHIL Right. But I decided I needed a change. GARY People usually take holidays for that. PHIL (smiling) I guess I needed a bit of a longer one then. (CONTINUED)

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They both look away for a while. Phil looks out the window, Gary fiddles around in his bag and digs out the morning newspaper. GARY (reading aloud) Man gets stabbed on curbside at 4 in the afternoon. Assailant fled with his belongings before a passer-by noticed blood and alerted the cops. This is the third such act in the past month. GARY (putting down the paper) It just gets worse everyday. PHIL As it must, till it gets better again. GARY Do you teach philosophy as well? PHIL Actually, during college, I tutored philosophy. GARY (chuckling) Why doesn’t that surprise me? PHIL It shouldn’t. We all should be proficient in multiple things to really reach our potential. GARY Sorry? PHIL Unfortunately, our society won’t allow it. Whether by design or chance, it really doesn’t matter. GARY I gotta admit, you lost me. Although I did sense a backhanded insult somewhere in there. PHIL (laughing) (MORE) (CONTINUED)

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PHIL (cont’d) Not at all! Please don’t think I’m judging you. I’m not capable of that. GARY We all judge. PHIL You’re right. I try not to though. Sure, it does trick it’s way back in - ’the voice of judgement’, if you will - but I’m more aware of it. That makes it weaker. GARY Interesting. Hard to believe, but interesting. PHIL I don’t blame you. I don’t think I’d believe a stranger on a train who just skipped town, especially if he’s preaching. Phil lets out a little laugh and turns to look out the window again. GARY Don’t misunderstand me. I didn’t mean to offend. PHIL (turning back) Oh not at all. None taken. GARY You were talking about philosophy. PHIL Was I? (laughs) No one should talk about philosophy. We could talk about physics though, and in a way we’d be talking about the same thing. GARY I’ve heard that a lot. The connection between science and theology. Quantum physics and spirituality.

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CONTINUED: PHIL It really is connected somewhere. Scientists more than ever are acknowledging it. It’s there, the link, hidden under layers of codes we’re deciphering bit by bit. GARY The secret to the universe, eh? (smiling) I work as an analyst. I wonder if it’d affect my life at all. PHIL It’d affect life. Yours, mine, ours, it’s all the same. GARY I mean from a very practical viewpoint. PHIL Me too. GARY There you go being cryptic again. PHIL I’m sorry. It’s just.. Life is bigger than this. And I’m only just realizing it. GARY Better late than never they say. PHIL But, you see, it breaks my heart to see people around me who’ll never even come close to thinking that. GARY People like me? PHIL Please don’t think I’m judging you. GARY I’m not. But if I’m perfectly honest with you, I’ve never thought about it really. I’ve read about it. Participated in debates about it. Heard people talk about it. But never really thought about it.

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PHIL Well then yea, you break my heart. They look away again. Phil looks out the window, and Gary looks straight ahead into the seat in front. GARY What do you mean life is bigger? PHIL Have you ever studied Psychology? GARY The odd high school class. PHIL How about Astrology? GARY Zodiac signs? PHIL No, the science. GARY Hardly. PHIL Physics? GARY A bit in college, but I was always doing more accounting. PHIL You mentioned philosophy? GARY Hardly. PHIL Spiritual texts? GARY The bible? PHIL If interpreted correctly. GARY Hardly.

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PHIL Ever engaged in long twisted conversations, encompassing hours of contemplation, involving tonnes of subject matter, intertwined in innumerably intense ways, with the simple aim of challenging the mind, our perceptions, our constitution, our beliefs, and our understanding of the world. Life and how big it really is? GARY Never. PHIL Interested? GARY More than ever. PHIL Aha! Well, I have nowhere in particular to go, nowhere else I have to be. I’ve never been to Chicago. Seems as good a destination as any other. PHIL Maybe my reason for taking this filled-to-the-brim hot and stuffy train, at this ungodly hour of the morning was in fact, you. GARY Fascinating. PHIL (smiling) Let’s see now. Where do we begin. Screen fades to black CUT TO: (revision needed: make more fluid, with cuts to professor and phil? or to julie? needs to be more action driven. Also need to talk less about purpose, and more about one of the 3 key themes for the experiment. Talking about purpose is only relevant since thats how he gets Gary to get off the train with him. Also include talking about love and fit the next scene (Julie and Gary) in between this scene so as to give a break also. When include Julie and Gary as cuts in this one, (CONTINUED)

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can also write some flashbacks for Phil - about his ex-girlfriend and the past five years with the doctor. These scenes are described/written below this next one) INT: TRAIN: DAY Interior of through the speaking as of focus as the train, we slowly scan the world going past window while we hear the voices of Phil and Gary if in the distance. The camera zooms in and out nature flows past. The voices become clear.

PHIL Did you know the universe has a color? GARY (laughs) You’re serious? PHIL Yep. It’s a shade of beige white. The average color. It was incorrectly assumed to be greenish white till they realized the software had an error in the calculation. GARY That’s wild! PHIL (laughing) It makes sense though. Everything vibrates. That’s the nature of the universe. GARY I read an article on String Theory a few months back. Fascinating stuff. I even bought a tiny little thing called ’The little book of string theory’. Haven’t read it yet though. PHIL That’s exactly it. Vibrations, probabilities, waves and uncertainty. Take astrology for instance. GARY (chuckling) I’m sorry but it’s hard to think of astrology as a science. (CONTINUED)

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PHIL I don’t blame you. Our idea of astrology is so skewed. Daily horoscopes and Zodiac predictions for trivialities, even fashion. Bleh! GARY That’s not it? PHIL Not at ALL! Let’s try looking at it differently. The thing I said about everything being made of vibrations at it’s core. Inside of the atoms, the electrons and neutrons and protons, all just being composed at their core of vibrating strings. You with me? GARY Sure, with you so far. PHIL So now every planet, everything on it, the sun, other stars, our galaxy, everything vibrates. Phil suddenly gets up and scans the train. He sees a little boy in front sitting with his dozing mother, a small guitar in his hand, the kind they make for kids to start learning on. He is quietly and clumsily trying to finger the notes of Amazing Grace. Phil walks up to the mother and son. PHIL Hi, Sorry to bother you but do you think it’d be alright if I was to borrow that guitar for just a couple of minutes to give my friend here a demonstration about the nature of the universe? WOMAN (irritated at having been woken up) What for? PHIL For a demonstration ma’am WOMAN If it’s broken you pay double.

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PHIL Sure, whatever you want. WOMAN Bobby, give this man your guitar. KID No! WOMAN It’d only be a couple of minutes, son. Now go on, be nice. KID Why? It’s mine. PHIL Hey, kiddo. I know it’s yours and it’s beautiful. I just want to borrow it for 2 minutes, and here (hands him a dollar) I’ll pay rent for it. Like professionals do. KID (looks at his mother, irritated) Maaaa? WOMAN Just give him the damn guitar Bobby! The kid reluctantly hands the guitar to Phil. Phil brings it back to the seat. Gary looks on incredulously. GARY What was that all about? PHIL Oh just wanted to show you something. Now where were we, oh yea, everything in the world vibrating at the core. See this guitar here? Phil points to the guitar and plucks the open fifth string, letting it ring a second. Then he does it again PHIL Every note is a frequency of vibration. This A note you hear, is this string vibrating 440 times a second. Whether on a piano string, (MORE) (CONTINUED)

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PHIL (cont’d) or guitar string. Anywhere the string vibrates 440 times in a second, you’ll hear the note A. GARY Yup. I get that. PHIL So now extend the logic to planets and stars and all of us, and all our things, everything in the world vibrating together. What happens when you have lots of strings vibrating together? Phil dramatically plays all the open strings on the guitar in one big strum. PHIL Only more beautiful, and maybe set in a concert hall? GARY You get a symphony. PHIL Exactly. And the planets are playing a cosmic symphony, every moment of time. Our ears are not equipped to hear it. GARY Very interesting! PHIL But that’s not it, see. There’s more. This cosmic frequency, average of the symphony, would be different at different times and at different locations. Agree? GARY Because the planets and everything keeps moving, and so the frequency keeps changing. Yea, that makes sense. PHIL Astrology, the science, according to some texts I read, suggests that this cosmic frequency gets imprinted onto the infant when it’s (MORE) (CONTINUED)

CONTINUED: PHIL (cont’d) born into this world, depending on the location and the time, and hence the exact orientation of the stars and planets. GARY So we all have a certain unique cosmic frequency. PHIL And that’s what Astrologers tried to study and understand. Your nature, your purpose, your reason for being here. Based on your cosmic frequency. GARY Our own unique frequencies? PHIL Correct. We all have a reason we’re here. A purpose. Unique. Our own cosmic frequency. Here to experience and discover something which is innately ours. GARY But what if I don’t like what I’m ’supposed’ to be or do? PHIL You can’t not like it. It’s your nature. GARY But generations ago, the kind of jobs would be different. Does astrology take the era into account? PHIL (smiling now) Jobs, relationships, weather, these are things sought with impermanence, belonging to this world. Astrology dealt in higher stuff, beyond this world, at least it used to. GARY Wow that does make me feel horrible.

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PHIL (laughing) What do you mean? GARY If I had a purpose, I have no idea what it was. PHIL Is. GARY What it is. Hmm... PHIL You have to realize, free will and purpose are not mutually exclusive. GARY I kind of see what you mean. But I still feel that what you’re saying implies a path, laid out in front of us to follow. PHIL The question is not to do something or the other, or go down one way or the other. That’s irrelevant. It’s the how and the why which matter. You’re going to Chicago right? GARY Correct. PHIL So you could argue that your path is fixed, literally and metaphorically. GARY Agree. PHIL Well what if we got off the train at the next stop. You would have actively changed your path? GARY But that’s not what I mean. I meant finding a purpose.

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PHIL Have you found a purpose on this path? GARY (thinks a moment) No, I guess not. PHIL Well then give it a shot. Change your path for once. See where it leads you. Maybe you’d find your purpose after all? GARY (unconvinced) But, (laughs weakly) I, err, I need to be at work in Chicago. PHIL You don’t really want to! Blow it off! Call them and say the train broke down or something. And that you’re waiting for the next one. There, could it be more simple? GARY (considering) Oh, What the hell! Let’s do it! PHIL Yea! GARY (relaxed and cheery now) New path, hmm... PHIL You’re doing the right thing, my friend. You should have done this a long time back. The train pulls to a stop. Gary and Phil get up to leave. Phil hands the guitar back to the Kid who makes a sullen face. PHIL Forgot something? GARY (startled) Oh! My bag!

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PHIL (laughing) You don’t want to leave your identity behind. (then teasingly) Or maybe you do. GARY (pretending to heave his clearly-not-heavy bag, laughing) Aah, the burdens of life. They disembark the train. The screen goes black. CUT TO: (revision: this scene (and the one following (Gary and Andy) go as scenes that the above long scene (Gary and Phil) cuts between to keep it flowing) INT SUBURBAN HOUSE: KITCHEN, LATE EVENING Gary and Julie are in the kitchen, quietly preparing food. Julie is cutting something on the cutting board, Gary is searching for something in the refrigerator. JULIE You remember Tim? GARY (slightly irritated) Yea. What about him? JULIE (annoyed) What’s with the tone? Anyways, he invited us over for dinner on Thursday night. GARY I suppose we have to? JULIE Of course! GARY I’m in Chicago. JULIE No you’re not.

(CONTINUED)

CONTINUED:

30.

GARY What do you mean I’m not? JULIE I checked. You get back Thursday evening. I said yes already. Pause. GARY What’s this dinner for? JULIE He got promoted. I think I might be next in line. GARY So it’s an office party. Lots of people. JULIE No actually it’s just us. He invited me and told me to bring you along. GARY (a little disturbed) He only invited you? JULIE And you. Pause. GARY I want you to cancel. JULIE What?! Are you mad? No way. GARY I refuse to go, and I also don’t want you to go. JULIE Excuse me? Since when do you make decisions for me? GARY I am your husband.

(CONTINUED)

CONTINUED: JULIE Oh please. If you acted like the man in charge you’re now pretending to be, maybe I would have not been so terribly amused. GARY I’ve told you my decision. We’re not going. JULIE Listen, I don’t know what’s gotten into you. But I’m tired of this conversation. We’re going and that’s that. He’s an important person in the firm and god knows I could use a promotion. GARY (pauses) We’re doing fine, aren’t we? JULIE Fine?! Gary, listen to yourself. What happened to you? It’s like you have no ambition left in you. It’s not enough for me, no. And frankly I think you need to meet someone like Tim to inspire you. Pause. GARY (suppressing anger, under his breath) You’ve got to be kidding. Julie goes back to cutting. GARY (anger rising in him) Am I really such a joke to you? Julie continues cutting. GARY (loudly) Ha! It’s as if you can choose to have me not exist when it’s convenient, and when I’m needed to fulfill my divine responsibility of being madam’s escort to Sir Tim’s dinner party, there I am, faithfully on a leash.

31.

(CONTINUED)

CONTINUED:

32.

JULIE Oh don’t be so melodramatic. GARY (Grabs her knife, grips it. His face sad and mournful, hardly dangerous looking) I’m tired of being the *bitch* in this relationship. Pause of a minute. Gary lets go and goes back to the fridge. Julie begins to silently cry. JULIE (upset, softly) I didn’t bargain for this. GARY Neither did I. CUT TO: (revision: this scene may be unnecessary and can be removed. If used, it’ll go in between the Gary and Phil narrative somewhere.) INT: OFFICE BUILDING, LITTLE LOUNGE OUTSIDE, CUBICLES INSIDE: LUNCHTIME. Andy enters the building, baggy pants, loose t-shirt, messy hair. An artist, he has paint smeared on his t-shirt. He enters the lounge, looks at the stern receptionist (who seems displeased by his appearance) , and then towards the cubicles. He sees Gary and signals to him. Gary comes out after a minute. ANDY Hey Gary! Wanna go grab a bite? GARY Ok sure, but I just gotta send an email. Come on in with me. It’ll only take a second. Andy gives the receptionist a smile and follows Gary inside. Inside the cubicle, Gary sits on his chair, Andy stands behind. On his table is a picture of Julie. ANDY She looks pretty in this picture.

(CONTINUED)

CONTINUED:

33.

GARY (suddenly irritated, remembering last night and TIM) Yea. Too pretty for me. ANDY What? GARY Nothing. I don’t know. Let’s go. ANDY (concerned) Yo. What happened man? You can tell me, I was your best man at the damn wedding, come on! GARY Nothing happened alright. (Pause) It’s only a matter of time though. ANDY (quiet) What was it about? GARY (taking a deep breath) Let’s go, alright. We can talk over food. ANDY Right. (small pause) Sure. They start heading out. GARY Besides, I’m heading off to Chicago anyways. ANDY Work? GARY (cheering up at the thought of getting away) Yea, but man... a day away. The free air! I get off work by 4 or 5, so that gives me plenty of time that night and the next morning to walk around. Just roam around, you know.

(CONTINUED)

CONTINUED:

34.

ANDY (chuckling) You really don’t paint a good picture of marriage. (Pause) It was your choice brother. You think it was the wrong one? GARY (smilingly) It’s not possible to see the results of the alternatives to the choices one makes in life, is it now? They’re almost at the exit. ANDY (ponders a second) I guess not. Pizza? GARY Pizza. Just as they’re exiting... ANDY Oh by the way, when are you going? GARY I take the train on Wednesday morning at 6 am. (As mentioned before, these last two scenes fit into the ’Gary and Phil’ narrative through cuts, including the following: Phil Flashbacks: A few scenes go in between the above as cuts. These will just be flashes either of Phil recounting to Gary, or just remembering the past five years... Including his stay in New York, at his ex-girlfriend’s apartment, something about the ’routine’ (tape recorder, notebook), scenes with the doctor/professor maybe doing something for the experiment) ACT 2 EXT: TRAIN STATION: FLASHBACK The scene is a different hue, denoting being from a different time frame. We’re looking at a train at a station. It looks like the same station (it is), but the ambiance is different making it not instantly recognizable as the same (CONTINUED)

CONTINUED:

35.

station. The train pulls away and we see a woman and a young boy holding hands at the station. (There are no other ’people’ at the station, just waves which sometimes seem like taking the form of people but otherwise abstract energy waves) YOUNG GARY PHILIPS Ma, what place is this? MRS. PHILIPS It’s going to be our home, son. GARY But I like New York, Ma. MRS. PHILIPS New York is filled with thieves and murderers, honey. I want us to be safe. CUT TO: Phil shakes his head, snapping out of a painful memory. GARY You OK there, buddy? PHIL Yea. Just... the sun. GARY What in god’s name is this town? PHIL Adelphi, OHIO GARY Hmm... Never heard of it (pause) PHIL (laughs) Yea!? I know this town pretty well. I lived here for a few months as a kid. GARY Oh wow. Really? PHIL Yea. Moved here with my mom, after Dad split.

(CONTINUED)

CONTINUED:

36.

GARY I see. (Pause) How long did you live here? PHIL Oh just a few months. GARY Moved back to New York after? PHIL Sort of. (Pause) Eventually. (Pause) Mine’s kind of a long story. GARY By this time in our lives, we better have long stories. They both laugh for a second. They’ve been walking kind of aimlessly through the town. GARY (cheerfully) So where are you taking me? Since you’re the one familiar with this town! PHIL Oh I haven’t been in these areas for so long. It would take me a while to remember. Plus, everything changes so quick these days. GARY THAT is true. Everything changes faster now. (Pause to giggle to himself) You know, one of my friends, probably as a joke, was proposing that time is moving faster now. PHIL What do you mean? GARY Meaning, he was saying that time is moving faster now than it did a century back. PHIL You mean our clocks, and computers?

(CONTINUED)

CONTINUED:

37.

GARY (incredulously) YEA! And all the rest of it. Phil pauses as if taking the thought in. PHIL It’s an interesting thought you know. GARY Really? You find that interesting? PHIL Well, if you think about it, Time IS supposed to be a percepion. And it is known to speed up and slow down. Remember... CUT TO: INT: BAR EVENING Phil saying: PHIL ...Einstein. DR. WILLIAMS Yep. Exactly. He said it. You said it. PHIL But that’s amazing. I mean, it’s crazy that I never thought about it that way. DR. WILLIAMS It’s crazy that as a species we refuse to try and think about it that way. Phil and Dr. Williams are sitting at a booth in a bar. (Slowly the noise fades in). Phil downs the last of his beer. PHIL I’m getting another one. For you doctor?

(CONTINUED)

CONTINUED:

38.

DR. WILLIAMS ’Professor’ PHIL (smiling) For you professor? DR. WILLIAMS Sure, I’ll get another. Phil gets up to get drinks. The professor takes out a notepad and starts writing some things down. Phil comes back with two mugs of beer. PHIL Making notes again. DR. WILLIAMS Are you? PHIL Religiously. DR. WILLIAMS Good. It’s the only way. At least that’s how it seems. PHIL I’m having to research a lot though. Really study into character. And cause and effect. Dr. Williams smiles in acknowledgement DR. WILLIAMS The price of desire. PHIL Sometimes, it’s too much you know. The detailed level I need to go into. DR. WILLIAMS God is in the details. PHIL (laughs) Every single moment of every single day of every single year. That’s a lot of details.

(CONTINUED)

CONTINUED:

39.

DR. WILLIAMS If you want this to work, there can be no loopholes, of even an instant. PHIL It would feedback? DR. WILLIAMS What was that? PHIL Oh, nothing. (Pause) I mixed up my thoughts. DR. WILLIAMS (concerned) You need to be more careful. PHIL (irritated) I know. DR. WILLIAMS (quickly) I’m sorry. (Pause) What were you thinking about? PHIL I’m not sure. (pause, softer) Feedback. It’s where you feed back a signal to what was producing it, and it produces it again and you feed it back in a loop till it’s this giant ball of... Phil stops as if looking for the right word. DR. WILLIAMS Of energy? PHIL In a way, yea! A giant ball of energy. But it’s usually undesirable. (Pause) I used to think of dejavu as a sort of feedback loop. Something wrong in the system. Phil drinks another sip of his beer, the Dr.

(CONTINUED)

CONTINUED: DR. WILLIAMS Hmm... I guess I can see the connection. (Pause) We can’t afford that. PHIL We can’t afford that.

40.

CUT TO: INT: INTERROGATION ROOM LATER Gary is sitting in handcuffs on the chair. A single lamp shines up top throwing light on the table in the middle. His chair is propped really close to the table so his face is in full view. We see an insect trying to crawl up his foot but he jerks it away. Officer Willis can be seen partly but not really in full detail. But what really shows is his uniform. OFFICER WILLIS So you got off the train at Adelphi, on a whim. GARY On his suggestion. OFFICER WILLIS He didn’t hold a gun to your head. The way I remember, we found the gun in your hand. GARY HIS gun. OFFICER WILLIS Alright sure. (Pause) Go on. GARY We walked through the town for a while. Just talking. He lived in that town so he started telling me about it. That’s before I even knew he had a gun! OFFICER WILLIS So you got on a train bound for Chicago, got off at Adelphi because a man you had JUST met on the train told you to. And then later, he pulls out a gun and you end up shooting him.

(CONTINUED)

CONTINUED:

41.

GARY (shouting) He made me shoot him! OFFICER WILLIS You know you just keep worsening your case. GARY (pleadingly) What?! I’m innocent goddamnit. I mean, I’m telling you the truth! OFFICER WILLIS (accusingly) Your story just keeps getting more convenient, doesn’t it? HE did everything. HE MADE you get off the train, HE MADE you walk with him, HE MADE you hold HIS gun, and HE MADE you shoot him. GARY It’s what happened! OFFICER WILLIS Calm down, and keep talking. And try the truth. It’s your only hope. GARY I am telling you the truth. It might sound convenient or inconvenient but god knows it’s true! OFFICER WILLIS Let’s keep the big guy out of this. What did you do once you got off the train? Where did you go? GARY We walked around the town for a while. He was talking about all kinds of crazy stuff. Time dimensions, Transference, Parallel Universes, Delusions... While he’s saying the last few words, we hear muffled sounds as if coming through a pipe and then we hear a loud bang. CUT TO: (CONTINUED)

CONTINUED: Flashbacks/Flashes:

42.

We see the sound had been made by a pipe hitting the floor in a dark room. Montague clips (as flashes) of clips from his jailtime: blood on the floor, a boy, a young man in a criminal’s uniform lying in fetal position in cell, bullying?, A man in a doctor’s coat walking through a prison hallway, ’books’ lying strewn next to bars. (The doctor looks right into the camera (having walked down the hall)). Gary’s POV: Dark room with single light, 3-4 men half naked, one with pipe in hand, one with a sinister smile. The one with the pipe raises it high in the air to hit ... CUT TO: EXT: PARK EARLY AFTERNOON Sweat, napkins/hands wiping. We see Phil wipes his brow. He and Gary are sitting on a bench near a grove. Gary is sprawled out, his eyes closed, bag next to him. Phil is looking straight ahead. PHIL When did I put you to sleep? GARY I’m not sleeping. I can never sleep in the day. PHIL It IS pretty bright out. Maybe a walk through town wasn’t such a good idea. GARY Beats the hell out of sitting in an office. They both laugh. Their good chemistry is palpable. Gary gets up and brushes his clothes, then throws his bag on. GARY Let’s go. I don’t want you to put me to sleep. They begin walking again. Phil looks distracted but smiling (almost as if out of contentment), giving the impression as if piecing together his life in that town. Gary notices a man walking some distance behind them, it’s the same man he had bumped into on the train.

(CONTINUED)

CONTINUED:

43.

GARY (turning to Phil) You know the discussion we were having earlier about time.. PHIL About it being elastic. GARY Yea. I wish I had control over it you know. Be able to go forward and see whether say, me and Julie survive. PHIL (smiling) That’s probably why you can’t. GARY (annoyed) What do you mean? PHIL Well, what would be the point of it living if you knew exactly how it would play out? It’d all be so boring. GARY Hmm.. I guess you’re right. It’d still be cool though. To be able to figure out some things. PHIL Is it that big a problem? GARY What? PHIL You and Julie? GARY Oh, no no! I guess I’m just being paranoid. (pause) Just, sometimes it feels like she’d rather be with someone else. PHIL Is there someone else?

(CONTINUED)

CONTINUED:

44.

GARY Maybe. Who’s to really say? PHIL Maybe Not. Who IS to say. Gary half sighs/half smiles. They walk in silence for a minute. PHIL I think it’s possible. GARY Me and Julie? PHIL Maybe. I was talking about your earlier musing. GARY To travel back and forth in time? PHIL Possibly, but I feel that’s still being narrow. That would make sense if time was a single linear tied-from-beginning-to-end-like-a-stringunchangeable. GARY It’s not. PHIL I don’t think so. I think it’s more like a web. Branching off with every decision. Every choice you make, pushing you into a new parallel universe. GARY (takes a second to take it in) But that would make it impossible to figure out if me and her would survive in the future. PHIL (laughs) Indeed, my wise friend. (pause) Because there would be a million futures to choose from. (Act two will basically consist of three-four such long scenes cutting between the 4 different threads of narrations (CONTINUED)

CONTINUED:

45.

established in Act 1: ’Gary and Phil’, ’Dr. Williams and Phil’, ’Officer Willis and Gary’, ’Phil’s flashbacks/flashes’. The agenda of these scenes is twofold: 1) to drive the plot elements, and 2) to talk about these ideas but in a way that the flow is maintained. The plot elements and ideas to talk about are mentioned at the end of act 2 in this version of the script). Some of the inidividual important scenes which I’ve written and that will need to be fit in in one of these long scene templates follow:) CUT TO: Flashback scenes: Some of the scenes repeat. Some new ones: blood on the floor, a boy, a young man in a criminal’s uniform lying in fetal position in cell, bullying?, A man in a doctor’s coat walking through a prison hallway, Gary’s POV: Dark room with single light, 3-4 men half naked, one with pipe in hand, one with a sinister smile. The one with the pipe raises it high in the air to hit A winding road in late evening. Turning back to see a man following. Boy tugging on his mother’s hand and the words ’Ma, where are we?’ We hear muffled sounds rising as we zip through Adelphi County, stopping only to stare for an instant at 2-3 important prisoners. (Apart from the ones in the gang above) The muffled sounds become clear as we hear: PRISONER 1 It’s the doctor. INT: PRISON FLASHBACK Phil’s POV: We see a thin man, balding, stringy almost. His smile has something sinister about it. A gold tooth shines out of his otherwise half empty jaw. PHIL What doctor? PRISONER 1 Some quack. For goners, ya know. PHIL Mike?

(CONTINUED)

CONTINUED:

46.

PRISONER 1 Yea. He flipped out last night. Started calling on the guards as (with poetry in voice) ’his men ready to wage the next battle and dethrone the emperor’ PHIL So what’s he (pointing in direction where they saw the doctor) gonna do? PRISONER 1 I don’t know. Talk some sense into him? He’s supposed to be an expert with the ones who believe weird stuff. PHIL I need to get back to work. PRISONER 1 Oh come on! Back to the books honey? Let’s sit and chat a while. PHIL Leave me alone, Larry. PRISONER 1 (LARRY) Alright Alright. Keep your panties on. Larry moves away to join some other prisoners. Phil is staring straight at the doctor. His POV: We see the doctor across on the other side of the adjoining room through a glass panel. He is talking to the patient Mike. We move in to see him and the room folds into... CUT TO: INT: DR’S OFFICE, MORNING Dr. Williams and Phil are sitting across from each other in what looks like a doctor’s office. DR. WILLIAMS I remember you telling me a few months back about the time at Adelphi County.

(CONTINUED)

CONTINUED:

47.

PHIL Which part? DR. WILLIAMS The part about me. Phil looks away towards the solitary window in the room. PHIL It was a good feeling. Of hope I think. DR. WILLIAMS You were also telling me about the prison guard. PHIL You still remind me of him. You and him are the only two people who have given me anything in this life. DR. WILLIAMS I’m glad to hear you say that. (pause) Is there anyone else I remind you of? PHIL Anyone can remind me of my father. DR. WILLIAMS You hardly knew him. PHIL Even if I did, what I remember of him is so vague, I can attribute it to a roach if I wanted. DR. WILLIAMS I am not a roach. PHIL It’s not what I meant. A minute of silence before Phil whispers to himself. PHIL He left us. He abandoned her. She needed him. DR. WILLIAMS You needed him.

(CONTINUED)

CONTINUED:

48.

PHIL She needed me. Another minute of silence. Now Dr. Williams gets up from his chair and comes closer to Phil DR. WILLIAMS We need to try something new today. PHIL What’s that? DR. WILLIAMS Are you familiar with Transference? CUT TO: EXT: TOWN AFTERNOON Gary and Phil (in the town) - discuss transference/perception CUT TO: INT: INTERROGATION ROOM, LATER Gary’s bag sitting on a chair in the corner. We see that we’re back in the interrogation room. OFFICER WILLIS This, Phil. Was he with you throughout? GARY (relieved at his story finally getting some attention) Yes! He is the one who made me kill him. I was on my way to work in Chicago. If I’d have known, I’d have never gotten off that train. OFFICER WILLIS Chicago you say? You were picked up near Cleveland, you know that right? GARY Yes yes but I was on my WAY to Chicago. He made me get off the train with him.

(CONTINUED)

CONTINUED: OFFICER WILLIS HE forced you? GARY Well, not entirely, I did get off on my own, BUT I had no idea he was such a maniac. He seemed like a genuinely interesting and harmless guy! OFFICER WILLIS You said he made you kill him? GARY Yes! Phil. He made me kill him. He pulled the trigger on himself with my hand on the gun! OFFICER WILLIS I see. His name was Matthew Jacobs. GARY What? OFFICER WILLIS The guy you killed. GARY What? The liar! I should have guessed. OFFICER WILLIS He was a petty criminal, wanted for burglaries and pickpocketing. GARY (almost with relief) Oh NO! You’re talking about the man Phil shot! The man who stole my bag. OFFICER WILLIS (incredulously) WHAT! GARY At the cafe when we got up to leave we saw that the bag was missing. Someone had stolen it while we were busy talking.

49.

CUT TO: EXT: CAFE EVENING (CONTINUED)

CONTINUED:

50.

Gary and Phil: (at the cafe), bag stolen, tensions rise as Gary begins to get suspicious. (Like the ones above there would be a similar long scene where the plot element is them chasing the man who stole their bag, and then PHIL shoots him. The idea being discussed at this point by them is of perception and the idea that we create the world from the inside out, i.e. ’our minds create the worlds around us, so if we really believe in something, it can become real’ A bit of this scene follows, as usual this would be one of the things we cut to in the long scene template:) CUT TO: EXT: FUNERAL PROCESSION: CONTINUOUS The procession is passing. Phil has just spotted the thief who stole Gary’s bag sitting on a bench a bit further down on the other side of the street. Both him and Gary are now moving towards him trying not to catch his attention. PHIL Guess I didn’t steal your bag after all eh? GARY I’m sorry. Suddenly the thief notices them, and gets up. They stop in their tracks. Gary takes one step forward and the thief starts running. Immediately, hey start chasing him. GARY Hey! That’s my bag! Thief! Thief! They run a distance to what is now more deserted/forested an area (we’re close to the final scene ground) GARY Hey! Stop you piece of shit! The thief begins to slow down. Gary pounces and just manages to grab him and bring him to the ground in a sort of clearing in between the sort of forest area they had run into. They struggle back and forth. The thief frees himself and the bag and begins to run again. Phil just about catches up to Gary while Gary starts running again. We see Gary chasing the thief who is now nearing the end of the clearing. Gary jumps him grabs a hold if his leg and again brings him to the ground. We see Gary cling on and pull, and the thief struggles to free himself and (CONTINUED)

CONTINUED:

51.

simultaneously try and pick up momentum as if he’s running already. While this is going on, BANG We hear a gunshot. CUT TO: FlashBacks/Flashes: same location as above. Cops running up to a kid, nighttime, kid holds a gun. CUT TO: EXT: CLEARING IN FOREST, NEAR DUSK Gary’s POV: We see Phil standing in the middle of the clearing where Gary had been struggling with the thief before. He was holding a gun which had smoke coming out the nozzle. His coat was open on one side to reveal what looked like a holster. He sees Phil hurry across to the side of the clearing and what appears like BURYING the gun. (gary and phil conversation have to get tense as we go on. For one in the section when the bag gets stolen, till they find it again, Gary is suspicious of being conned... that increases tensions. Plus the underlying tensions of their differing personalities also finally comes out and they have a big argument at the cafe which gets resolved when they see the thief, but tensions rise a lot again when Phil kills the thief) (Act 2 is where most of the ideas get expulged. Transference, Perception (creating worlds with our minds), and Parallel Universes are the three broad topics discussed between ’Gary and Phil’, (and with back and forth cuts, ’Dr. Williams and Phil’ also). Other ideas talked about will be to drive the conversation, or for slight humor. Also during the conversation between ’Gary and Phil’, Phil tells Gary progressively through the act about his life during these 3-4 long scene templates, in the first about being in jail, in the second about being raped and bullied while there, in the third about the brain injuries and mention of delusional disorder) (The plot elements are not very complicated as far as the main narrative of Gary and Phil goes... They sit at a cafe in the town to continue their conversation, when they start to pay, they notice Gary’s bag missing. This leads to arguments and tension rising between Gary and Phil as Gary begins to get suspicious. However, they spot the thief later while walking to the station, and chase him off the main road into the adjoining forest. While Gary is tackling him, and fighting for the bag, Phil shoots him.)

52. ACT 3 INT: INTERROGATION ROOM, NIGHT We’re back in the station interrogation room. Officer Willis enters from the side. OFFICER WILLIS Alright, Who are you? GARY? Uh? OFFICER WILLIS What’s your real name? GARY I told you, Gary Summers. OFFICER WILLIS Sonova... Officer Willis walks upto the chair and looks down at Gary. OFFICER WILLIS Now look here boy. I dont like you and I dont trust you. You pretend like you’re innocent but none of the things you say make sense.And now I find out that you’ve lying about who you are too. GARY Everything I’ve said is true! OFFICER WILLIS (angry) Then why the fuck are my people who’re running background checks telling me that Gary Summers does not exist? GARY Excuse me? OFFICER WILLIS You’re making everything up. GARY What are you talking about! Call my wife! My lawyer! Check my wallet! It was in the bag where you got me. Tell me you got the bag!

(CONTINUED)

CONTINUED: OFFICER WILLIS We got the bag. Calm down. There was no wallet. No identification. We just found this one notebook. GARY What! That’s incredible. How did he ...? OFFICER WILLIS So your real name? GARY Gary! goddamn! Summers! I’m telling you the truth! You have to believe me. OFFICER WILLIS Look at me. I don’t care about your bag or wallet. You’re not in the database. You’re nowhere. Gary Summers does not exist in the state of New York, or the entire United States as a matter of fact. Unless you’re 63 years old and from Wisconsin. Or you’re 12 and from Portland. There is no Gary Summers in the states who would fit you. GARY (shocked) But... How’s that possible... OFFICER WILLIS You tell me, Mr. Gary Summers, did you say? GARY (almost in tears) I don’t understand. How did he? OFFICER WILLIS (irritated now) He, again? GARY YES! HE! PHIL! I don’t know how he did this, but he really fucked me up! Man, what did I ever do to deserve this? One minute I’m sitting in a train on my way to Chicago, and the next I have a bloody man lying in my arms all because of that one man.

53.

(CONTINUED)

CONTINUED: While he is saying these we cut to and start seeing:

54.

CUT TO: EXT: CLEARING IN FOREST, NEARING DUSK Matthew (thief) lies on the ground. Blood is beginning to collect around his body. Gary stands next to him horrified. GARY (shocked) WHAT! THE! FUCK! What the FUCK is wrong with you! You just killed him! PHIL (calm) He was a thief. GARY But you just killed him! Oh God, you made me an accomplice! PHIL Calm down. All we need to do is get out of here. GARY Where did you get the gun from? (then realizing, shocked) Have you been carrying it all this while?! PHIL Let’s get out of here alright. We can talk on the way. Gary grabs his bag and they both scamper out of the location. Phil pretends to bury the gun somewhere nearby (but hides it back in his pocket) CUT TO: EXT: PATH IN FOREST (SAME AS FLASHBACKS EXCEPT THERE IT’S IN THE NIGHT), CONTINUOUS GARY (calmer, still sounds nervous) Why are you carrying that gun? PHIL Jillian gave it to me. The ex-girlfriend who’s place I was crashing at?

(CONTINUED)

CONTINUED:

55.

GARY A gun? PHIL For safety. GARY I don’t believe you. PHIL Then don’t GARY Tell me the truth. PHIL I AM telling you the truth. GARY (getting angrier) No. You’re not! Why are you carrying that gun? PHIL I told you! For safety. GARY The truth! PHIL To stay safe! GARY Goddamnit! The Truth! They both stop walking. Phil sighs. PHIL Alright. I’ll tell you the truth. GARY (still sounding a bit angry) Spit it. PHIL The gun was to shoot you. Gary panicking a bit at his suspicions being true, starts to walk, almost as if to get away. Phil starts to walk with him, increasing his pace to keep up with him.

(CONTINUED)

CONTINUED: GARY I’m getting out of here. PHIL Now listen here, if I wanted to kill you I could have killed you anytime. GARY Then why didn’t you! Don’t try to be my friend now. You’re a killer. PHIL (sighing) I’ve heard that all my life. GARY Because that’s what you are! Don’t pretend to be scrupulous. PHIL I’m not a killer. I’m a human being. You make me into a monster. GARY NO! You’re a killer because you’re a killer. Noone makes you one. Not me, not them. You. God! You can throw the blame around but it’s your problem. PHIL I have a problem. GARY No kidding! PHIL No, I mean I’m sick. I suffer from delusions. GARY There you go lying again. PHIL I’m not lying. I would not lie about such a thing. God knows I would hide it if I could. And I do. GARY (sarcastically) So you believe you need to kill or something?

56.

(CONTINUED)

CONTINUED:

57.

PHIL It’s not like that. It has nothing to do with killing. (pause) I see doubles of myself. Everywhere I go, I can see someone with my appearance but with a life better than mine. It drives me insane. GARY What do you mean you see doubles? PHIL I cannot explain it to you. It’s not like they completely take my face or body. Sometimes it is that too, but it’s always this feeling of recognition. Like I am inside that person. I am that person. GARY I don’t get it. PHIL Neither do I. It’s like imagining all the different lives you could have had and then seeing people leading them. Except those people are me. Somewhere near my core, I can sense myself when I see them. Gary shakes his head. He doesn’t get it. PHIL When I look at you, I don’t see a person, I see a form of me. I experience myself as you, and I can feel all the things I could have been rush through my blood and veins. GARY When you look at me? PHIL Yes. You. Among many others. It makes me want to swap, any which way. Become one of these persons, take on their lives and identities. Figure out who I really am. CUT TO:

(CONTINUED)

CONTINUED:

58.

(This fragment of the scene talks a little bit more about the nature of the experiment and how they thought about it. There will probably be one more such conversation.) INT: DR’S OFFICE, LATE NIGHT We’re in the Dr’s office, the setting seems different. Phil and Dr. Williams sit facing each other in deep thought. PHIL How do I choose someone? DR. WILLIAMS As a model? PHIL Yea. They all look like me. DR. WILLIAMS Follow your gut. (After a bit of talk relevant to the experiment), Dr. Williams hooks up some wires to Phil and they begin doing some tests. CUT TO: Flashback/Flashes: We see the mother Mrs. Philips hooked up to similar wires, Mr. Philips shaking head angrily after talking to doctor. The two of them fighting in front of a kid. The kid crying. CUT TO: EXT: GROUND, NEAR DUSK PHIL Why you? We see Phil and Gary walking, they’re almost at ’the ground’ GARY Yea. Why me? Why not someone else on that train? Just because I sat with you. PHIL No. It didn’t happen because you sat next to me. It’s not circumstantial. I don’t know how it gets decided. It’s not something I control. It can be anyone.

(CONTINUED)

CONTINUED:

59.

GARY So you had got the gun along because you were going to shoot the first person who triggered this delusion of yours? PHIL If it made me mad again, yes. GARY You make me sick. Those people have lives, THEIR OWN lives. Who are you to fuck that up? It’s people like you that... PHIL (angry) STOP! (pause) Don’t put me in your labeled boxes. I’m sick of people doing that to me. GARY Why not? You’re putting me in one. PHIL All my life I have battled with this. Don’t do it. GARY (defiantly) It’s people like you that make me want to pull out a gun and shoot. As if awaiting his cue, Phil pulls out the gun from his coat pocket. Gary’s eyed open wide in panic. PHIL Here, why don’t you? GARY (choking) You...still have.. the gun. PHIL Yea, I still have the gun. GARY I thought you threw it. PHIL I know.

(CONTINUED)

CONTINUED:

60.

GARY Why do you still have it? PHIL To finish things. A beat. GARY (softer, nervousness back in voice) Are you going to kill me? Phil laughs. PHIL What’s funny is that if you’d have asked me that when we got off the train, my answer would have been different. GARY (timidly) I’m just want to go home. I’ve had enough of this. PHIL (smiling) If you think you can leave, by all means do try. Gary nervously shuffles around, then decides to stay. The man has a gun after all. Phil suddenly throws the gun at Gary’s feet. Gary looks down at it, then back up at Phil. PHIL Take it. GARY I can’t. Please, I just want to leave now. GARY What should I do? PHIL Think. GARY I’m cornered.

(CONTINUED)

CONTINUED:

61.

PHIL You’ve always been cornered. GARY I just don’t get why it had to be me, if it could have been anybody. PHIL I’ve asked myself that for 25 years now. GARY I’m sorry about how your life turned out, but killing me can’t be the answer! PHIL (smiling) The gun is in your hands now. Gary turns to go. GARY I’m going to go. Please don’t follow me. I hope I never see you again. PHIL I can’t let you go. GARY What? PHIL And you can’t let me go. It’s the nature of things. This has to be finished, one way or the other. GARY I dont know what you mean, and I dont care. PHIL This morning, in the train, I knew I had to kill you. Your mundane terrible job, and your boring pretty wife ensured that. GARY Why would you want my life? And how does any of this help you?

(CONTINUED)

CONTINUED: PHIL You’re right. It won’t help me, but it would pacify me. It would calm my heart a little to know yours has stopped. PHIL As to why your life? Probably because it’s not mine. Simple things. I never had the simple things. GARY (softer, almost human moment in the madness) You can if you try. PHIL (losing it) Don’t give me that hocus-pocus! Too many have tried. GARY (panicking) I’m sorry. PHIL (still angry) No you’re not. None of you ever are. You can’t even begin to imagine my life. Seeing myself everywhere but leading better lives than I do. It boils me from the inside. Like you for example, with a pretty wife and a steady job and not a care for why we’re here or who we are, our purpose, destiny, nothing. All you care about it these stupid little things. And that drives me mad. I wish I was you. I wish I was anyone but me. I want to shoot you. I want to shoot everyone who reminds me of who I could have been - a steady job and a pretty wife. But How many of you can I shoot? How many me’s do I have to get rid of? Gary stares at him silently. PHIL (softly now) Pick up the gun.

62.

(CONTINUED)

CONTINUED: GARY No. PHIL At this point, I’m not giving you options. Pick up the gun.

63.

Gary nervously picks up the gun, pointing it straight at the ground. PHIL Point it at me. GARY NO! Phil takes a few quick steps towards Gary as if to jump him. Gary panics and points the gun at Phil by instinct. PHIL Good boy. Now keep it that way. GARY Why are you making me do this? PHIL I need you to be angry. I need you to boil. GARY Why? PHIL Because your anger has the power to finish this. Phil starts moving towards Gary, Gary unsteadily moves back a few steps, gun still pointed at Phil. PHIL You know why your wife doesn’t love you? Because you’re not half the man she deserves. GARY (threatening) Back Off! PHIL (still moving) I think the only reason she might be fucking that Tim would be because he shows her power, like she expects her man to. (CONTINUED)

CONTINUED: GARY Stay where you are! PHIL (still moving in) It’s not your fault when you think about it. You’ve never been challenged. GARY (pointing the gun determinedly at Phil) I said- STAY WHERE YOU ARE !! PHIL (stopping) How would you react if I told you I banged your wife? GARY Fuck you. PHIL Julie Decosta Summers, works as an analyst at McFarler Bank, brown hair, blue eyes, great ass... GARY (going red in the face) Just shut the fuck up. Let me think for one... PHIL (interrupting, moving again) When you were in Seattle. Two weeks back was it? GARY SHUT THE FUCK UP! PHIL (decidedly moving forward) This is making you angry. Good. Finally. Point that gun now. Show me your anger. GARY (angry, nearing a corner) You’re fucking crazy. Why don’t you go kill yourself?

64.

Phil takes a few last steps forward and in one swift move has his fingers around Gary’s on the trigger with the gun pointing at himself. (CONTINUED)

CONTINUED:

65.

Gary is red with fear. PHIL (whispers) The nature of things. That’s just how it has to be. It’s the way this moment has been coded. Remember me when you wake Gary. I was a part of you. Just like you are me. Screen fades to black. We hear the bang of a gunshot. CUT TO: Flashes: Gunshot.Gary standing with a gun petrified. Body lying on the ground in a pool. Dr. Williams checking that the apparatus is hooked up properly after a patient has been put into COMA (implied Phil)He finished and looks at him. CUT TO: Still Flashes: We see a kid sitting in a corner. Zoom out to see his parents fighting. Father grabbing his bag to leave. Grabbing kid’s hand. Kid breaks free and runs to hug mother. Father shakes his head and heads for the door and then finally turns back. Child stands in the middle of the room now (leaning a little on the side of his mother), looking at him, then turns back towards his other, and then again towards his father. We hear the sound of a door close (We’re looking at the boy). CUT TO: (revision required: doctor talks less about the delusional disorder (Phil covers it earlier with gary), but rather about the nature of the experiment..) INT: DOCTOR’S OFFICE, AFTER DUSK Jillian enters the doctor’s office, just as he is coming out of the other room where he has put Phil into a comatose state.

(CONTINUED)

CONTINUED:

66.

JILLIAN Doctor Williams. Am I too late? DR. WILLIAMS Jillian, Hi. (Pause) I’m afraid so. JILLIAN I don’t understand. He was fine, and then suddenly, the message, and then your call. DR. WILLIAMS It wasn’t sudden. It was his plan. He had been working at it for the past 4 years. JILLIAN What plan? DR. WILLIAMS His plan for a second chance. We see relevant flashes of the back-ward moving story: jail, murder of man, mother petting him, ... CUT TO: INT: DR’S OFFICE, CONTINUOUS Jillian and Dr. Williams seated across from each other. DR. WILLIAMS As you probably know, your boyfriend.. (stops, glances at Tommy sitting outside in the hall and corrects himself) EX-boyfriend had a very troubled childhood. JILLIAN You’re referring to his time in jail? DR. WILLIAMS So he never told you also. JILLIAN Never told me what? DR. WILLIAMS Did he ever mention his mother to you?

(CONTINUED)

CONTINUED:

67.

JILLIAN His mother?! He told me he was an orphan! DR. WILLIAMS Yea, he told everyone that. I only got it out of him after several really long sessions. JILLIAN But.. (short pause) Why would he never tell me? I always felt he thought of me as someone very close. DR. WILLIAMS It was hard for him. Imagine keeping your life hidden for years. JILLIAN But why? Why would he need to lie? DR. WILLIAMS Because his mother was sick. She had something called persecutory delusional disorder. It’s a condition where you start believing everything and everyone is out to get you. JILLIAN But why would he hide such a thing? DR. WILLIAMS He told why he got sent to jail, right? JILLIAN He murdered a man. When he was young. In self-defence he had said, but he never liked talking about it. DR. WILLIAMS It was his mother. While the doctor delivers the next dialogue, we cut to and see the same scene as in the flashback with the cops coming and kid with the gun, except this time we see his mother in the back shouting ’he was coming for us! My boy saved us!’

(CONTINUED)

CONTINUED:

68.

DR. WILLIAMS The man he shot was a random stranger. His mother’s delusions led her to think he was coming for them and she was the one who took out the gun to shoot that man. JILLIAN He did not murder that man? He went to jail for nothing?? DR. WILLIAMS Well, he did shoot him. He managed to get the gun from his mother but, the way he described it, and believe me it was almost impossible to get this stuff out of him. The way he told me, the second his attention wavered, his mother wrapped her hands around his on the gun, and pulled the trigger. JILLIAN Oh God! DR. WILLIAMS His mother’s condition ruined his life. He hated that fact. To never have to remember it, he went around telling everyone he was an orphan. Not because he didn’t love his mother, but because he loved her too much. Imagine how terrible he’d have felt to realize that he had the same condition as his mother. JILLIAN He told me about the delusions once, but not again. I thought those had stopped too, since he’d been seeing you. DR. WILLIAMS He became comfortable enough to ignore them, but they were in fact becoming stronger. JILLIAN And there is no cure? It never seemed like he felt insecure or that everything was out to get him?

(CONTINUED)

CONTINUED:

69.

DR. WILLIAMS He had a different kind of disorder than his mother. A very tricky one, called Syndrome of subjective doubles, where the person believes he has a double leading his own separate life. JILLIAN I don’t think I understand. He believed he had a double? DR. WILLIAMS Except in his case, he experiences multiple people as taking his appearance but leading different, usually BETTER lives. It can really mess with you. Imagine seeing people on the street look like you but with pretty wives and big cars and whatever you dont have. JILLIAN So then how did he get this, if not from his mother?! DR. WILLIAMS It could still be from his mother. Delusional disorder has been known to have some connection to genetics, but in his case, it was likely more than that. During his time in jail, certain incidients could have acted as triggers. JILLIAN What kind of incidents? Dr. Williams takes a sip of water, and clears his voice to speak, but his voice is still cracking a bit when he talks. DR. WILLIAMS He was raped and severely bullied while in jail. While the doctor explains, we cut to and see again the images of the 4 guys, this time it follows through and we see the young man bloody, and shrivelling up scared. JILLIAN NO!

(CONTINUED)

CONTINUED:

70.

DR. WILLIAMS And repeatedly over a period of time until one of the times they beat him. He suffered injuries to his brain. DR. WILLIAMS (continuing) In some cases, people don’t recover from such incidents. I think that day, those moments in jail, those men, they caused it. It may have been inherent and dormant because of his mother, but they made him insane. JILLIAN But why this? Why give up and become a vegetable? Couldn’t you DO SOMETHING! You’re a psychiatrist, aren’t you? DR. WILLIAMS (defensive) Hardly, Jillian. (pause) I used to be. We see the flash of the doctor in the hospital where the massacre happened. DR. WILLIAMS One of my patients lost control early on in my career. He opened fire, killed all the nurses, orderlies, and patients on his floor before killing himself. 78 people died because our profession failed again that night. Jillian stares blankly, moved but unconvinced by his argument. DR. WILLIAMS What I’m trying to say is I gave up on our conventional methods and practices that day. This man had been under the hospital’s care for months, and this is where it landed him. You know why he was in there? JILLIAN Why?

(CONTINUED)

CONTINUED:

71.

DR. WILLIAMS Because he believed he could see other dimensions. He believed he was gifted. Our society thought he was different. And our profession declared him mad. JILLIAN But he was, wasn’t he? DR. WILLIAMS Maybe. Maybe not. But he wasn’t violent. We made him violent. CUT TO: INT:INTERROGATION ROOM, NIGHT Gary sits in the chair. Officer Willis is circling him staring him down. OFFICER WILLIS So you DID kill him. GARY Yes. I killed him, in at least my fingers were on the trigger, even though he pulled it. But I DID NOT kill Matthew Jacobs. HE did that. Although at one point I did think they were a team. OFFICER WILLIS You know we only found one body. Matthew Jacobs. GARY (surprised) Oh. OFFICER WILLIS Which really makes almost everything you said sound like a lie. We found the body of Matthew Jacobs, and not a mile from the place we found you, bloody and with a gun in your hand. GARY Impossible. I shot him right in front of my eyes!

(CONTINUED)

CONTINUED:

72.

OFFICER WILLIS In which case you did a great job of killing a ghost. There was no body, no blood, not even signs of an altercation at the spot you’re saying you killed him. GARY But .. how can that be! OFFICER WILLIS You tell me. GARY I.. I don’t understand. OFFICER WILLIS Did you or did you not kill Matthew Jacobs. GARY (to himself now) He wasn’t there? How could he do that? I can feel his fingers on mine still. OFFICER WILLIS Did you or did you not kill Matthew Jacobs. GARY I thought he did. (then to himself) Why did I go with him? Why did he seem so familiar? OFFICER WILLIS He who doesn’t exist! I’ll ask again: Did you or did you not kill Matthew Jacobs. GARY (to himself) Why did he feel so familiar? What did he say to me in the end? OFFICER WILLIS (shouting) Did you or did you not kill Matthew Jacobs! GARY (softly) I don’t know anymore. (CONTINUED)

CONTINUED:

73.

CUT TO: INT: DR’S OFFICE, LATE NIGHT DR. WILLIAMS NO NO NO No No. I am not letting you do that. We can see Dr. Williams and Phil discussing something heatedly in the doctor’s office PHIL But, it’s the only way. DR. WILLIAMS It’s too dangerous. I’m already risking enough with our experiment. PHIL But what’s the point of it if you’d never know? If i’d never know? DR. WILLIAMS It’s still not worth it. Triggering external sequences? No. It could be fatal! PHIL It’s needed. We NEED to figure out a way so that I can remember. So that I can know it worked, or if it didn’t. I want to remember, even if just a fragment, of this life and how I broke free from it. DR. WILLIAMS I don’t know. It’s a little bit too much, even for me. Noone can predict how an externally put reference would react. It could all go horribly wrong. PHIL But We’re so close! I’m so close.. Please. DR. WILLIAMS (sighs, after a pause) Alright fine. I’m going against my better judgement again for you.

(CONTINUED)

CONTINUED: PHIL And for you. Won’t you like to know if it worked? DR. WILLIAMS I would, but I never could know. It’s your mind. PHIL But we could try. DR. WILLIAMS We could try.

74.

CUT TO: INT: DR.’S OFFICE, NIGHT JILLIAN I’m sorry doctor, but I don’t see how this has to do with anything. If you were not treating ’Gary’, why has he been visiting you all these years? And the sessions? Dr. Williams sighs. DR. WILLIAMS Jillian, this might not make much sense to you, and to be honest I’m surprised it made so much sense to me either. But it did. It was his final experiment. His last ditch effort to repair his life. JILLIAN By voluntarily going into coma? How is that repairing one’s life? DR. WILLIAMS It’s not technically a coma. It’s more like a drug-induced deep sleep. Jillian sits wide-eyed and shocked. JILLIAN I cannot believe this. I AM going to do something about this. DR. WILLIAMS Now listen to me Jillian. It was HIS wish.

(CONTINUED)

CONTINUED:

75.

JILLIAN To die like this? I won’t allow it. Jillian begins to get up. DR. WILLIAMS (shouts) HE’S ALIVE! JILLIAN (started, but replies angrily) You call this being alive? DR. WILLIAMS (angry) He does. And that’s all that matters. A beat. DR WILLIAMS (calmer now) Noone should be allowed to run another’s life. Not you, not me, not my profession, or society. Gary Philips was a very smart man: [Over the next bits of the doctor’s dialogue, we see images to explain the experiment. Images used in the movie so far to match the ideas ] DR. WILLIAMS I was always amazed at his potential and distraight at how far he felt he was from it because of his condition and situations. DR. WILLIAMS The experiment, Jillian, was to use principles of transference while simulating a sequence of events in his mind using external triggers. We created an entity in his mind and gave it all the characteristics he didn’t want - his childhood, the jail time, the rapes, and all the delusions after. JILLIAN What do you mean ’gave it’ his characteristics.

(CONTINUED)

CONTINUED: DR. WILLIAMS Gary spent years making notes and detailed accounts of how his life would have turned out if he had not stayed with his mother after his father left. We then setup routines where his recorded voice would repeat these to him. (Again, while the doctor speaks: we see flashes: Gary meditating with a recorder near him, making notes...) JILLIAN Hypnosis? DR. WILLIAMS The power of suggestion. It was really his idea. He had been working on it from before we met. I think he came to me so I could enable him. DR. WILLIAMS We created Phil, as the entity to which to attribute the things Gary no longer wanted in his life. Phil was also created with the role of transferring knowledge about this experiment. He was the connection between this world and that. Phil could never exist though, and even in the initial trigger sequence, we had to make sure he ’terminates’, like a program that has done it’s work. DR. WILLIAMS Our hope was that with daily routines of deep suggestion, exercises and sessions on transference, and finally with the trigger sequence he might be able to reach his goal. JILLIAN What goal? DR. WILLIAMS A normal life.

76.

Flash: Kid standing in the middle of the room, turns back kisses his mother, then runs out the door. A beat. Jillian is taking it all in. (CONTINUED)

CONTINUED:

77.

JILLIAN What will happen to him now? DR. WILLIAMS If the experiment worked, he will potentially have a new life. His body will be alive, and as long as it is alive, he will continue to exist in the other dimension, as his body ages, so will he age in that other dimension. When death comes, it’ll come to both. If someone pulls the plug here, he meets with an accident in the new dimension. The body in the new world is an extension of his body here, even the minds in some way extending across the dimensions but the real bridge, the thing which shifted from on to the other was the consciousness. JILLIAN I meant here, in this life. DR. WILLIAMS (after a pause) I’m afraid he’s not coming back. Jillian begins to softly cry. DR. WILLIAMS It is not more unfortunate than what happened to him in this life. Just before we initiated the process, he said he felt more at peace now than ever in his life. Jillian continues to cry. DR. WILLIAMS And hopefully he would find peace and purpose wherever he went. JILLIAN But how would we know? DR. WILLIAMS You’re right. We will never know. That was always one of the biggest drawbacks of this experiment and also one of it’s greatest mysterious paradoxes. If it worked. (MORE) (CONTINUED)

CONTINUED:

78.

DR. WILLIAMS (cont’d) Whether he did reach a parallel dimension, or whether he is conscious of the experiment ever happening. While the doctor is giving his last speech, we see Gary in the interrogation room, still handcuffed. He is looking out the small window and can see Officer Willis (who has his back to us) talking to a woman (dressed as Julie). He then moves a little and we see (FINALLY his POV) Officer Willis with the face of Dr. Williams, and Julie with the face of Jilian. He gets it. He smiles. Screen goes black. (The conversations between officer willis and gary have to lead him to realize all this and remember bits of that experiment because of what Phil told him and the stuff officer willis tells him of his not existing) (if need be while the experiment to Jillian over some scenes from Phil and replace Phil *** doctor is reciting bits about the before, can have those as VO’s running the movie between Dr. Williams and with Gary’s face.)