Coma

Coma
By
Tom Hayes
Copyright © 2008 Tom Hayes

All Rights Reserved Royova 27
Bratislava
Slovakia
<tomhayes1961@yahoo.com>
<tomhayes1961@gmail.com>
INT. NURSING HOME CORRIDOR - DAY
Black screen, then a quote from Pablo Picasso appears,
"Everything you can imagine is real."
We hear the lead-in drum licks from the LEONARD COHEN song,
In My Secret Life. The song begins. Show title and roll
credits.
Slam cut to: Two pairs of feet walking side by side on a
tile floor in a corridor. On the left, a pair of white nurse
shoes and white stockings. On the right, brown wingtips and
dress pants.
Credits roll and the camera begins to pan up as Cohen begins
to sing. Throughout this scene, there is no dialog, only
song.
LEONARD COHEN (V.O.)
(singing)
I saw you this morning. You were
moving so fast. Can’t seem to
loosen my grip on the past. And I
miss you so much. There’s no one in
sight. And we’re still making love
In My Secret Life....
Song continues as credits roll and camera pans up to reveal
DR. PETER ZITTERAAL and NURSE 1 walking down the hallway.
Nurse is dressed in standard white nurse’s dress and
Zitteraal is wearing dress clothes and a neatly pressed
white lab coat, carrying a clipboard. Zitteraal, early 30s,
is tall with a crewcut, clean shaven, wearing tight wire-rim
glasses. He has flinty green eyes, pale skin, looks rather
like a fish of some sort.
They pass an old woman struggling along with the assistance
of a walker. She seems to be chattering angrily, points an
accusatory finger at Zitteraal as he passes. They ignore her
and pass on, turn a corner.
(singing)
I’ll be marching through the
morning, marching through the
night, moving cross the borders of
my secret life ....
Zitteraal and Nurse 1 pass an old man sitting alone in a
chair. He seems almost like a statue. Close in and hold on
the vacuous stare in his eyes as they pass him without
stopping.
(CONTINUED)
CONTINUED: 2.
They pass an old woman having a pleasant conversation with

herself. She is smiling and laughing, gesturing in an
animated way.
They come to another turn and go to the right.
Looked through the paper, makes you
want to cry. Nobody cares if the
people live or die. And the dealer
wants you thinking that it’s either
black or white. Thank God, it’s not
that simple in My Secret Life....
The two of them come to a door with a sign that reads
SECTION 7 COMA WARD. They press a button and the door slowly
opens. Credits end, song fades.
FADE TO BLACK.
FADE INTO:
INT. ROOM IN A NURSING HOME - DAY

A spartan room in a nursing home, dimly lit, sterile white
walls, a crucifix on one wall, an adjustable hospital bed
against another with an empty nightstand to one side.
JOHN WEST, about 40, lies in the bed, covered to his waist
by a sheet. His robust frame shows he was once muscular, but
now his arms are emaciated, his chest wasted away, his
cheeks hollow.
Equipment on a second nightstand on the other side of the
bed beeps occasionally, monitoring his heartbeat, blood
pressure and other vital signs. A bit of sunlight streams in
through some ratty, beat-up blinds hanging in front of a
window opposite the equipment.
The door to the room swings open lighting the room
briefly. Zitteraal flips on the light. Next to him is Nurse
1. John does not move, does not open his eyes.
Zitteraal stands next to John’s bed, looks through some
papers on his clipboard, turns his head halfway to the nurse
behind him.
ZITTERAAL
And this one?
He makes notes on a file.
(CONTINUED)
CONTINUED: 3.
NURSE 1
(detached)
Six years ago. Head trauma. Hit by
a car on the Santa Monica Freeway.
He was at St. Marks for a month or
two.
A beat. The nurse inspects one of her fingernails.
NURSE 1(CONT’D)
No ID, no money ... nothing. No one
ever came to ask about him. They
sent him to us about the time I
started working here.
Zitteraal puts the file down on the empty nightstand, takes
out a small penlight, bends over John, opens one of his
eyes, takes a brief look.
Cut to John’s POV: We vaguely see the penlight, then the
light from the penlight grows in size until we can see
nothing else, then, suddenly, darkness again.
Cut back to: Room in nursing home. Zitteraal turns off the
penlight, stands up straight, takes out a hospital lancet
from his coat pocket, opens the package, starts to gently
prick the ends of John’s fingers. John doesn’t move. He
tries another spot. No response.
Zitteraal drops the lancet in a nearby waste can, picks up
the clipboard, makes a notation. He takes a final look at
John.
ZITTERAAL
No one knows anything about him?
The nurse shakes her head.
NURSE1
No, doctor. After the accident, no
one came to ask about him. That’s
why they brought him here.
Zitteraal cocks his head quizzically.
ZITTERAAL
A human being disappears from the
face of the earth. Strange.
He turns to look at the nurse. The nurse shrugs, obviously
not interested.
(CONTINUED)
CONTINUED: 4.
NURSE 1
(flat)
After a few hundred ... you get
used to it.
Zitteraal nods, turns back to John.
ZITTERAAL
(back to business)
OK, see that he gets 50 milligrams,
twice daily.
NURSE 1
Yes, Doctor Zitteraal.
He flips the papers on his clipboard back into place and the
two leave, turning out the dim light just before closing the
door.
John opens one of his eyes slightly.
John’s POV: We see sunlight streaming through a blind, then
John closes his eye.
FADE TO BLACK.
FADE IN:
INT. A BEDROOM - MORNING

A large, airy, well-lit bedroom with pastel blue walls and a
white, vaulted ceiling, tasteful antique furniture, a canopy
bed in the center of the room on a small dais. On one side
of the bedroom, white lace curtains flutter lazily in the
open doorway to a balcony, where a wind chime tinkles softly
in the breeze.
John, lying on one side of the bed, wakes with a start. His
eyes shift nervously about, then he relaxes, puts his hand
on his forehead. Next to him is CLARISSE, late-20s, her long
raven hair spilling over her pillow and John’s arm on which
she is resting. She stirs, mumbles sleepily, snuggles
against him. He runs his fingers down her arm, then her
thigh, pulls her closer to him, inspects her hair, kisses
it.
He removes his arm gently, turns away, rubs his face, props
himself on one arm, looks around the bedroom. The sun is
streaming through the doors leading to the balcony. Outside
he sees the tops of some palm trees.
(CONTINUED)
CONTINUED: 5.
He pulls off the sheet covering him, sits on the edge of the
bed, puts his feet on the dais, stares at the wall in front
of him.
Cut to: John again sees the light of the penlight
approaching, the light growing in size until he can see
nothing else.
Cut back to: The bedroom. John rubs his face again, shakes
his head, tries to forget it, rubs his arm, then looks at
it. He is muscular. He feels his bicep, lets his hand slide
across his well-developed chest, gives a small smile of
satisfaction.
CLARISSE
(sleepy)
Hey, looking good, Superman.
John turns back to her. She is smiling. He scoops her gently
into his arms.
JOHN
You’re not so bad yourself,
Wonderwoman.
She runs one hand across his chest, lets it linger there,
sighs.
CLARISSE
Do you really have to fly over to
Texas today?
JOHN
Back tomorrow, baby.
She pouts.
CLARISSE
Yeah, but what about tonight?
She pats her hand softly on the bed.
JOHN
Maybe you can get a guest husband.
This is LA, you know.
She gives his chest a playful slap.
CLARISSE
(teasing)
Maybe I will. That would shut you
up.
(CONTINUED)
CONTINUED: 6.
JOHN
You could kiss me and that would
shut me up.
She kisses him on the lips, a little peck, lets her head
fall back on her pillow.
CLARISSE
(teasing)
Shut up.
He leans down, gives her a good kiss, pulls away slowly.
CLARISSE (CONT’D)
(still teasing)
I said, "Shut up."
She takes his face in her hands, gives him a long passionate
kiss. He holds her close and covers them both with the sheet
with his free hand as they continue to kiss.
INT. BATHROOM - MOMENTS LATER

A spacious master bathroom just off of the bedroom from the
last scene.
John and Clarisse are in the bathroom, she in the shower, he
in front of the mirror, dressing, adjusting his tie. The
bathroom door is ajar, but the room is a little steamy. He
pushes the door open some more, wipes the mirror with a
small towel. He turns to look at Clarisse’s body through the
frosted glass of the shower door, watches her a few moments
as she washes her hair.
CLARISSE
Who did you say you were going to
interview?
JOHN
(absently)
Marvin Wilcox, one of Bush’s
advisers ....
He watches as she begins to shave her long, sultry legs in
the shower. John turns back to the mirror, feels of his
cheeks.
JOHN (CONT’D)
Marvin Wilcox ... about as exciting
as watching a hedge grow. We’re
doing an analysis piece on the war
and we want to get some juicy stuff
(MORE)
(CONTINUED)
CONTINUED: 7.
JOHN (CONT’D) (cont’d)

from a few "unnamed sources close
to the president."
He makes little quotation marks in the air with his fingers.
Clarisse is not really listening.
CLARISSE
Hmm....
He turns, leans against the sink, watches her shave her legs
through the glass. She turns the water back on.
JOHN
Pretty desperate if you ask me.
Wilcox is about as likely to say
something interesting as our couch.
A beat. Clarisse turns off the shower, slides the shower
door back, stands there dripping wet and stunningly naked.
She winks at him, wags her finger.
CLARISSE
Oooh, but if that couch could only
talk ....
INT. A BMW - A SHORT TIME LATER

John drives on the expressway, a travel mug of coffee in one
hand. He takes a sip, puts the cup in a holder, reaches over
and turns on the radio, catches a NEWS ANCHOR in the middle
of his broadcast.
NEWS ANCHOR
... sunny and 81 degrees.
(a beat)
In Major League Baseball, in the
National League, the Los Angeles
Dodgers edged the Atlanta Braves,
2-1, when Jose Valasquez was beaned
with bases loaded in the 13th
inning to force in the game-ending
run....
John drinks from his coffee cup.
8.
EXT. BMW - MOMENTS LATER

John pulls into a parking garage. He stops the car in front
of a parking gate, puts a card into a slot and the gate
opens. He drives through.
EXT. BMW - CONTINUOUS

A sign on a wall in front of a parking space reads,
"Reserved for No. 287." John finds his parking space, pulls
in, turns off his car. He gets out, travel mug in one hand,
shuts the door, flips his keys around in his other hand,
catches them, pushes the button on his key fob and the car
beeps, head lights flash momentarily. John puts the keys in
his pants pocket, seems to stumble. He puts one hand on the
car to support himself, puts his other hand over his eyes,
slumps forward as if he were in pain.
He drops his travel mug.
John’s POV: John sees a small round light growing in size
and intensity in his field of vision until he can see
nothing else. The light fades suddenly.
Shaken, John supports himself against the car. He
straightens slowly, then leans back against the car, rubs
his eyes, takes a deep breath.
INT. A BUSY NEWSROOM - MORNING

Typical newsroom at a big-city daily. Reporters type away at
terminals in individual cubicles, some speak on the
telephone, a couple of them shoot the shit and drink coffee
in another reporter’s cubicle. John walks into the newsroom,
travel mug in hand, checks his mailbox, starts leafing
through some papers as he walks along. His editor, JAY COBB,
grizzled, unshaven, bald and 50-something, glances up from
his computer as John crosses the newsroom.
COBB
(while typing)
West!
He motions for John to come over. Cobb watches him as he
walks closer, but continues to type.
COBB (CONT’D)
You look like shit. Still having
those headaches?
John nods, Cobb leers at a pretty reporter, TAMMY, as she
passes his cubicle. He stands up.
(CONTINUED)
CONTINUED: 9.
COBB (CONT’D)
Hey, Tammy.
She looks up, smiles.
TAMMY
Hey, Jay.
She gives him a little wink.
COBB
(to John, still watching
Tammy)
You should go to a doctor.
He hands John a piece of paper. John reads it.
JOHN
What’s this?
COBB
(looks back at John)
A doctor. Want you to go over and
interview him before you fly down
to Waco.
JOHN
(annoyed)
Why?
COBB
(smirking)
Because I told you to. Also because
he just came on staff at Serenity
East and they’ve started a new
therapy program.
JOHN
(sarcastic)
Whoa, stop the presses. Can’t you
get one of the interns to do this?
That’s why they hang around here,
isn’t it?
Cobb glances at his screen, starts to type again, looks back
at John while continuing to type.
COBB
What devotion to duty. Look it’s on
the way to the airport and ... the
old man wants it.
(CONTINUED)
CONTINUED: 10.
He nods at a corner office, stops typing. John glances

behind him at the office. A man about 70 is looking straight
at him through the glass door of the office, upon which is
written, "Managing Editor DON HERBERT FARR." Farr smiles
smugly at John, holds up his coffee cup.
JOHN
(mutters)
Serenity East ... Farr’s favorite
charity.
John sighs.
JOHN (CONT’D)
Can’t you get Nabakov ...?
Cobb shakes his head, starts to type again while talking
to/looking at John.
COBB
You, John.
JOHN
Me?
COBB
You. The old man wants you.
Cobb stops typing, hands John an envelop, smiles, winks.
COBB (CONT’D)
Hey, he likes you. You should be
happy.
JOHN
What’s this?
COBB (CONT’D)
Tickets to Waco, Texas. You’ll be
staying in the luxurious Motel 6
Downtown. I was there once. Great
ice machine! Rental Car is waiting
for you at the Avis counter at the
airport.
Cobb grins, starts typing again. Tammy walks back past and
his eyes follow her butt while he talks to John. She stops
to talk to a reporter near Cobb’ desk. He watches her ass as
she bends slightly forward to talk to the reporter.
A beat, Cobb drifts away, turns back to John suddenly, stops
typing.
(CONTINUED)
CONTINUED: 11.
COBB
Ah, and here’s some more good news,
my friend: Bush has consented to an
interview with us.
JOHN
No shit?
COBB
Sheer desperation, man.
Cobb follows Tammy’s with his eyes as she walks away. A
beat. He looks back at John, starts typing again, his eyes
on John.
COBB (CONT’D)
You’re going to interview him.
JOHN
(excited)
You’re kidding.
COBB
You the man. We’ve got 30 minutes
arranged for you ... still
tentative, but it looks like it’s
going to happen.
JOHN
What about the Wilcox interview?
Cobb scoffs, stops typing, makes a dismissive gesture. He
stands.
COBB
Ah, if you got time, give him a few
minutes. This is A1, son, Front
Page for Sunday. You got as much
space as you want.
He shoos John away from his desk, sits back down and begins
to type again.
COBB (CONT’D)
Now, go forth and conquer.
INT. NEWSROOM BREAKROOM - MOMENTS LATER
(CONTINUED)
CONTINUED: 12.
Standard company breakroom: coffee machine, sandwich

machine, cola machine, etc., a microwave and coffee maker, a
few tables and plastic chairs. Two reporters, ANDY and
KEVIN, are sitting at a table. Andy is eating a sandwich and
Kevin is having a cup of coffee. John enters, travel mug in
hand.
ANDY
Hey ... mighty Zeus descendeth from
Olympus. How does it feel to walk
among the mortals, oh god of
thunder?
JOHN
(winks)
About like you’d imagine.
KEVIN
(excited)
You really going to interview Bush?
John grins, nods, begins to fill his travel mug at the
coffee maker.
JOHN
Looks that way.
ANDY
Can I take care of Clarisse while
you’re gone?
JOHN
You wish.
Andy laughs out loud.
ANDY
Well, sit down, Scoop. You’ve got
five minutes for your lowly
brethren, haven’t you?
John sits down.
KEVIN
When’s your flight?
JOHN
Not till three, but Jay wants me to
go do a fluff piece for Farr over
at Serenity East before I leave.
(CONTINUED)
CONTINUED: 13.
KEVIN
He snagged me last week. Did he
tell you you should be happy
because the "old man likes you"?
He makes quotation marks in the air with his fingers. John
pretends to be hurt.
JOHN
You mean it was just a lie?
Andy laughs out loud again.
ANDY
Farr loves everyone. Haven’t you
heard? He’s like Jesus. His love is
unconditional. He raineth down upon
us all ... golden showers of love.
JOHN
Seems like I always get to bear the
cross though.
ANDY
Hey, I’ve done my share of Farr
stories.
He holds out one hand, palm up, fingers extended.
ANDY (CONT’D)
See the nail scars?
KEVIN
So what’s the old man got you
doing?
JOHN
Serenity East has a new director.
ANDY
(munching his sandwich)
Hey, I’ve done a story on him. Kind
of a cold bastard, a real lizard.
He came up with some new type of
drug therapy ... when was that...?
Eh, must’ve been a couple of months
back.
KEVIN
It’s one of Farr’s pet charities
... so you better not fuck it up.
He reads every word of those
stories.
(CONTINUED)
CONTINUED: 14.
ANDY
(leans forward)
To hell with that shit. What about
Bush?
JOHN
What about him?
KEVIN
Well, you going to the ranch?
JOHN
Dunno. Bush’s people are going to
let me know when I get to Waco.
ANDY
If he picks up his coon dogs by the
ears, make sure and get some
pictures.
JOHN
That was LBJ.
KEVIN
You sure it wasn’t Carter?
John nods. Andy keeps munching on his sandwich, lost in
thought.
ANDY
(hopefully)
You sure you don’t want me to watch
Clarisse for you?
INT. BMW - DAY

John drives his car somewhere in the city. He turns on the
radio and the same news announcer is blabbing away.
NEWS ANCHOR
(a beat)
2-1, when Jose Ricardo was beaned
run.
The San Francisco Giants scored two
runs in the eighth inning to
complete a three-game series sweep
(MORE)
(CONTINUED)
CONTINUED: 15.
NEWS ANCHOR (cont’d)

of the San Diego Padres in a 7-4
decision. Toronto slugger Bob
Wilson hit career homerun
number ....
He turns off the radio.
JOHN
(mumbling)
Damn pre-recorded shit.
He shakes his head, pulls into a parking lot next to a
hospital compound. A sign on one of the buildings reads,
"Serenity East, Long Term Care Facility." He parks in a spot
reserved for visitors next to the building.
INT. AN OFFICE - MOMENTS LATER

The main office of the long-term care facility. A counter
divides the room into an office for the secretary and a
small waiting area with a few chairs and a coffee table
covered with magazines. A secretary, BETTY, about 60, sits
behind a desk, typing away on a computer. She looks up,
smiles pleasantly, when John enters.
BETTY
Hello, hon! Can I help you?
John looks in confusion at a scrap of paper in his hand.
JOHN
I’m looking for a Doctor ....
Sitterfaal?
BETTY
Zitteraal. Peter Zitteraal. You
must be the nice man from the
newspaper.
John looks at her askance.
JOHN
Well, I don’t know if I’m so nice,
but, yes, I am from the newspaper.
Betty smiles.
BETTY
You’re cute. I’ll just see if the
doctor is free right now.
She picks up the phone.
(CONTINUED)
CONTINUED: 16.
BETTY (CONT’D)
What’s your name, hon?
JOHN
John ... John West.
Betty dials a number, waits.
BETTY (CONT’D)
(on the phone)
Dr. Zitteraal? The man from the
newspaper is here.
She listens.
BETTY (CONT’D)
I’ll tell him.
Betty hangs up the phone. She stands, walks over to the
counter.
BETTY (CONT’D)
He said he’ll be just a minute.
He’s coming over from the West
Building. Why don’t you have a
seat? Would you like some coffee?
John sits in a chair next to the coffee table.
JOHN
I’m fine, thank you.
Betty leans against the counter.
BETTY
Wow, must be exciting being a
reporter.
John looks around the room.
JOHN
(deadpan)
Yeah. Real exciting.
BETTY
I always wanted to be a reporter.
JOHN
Really?
Betty nods.
(CONTINUED)
CONTINUED: 17.
JOHN (CONT’D)
Why didn’t you then?
BETTY
(sighs)
Got married when I was 17. Had kids
and that was it. We all make our
choices.
John nods.
JOHN
So, how did your choices end up?
BETTY
Kids are OK. One’s a lawyer, makes
a ton of money. The other’s a
minister in the Anglican Church.
JOHN
Well ... that sure is different.
Betty shrugs, rests her chin on her hands on the counter.
BETTY
Everybody makes their choices. Just
like you ... you chose to come here
today, didn’t you?
JOHN
Not exactly. So, what about your
husband?
BETTY
Ah, he was a bum. Finally got rid
of him 20 years ago. All he wanted
to do was drink.
JOHN
Sorry.
Betty shrugs.
BETTY
Be sorry for him, not for me. We
all make our choices.
A beat, Betty watches him.
BETTY (CONT’D)
So, why did you choose to come here
today, Mr. West? You didn’t have
to, you know. For all you know, it
might have been better had you not.
(CONTINUED)
CONTINUED: 18.
John looks at her askance, unsure what she is getting at.

The door opens, Dr. Zitteraal walks into the room. It’s the
same Dr. Zitteraal as in the opening scene, dressed again in
the pressed white lab coat, a dress shirt and a tie,
carrying his clipboard with attached files and documents. He
turns to John, holds out his hand stiffly.
ZITTERAAL
You’re from the newspaper, I
presume.
JOHN
Yeah ... West ... John West.
John shakes hands.
JOHN (CONT’D)
Dr. Sitsenfaal?
Zitteraal cringes, smiles tightly.
ZITTERAAL
It’s Zitteraal, actually.
Z-I-T-T-E-R-A-A-L.
JOHN
(a bit embarrassed)
Sorry.
ZITTERAAL
I suppose it’s not a common name.
People are continually
mispronouncing it.
A beat.
ZITTERAAL (CONT’D)
(somewhat coldly)
I’m happy you came. Mr. Farr, your
editor, has shown a great
interest in this facility and we
...
(searching)
... appreciate his support. We
receive very little public funding,
and many of our patients are
indigent.
JOHN
I’m sorry, but you’re very young to
be a director, aren’t you? I
expected someone a bit older.
(CONTINUED)
CONTINUED: 19.
Zitteraal arches an eyebrow.

ZITTERAAL
Perhaps, I am, as you put it, a bit
young ... but I can assure you that
I have ... all the necessary
qualifications. I had many other
offers as well, but I knew I would
be able to continue my research
here ... and that was the deciding
factor for me.
JOHN
What’s your area of expertise?
ZITTERAAL
Coma. Especially trauma-induced
coma. Many of our patients have
suffered ... severe brain injuries.
They were either brought here by
their families, who were no longer
able or willing to care for them,
or they were placed here by the
state of California.
JOHN
I see. Sounds kind of depressing.
ZITTERAAL
(without emotion)
Yes, I suppose. Generally long-term
cases of coma lapse into vegetative
states and the prognosis is rarely
favorable, though there have been
cases in which patients have
spontaneously regained
consciousness after years in a
coma. In fact, one man regained
consciousness and recovered a great
deal of his previous mobility after
19 years in a coma. This is usually
not what one reads in the
literature though. What we
typically see is a progressive
degeneration of bodily functions
that leads almost certainly to
death.
JOHN
Sorry I asked.
Zitteraal stares back, no reaction at first.
(CONTINUED)
CONTINUED: 20.
ZITTERAAL
(deadpan)
I’m sorry, Mr. West. I’m afraid
I’ve gotten rather used to these
things.
JOHN
Must be difficult.
ZITTERAAL
One learns to adapt. In any case,
there is some hope. We’re beginning
clinical testing on a new drug,
diplomithol, that has been shown to
promote regenerative cerebral cell
growth in laboratory animals.
JOHN
Really?
Zitteraal nods.
ZITTERAAL
Yes. Anti-depressants like
fluoxetine, that is, Prozac, and
cannabinoids, drugs derived from
cannibas, have been shown to cause
cerebral cell regeneration in
laboratory mice. Diplomithol
combines the effects of both a
cannabinoid and a fluoxetine-class
drug.
JOHN
Isn’t that ... a bit dangerous,
experimenting with new drugs ... on
people?
ZITTERAAL
The risk factors are minimal, I can
assure you, Mr. West. And in any
case ... our patients have little
to lose. For most of them, a slow,
progressive, degenerative death is
certain unless some change can be
effected to reverse their
condition.
A beat.
It’s really their last chance.
A beat. He stares at John, waits.
(CONTINUED)
CONTINUED: 21.
JOHN
Have you ... had any success so
far?
ZITTERAAL
It’s a bit premature to make a
judgment at this point.
A beat. Zitteraal looks at his watch.
Might I show you around?
Familiarize you with our facility
and our work, perhaps?
EXT. LONG TERM CARE FACILITY - MOMENTS LATER

John and Dr. Zitteraal walk out from the administrative
building into a large rectangular courtyard surrounded by
other buildings. A fountain gurgles in the middle of the
courtyard. There are stone benches and many large trees
shading the courtyard. Residents of the facility sit on some
of the benches. Some stare vacantly straight ahead. Others
mutter or mumble to themselves. One lady sitting by herself
chatters happily. A couple of hospital workers sit on a
bench nearby, chatting, keeping an eye on things.
The hospital workers stand, looking somewhat nervous, as
Zitteraal approaches. John and Dr. Zitteraal stop by the
fountain. John nods to the hospital workers, but Zitteraal
ignores his employees.
ZITTERAAL
As you might have guessed, a
portion of this facility is a
long-term care facility for the
elderly, mostly for patients with
Alzheimer’s or other degenerative
cerebral conditions.
JOHN
Are these patients ... part of the
experiment?
ZITTERAAL
(quickly)
Oh, no. No, not at all. If we can
show some positive results with our
coma patients ... perhaps someday,
but for the moment, no.
(CONTINUED)
CONTINUED: 22.
John nods. They stand and watch the patients. An old man
sitting on one of the benches nearby, GABRIEL, looks up at
John.
GABRIEL
(friendly)
Hello, young man.
JOHN
(smiles)
Hello. How are you today?
GABRIEL
Why, I’m doing well. Thank you.
ZITTERAAL
This is Gabriel. He’s been a
resident at our facility for a
number of years now, I’m told.
JOHN
(to Gabriel)
Do you like it here, sir?
GABRIEL
Oh, yes, very much so. The people
here are kind and it’s nice sitting
in the sunshine, listening to the
fountain.
John glances at the fountain.
JOHN
Yes, it’s beautiful, isn’t it?
GABRIEL
(seriously)
Oh, yes. You’d never know we’re all
flying in a rocket ship to the
moon, would you?
John fights back a smile.
JOHN
No ... no, you wouldn’t.
Gabriel nods. He looks steadily at John.
GABRIEL
(suddenly)
It’s all just a dream, son.
A beat. He watches John, who unconsciously takes a step
back.
(CONTINUED)
CONTINUED: 23.
GABRIEL (CONT’D)
Are you sure you want to open that
door?
JOHN
(disconcerted)
Uh ... I ....
GABRIEL
It’s a big price to pay.
Gabriel keeps looking at him steadily. An uncomfortable
moment passes.
ZITTERAAL
Well, as you might have gathered
... some of our residents can be
... rather outspoken.
John nods, is at a loss for words. Zitteraal motions to a
nearby building.
ZITTERAAL
Perhaps we should view the rest of
the facility?
John nods.
JOHN
Yes. That’s a good idea.
They walk toward another building on the other side of the
courtyard and Gabriel watches them steadily as they leave.
INT. A CORRIDOR - CONTINUOUS

A long, drab corridor illuminated with fluorescent lights.
Walls are pale lime, the floor has square, plastic white
tile. There’s a fire extinguisher on the wall. The doors at
the end of the corridor open inward automatically with an
annoying buzzing sound, and John and Zitteraal enter.
ZITTERAAL
This is Section 7, our coma ward.
Most of our patients ....
John’s cell phone rings. He takes it out of his pocket,
checks to see who is calling.
JOHN
(looks embarrassed)
I’m sorry. I have to take this.
(CONTINUED)
CONTINUED: 24.
ZITTERAAL
(tinge of annoyance)
I see.
JOHN
Just be a second.
Zitteraal nods, walks away a few paces down the corridor,
stands near the fire extinguisher, waiting.
JOHN
(on the phone)
What’s up?
Cut to: Clarisse talking on her cell phone, sitting on the
couch in their apartment.
CLARISSE
(nervous)
Hey, baby. What are you doing?
Cut back to John:
JOHN
I’m on a story. What’s up?
Cut to Clarisse. A beat. Clarisse begins to cry.
CLARISSE
I want you to come home, John. I
want you to come home now.
Cut back to John:
JOHN
Clarisse ... I can’t do that. I
have a flight in three hours to
Waco. I’m going to interview the
President.
We hear Clarisse’s voice on John’s phone.
CLARISSE
(on John’s phone)
John, something bad is going to
happen.
JOHN
What? What’s going to happen?
CLARISSE
(on John’s phone)
I want you to come home now.
(CONTINUED)
CONTINUED: 25.
JOHN
I’ll ... I’ll swing by the house on
the way to the airport.
CLARISSE
(on John’s phone)
No, John, come home now.
JOHN
I can’t. You know that. What’s
wrong?
CLARISSE
(on John’s phone)
If you don’t come home now ....
JOHN
What, Clarisse? What?
Zitteraal walks over, looks at his watch.
ZITTERAAL
I’m sorry. I’m on a rather tight
schedule today. Perhaps we should
reschedule?
John shakes his head.
JOHN
Clarisse, I have to go. I’ll drop
by on the way to the airport.
He ends the call.
ZITTERAAL
If you have an emergency situation,
we can always reschedule.
JOHN
(uncertain)
No, no ... I want to finish the
story. I have to go to Texas this
afternoon.
Zitteraal nods.
ZITTERAAL
As you wish.
26.
INT. A CORRIDOR - MOMENTS LATER

A corridor in the same building. John and Dr. Zitteraal walk
together. John seems still a bit troubled from his
conversation with Clarisse. A nurse passes with a clipboard.
A WORKER in a white coat, young kid with long blond hair,
rock-and-roll t-shirt approaches pushing a gurney with a
patient on it. He stops.
WORKER
Hey, Dr. Zitteraal. What’s up?
ZITTERAAL
(brusque)
Karl, are you taking Mr. Wilson
outside?
The worker nods.
Please ensure that everyone gets
his or her 15-minute rotation
today. And make sure you keep Mr.
Wilson out of the sun.
The worker nods.
WORKER
(tinge of annoyance)
Yes, sir.
The worker continues on his way with the patient. They watch
him leave, then Zitteraal shakes his head, turns to John.
ZITTERAAL
I’m afraid as director of a large
facility like this one, it falls to
me to remind everyone on staff of
his or her duties. There are so
many liability issues to consider.
What a cold, cold fish. A beat passes as they walk.
So, you’re flying down to Texas
today?
JOHN
(perking up a bit)
Yes, I’m going to interview
President Bush.
(CONTINUED)
CONTINUED: 27.
ZITTERAAL
(sarcastic)
Bush? Did he learn to speak the
English language?
John smiles.
JOHN
I take it you don’t care much for
the President.
ZITTERAAL
Actually, I’m rather apolitical. I
find politicians to be basically of
the same type, to be quite honest
....
Dr. Zitteraal stops in front of a door, puts his hand on the
door handle.
Now, before we enter the patient’s
room, I just wanted to provide you
with a little background
information. First of all, the good
news. Since we began treatment,
this patient seems to be making
modest progress. "Seems" is the key
word here. Of course, it’s too
early to decide if the medication
is having any substantive effect,
but there has been a steady
increase in reflex response over
the past 3 weeks. We had assumed he
was nearly brain dead, but that
does not seem to be the case.
JOHN
And the bad news?
ZITTERAAL
He’s still comatose and there’s
been no measurable increase in
higher functions. No significant
brain wave activity, for example.
JOHN
Does that discourage you?
ZITTERAAL
No. Not yet. I still feel that it’s
early to make any kind of judgment.
This individual suffered massive
(MORE)
(CONTINUED)
CONTINUED: 28.
ZITTERAAL (cont’d)
brain trauma. I would have been
amazed if we would have seen sudden
significant improvement.
John takes out a reporter’s pad and a pen.
JOHN
So, what’s his name?
ZITTERAAL
Even if I knew the answer to that
question, I couldn’t tell you.
Hospital confidentially policy.
JOHN
Of course. But why don’t you know
his name?
ZITTERAAL
Well, he was struck by an
automobile on the Santa Monica
Freeway some six years ago. He was
in a hospital for a few weeks, then
they brought him to this facility.
He’s a ward of the state.
JOHN
So, why was he on the highway?
ZITTERAAL
That’s unclear. From what I
understand, he was running down the
middle of the expressway.
JOHN
You’re kidding.
Zitteraal shakes his head.
JOHN (CONT’D)
No one ... claimed him?
ZITTERAAL
No. As I noted, he’s a ward of the
state.
John nods, writes in his notebook.
JOHN
Could he have been a transient?
(CONTINUED)
CONTINUED: 29.
ZITTERAAL
Apparently not. According to the
information in his patient file ...
Zitteraal flips through the file.
... he was transported to the
emergency room wearing a dress
shirt and a tie, slacks, and was
wearing a watch. We’re holding the
watch in a file in the property
room. It’s a Rolex, by the way.
JOHN
No one missed him?
Zitteraal shakes his head.
ZITTERAAL
He’s been a patient here for six
years and no one has inquired about
him. Not once.
JOHN
Sad....
Zitteraal stares back, says nothing.
Zitteraal depresses the door handle and pushes the door open
slowly. John looks inside, sees an emaciated body lying in
the bed, then slowly turns his attention to the face.
Despite the wasted and spare frame, the man lying in the bed
is unmistakably John himself. He stares in transfixed
horror, then looks at Zitteraal, then back at the body in
the bed. Slowly, the notebook falls from his hand.
ZITTERAAL
(concerned)
Mr. West?
John shakes his head, takes a step back. He looks at
Zitteraal and then again at the man in the bed. Obviously,
Zitteraal doesn’t understand John’s reaction.
Is something wrong? You look ill.
John backs up some more.
JOHN
This can’t be true.
(CONTINUED)
CONTINUED: 30.
Zitteraal looks at him as if he had no idea what John is

talking about.
ZITTERAAL
Do you ... know ... this man?
John’s breathing is becoming erratic.
JOHN
How ... how did you ... do this?
Now Zitteraal shakes his head.
ZITTERAAL
I’m sorry ... I have no idea what
you’re referring to.
JOHN
(angry)
How did you do this!
John looks back at comatose John lying in bed and the man in
bed slowly turns his head, raises up slightly, looks
directly at John with eyes anything other than comatose.
Comatose John gives John a big wink, lays his head back down
and closes his eyes. John turns again to Zitteraal, who has
seen nothing.
JOHN
(frightened and angry)
What are you trying to pull here?
Zitteraal holds up his hands to calm John.
ZITTERAAL
Look, I really don’t know ... what
you’re talking about, Mr. West.
John looks at Zitteraal, at the patient in the bed, back at
Zitteraal, then walks quickly away down the corridor through
which he just entered, leaving Zitteraal speechless and
confused, his head cocked at an angle as he watches John
retreat. John fumbles for the exit door button. Annoying
buzz, the door slowly opens as he watches Zitteraal all the
while. He exits.
Zitteraal looks back once more at the comatose patient, John
West, lying in bed with his eyes closed. Nothing appears out
of the ordinary. He shakes his head in confusion, slowly
closes the door.
31.
EXT. HOSPITAL - MOMENTS LATER

John returns to his car in the parking lot near the
administration building. He is upset, his hands trembling as
he tries to open the car door with his key, then remembers
his key fob, pushes a button, unlocks the door. He sits in
the car, runs his fingers through his hair, rams the keys in
the ignition, drops them on the floor, picks them up, tries
again, starts the car, runs his fingers through his hair
again, puts the car in reverse, backs out, begins to pull
away, stops and takes one last look at the hospital
compound.
In one of the windows of the building he just exited, he
sees himself, dressed in hospital patient attire, looking
out the window. John-In-The-Window raises his hand and waves
slowly.
John puts the car in park, jumps out of the car for a better
view, but when he gets out, he sees no one in the window. He
shakes his head, gets back into the car. John pulls away
quickly, watching the building he just exited, turns out of
the parking lot and races down the street.
INT. BMW - MOMENTS LATER

Still upset, John drives on a highway somewhere. He takes
out his cellphone, slaps it open, speed dials a number,
waits for the person to pick up on the other end. No answer.
Finally he hangs up, tosses his phone on the passenger’s
seat, reaches over and turns on the radio. We hear the same
News Anchor again.
NEWS ANCHOR
(a beat)
run.
The San Francisco Giants scored two
runs in the eighth inning to
complete a three-game series sweep
of the San Diego Padres in a 7-4
decision. Toronto slugger Bob
Wilson hit career homerun
number ....
(CONTINUED)
CONTINUED: 32.
He turns off the radio, waits a couple of seconds, turns the

radio back on again, listens with a growing look of shock
and alarm.
NEWS ANCHOR
(a beat)
run....
John switches the station. We hear the same news anchor.
NEWS ANCHOR
(a beat)
National League ....
He switches to another station. It’s the same news anchor.
NEWS ANCHOR
(a beat)
Dodgers edged the Atlanta Braves
....
John switches off his radio, just as his cell phone rings.
He slaps the phone to his ear. We hear Clarisse’s voice from
John’s phone.
CLARISSE
(frightened)
John, are you OK? Where are you?
A long pause. John doesn’t know what to say.
CLARISSE (CONT’D)
John? Are you there, baby?
JOHN
(fumbling)
I ... I’m coming home. I’m ... on
the freeway.
(CONTINUED)
CONTINUED: 33.
CLARISSE
(concerned)
Come home now, OK?
John nods.
JOHN
Clarisse? You ... You’re ....
CLARISSE
What, baby?
John is unable to speak.
JOHN
(blurts out)
I think I’m losing my mind,
Clarisse!
CLARISSE
Come home, baby, and we’ll talk.
John nods again.
CLARISSE (CONT’D)
Did you hear me?
JOHN
Yes ... Yes ... I’m ... I’m coming
home.
John ends the call, tosses the phone on the passenger’s
seat.
EXT. JOHN’S APARTMENT BUILDING - MOMENTS LATER

A modern apartment complex surrounded by towering palms
somewhere in the Los Angeles area. John pulls into a parking
space in front of one of the three-story buildings, gets out
of his car, then suddenly staggers backwards, holding onto
his car to support himself.
John’s POV: We see darkness, then a small light growing in
size until it dominates almost all of John’s field of
vision. The light moves suddenly away and we see the fuzzy
image of a person in John’s field of view, then quite
clearly we see Zitteraal with a pen light in his hand,
looking down at John. He switches off the pen light.
Slam cut back to John in the parking lot. John staggers
forward a step or two.
(CONTINUED)
CONTINUED: 34.
JOHN
(muttering)
No ... no....
He flails his arms at something or someone only he can see.
JOHN (CONT’D)
Get away! Get ... back!
John staggers a few more feet, falls on his knees in the
parking lot. He mutters and flails his arms about.
Cut to John’s POV: Fuzzy and out-of-focus, Zitteraal stands
by his bed in the hospital, taking his pulse.
JOHN
No!
Slam cut back to parking lot. Clarisse kneels in front of
John trying to put her arms around him. John thrashes about
as if in a trance.
CLARISSE
(shouting)
John ... John ... John! It’s me,
baby! It’s me!
John finally realizes she is there. He stops thrashing
about, his eyes focus on Clarisse. He is panting and
sweating. He embraces her tightly.
JOHN
Clarisse!
He touches her face. Clarisse helps him to his feet, he puts
his arm around her shoulder for support, and they walk
toward the apartment building.
INT. JOHN AND CLARISSE’S BEDROOM - DAY

John and Clarisse make love under satin sheets while a
gentle breeze stirs the lace curtains in their bedroom.
Clarisse is on top. She pushes her hair back behind one ear.
CLARISSE
(soothing voice)
Now really, baby ... do I seem like
a dream to you?
John smiles, touches her face.
(CONTINUED)
CONTINUED: 35.
JOHN
Oh, god, yes ... a beautiful dream.
INT. JOHN AND CLARISSE’S BEDROOM - moments later
John lies on his back resting with his eyes open, the sheets
covering his body up to his waist. Clarisse sits in the nude
on her calves beside John in their bed. Her hands and her
head rest upon his bare chest.
She kisses him on the chest. A moment passes.
JOHN (CONT’D)
I don’t know what could’ve happened
to me.
He closes his eyes.
JOHN (CONT’D)
The headaches ... the
hallucinations. Maybe I should see
a doctor.
He looks at her. Clarisse says nothing.
JOHN (CONT’D)
Do you think I shouldn’t go over to
Texas?
CLARISSE
(quickly)
Are you kidding? How could you
think of such a thing? John, this
is your chance. Your dream.
John turns his face away from her. She puts her hand on his
cheek, gently turns his face back to her.
CLARISSE (CONT’D)
Think of how hard you’ve worked for
this, John. How much you sacrificed
to get to this point.
John says nothing.
CLARISSE (CONT’D)
If you ask me, you’re just working
too hard. Go and do the interview
and if you’re still having the
headaches, then go and see a doctor
when you get back.
A beat.
(CONTINUED)
CONTINUED: 36.
CLARISSE (CONT’D)
Or ... you can try my cure.
She gives him a wicked little smile.
JOHN
(raises an eyebrow)
And what would that be?
CLARISSE
How about two weeks in Mexico?
Don’t you think you deserve a
vacation? It’s been two years since
we went to Mexico.
JOHN
Two weeks?
CLARISSE
Hey, one week on the beach ... and
one week in bed.
She kisses his chest, looks at him seductively.
JOHN
Mexico?
CLARISSE
Mexico.
She begins kissing him over and over on the chest, working
her way up his neck.
JOHN
(aroused)
And if I say no?
CLARISSE
I’ll have to overpower you.
She finds his lips, they begin to kiss.
INT. A JET AIRLINER - DAY

John puts a bag in the overhead, settles into a window seat,
puts his laptop on his knees. He looks out the window. Other
passengers take their seats around him, some stowing luggage
in the overhead areas before sitting.
37.
EXT. AIRPORT RUNWAY - DAY

The jet in which John is traveling makes a routine landing
at the airport in Waco, Texas. A sign near the runway reads,
"Welcome to Waco Regional Airport. The Hometown Airport of
President George W. Bush!" A waving President Bush smiles
from the billboard, upon which about a dozen crows are
sitting. One of the crows shits just as John’s plane passes.
Two of the crows fly away.
INT. A RENTAL CAR - DAY

John drives a compact rental car along Prairie Chapel Road
near Crawford, Texas. The countryside is flat as a board and
mostly grassland, burned over by the summer sun. Here and
there a few scrubby trees break the monotony somewhat. A
couple of dozen Longhorn cattle graze indolently in a field
next to the highway. Stands of prickly pear cactus dot the
landscape. John passes a weathered billboard, "To Our US
Armed Forces: America Stands With You! Finish The Job And
Come On Home!" Another ripped and faded sign nailed to a
tree beside the road reads, "This is Bush Country."
He passes a small pond, where an old man, ENOCH, fishes.
John stops, gets out of his car.
JOHN
(shouting)
Excuse me!
Enoch turns his head, looks mistrustfully at John a moment,
begins to slowly reel in his line.
JOHN (CONT’D)
(shouting)
Sorry to bother you. I was just
wondering if you could tell me if
this is the right road to the Bush
ranch?
Enoch finishes reeling in his line, walks leisurely over to
John, his rod in his hand. John walks down a bit to meet
him.
JOHN (CONT’D)
The Bush ranch?
ENOCH
(suspiciously)
Who wants to know?
(CONTINUED)
CONTINUED: 38.
JOHN
(irritated)
I was just wondering if this is the
road to Bush ranch.
ENOCH
Maybe it is, maybe it ain’t. Who’re
you supposed to be?
JOHN
(frustrated)
I’m a reporter. I have an
appointment with the President.
ENOCH
You ain’t no reporter.
A beat. John gives him a pissed look.
JOHN
Look ... sorry I asked.
He turns to get back in his car, but stops as Enoch speaks.
ENOCH
(pointing)
Just up the road yonder a piece.
You’ll see the gate on the right.
JOHN
(a little sarcastic)
Thank yuh kindly.
He walks toward his car.
ENOCH
You ain’t no reporter.
John turns, gives the man a dirty look.
JOHN
Look ...
ENOCH (CONT’D)
(interrupts)
You jes thank you are.
JOHN
... Beg your pardon?
Enoch walks a little closer to John.
(CONTINUED)
CONTINUED: 39.
ENOCH
Now ... the New York Times ...
there’s a fine newspaper. Run by
Jews, you know.
JOHN
Is that right?
Enoch smiles.
ENOCH
Yeah ... that’s right. You know, we
don’t got no Jews much down here in
Crawford. Just the guy what runs
the furniture store downtown ...
Bernard Fitz is his name.
JOHN
I’ll have to look him up when I go
back down to Crawford.
ENOCH
You do that. Corner of Fifth and
Avenue G. Big brick building with
the Menorah in the window. Now,
Bernie ... Bernie’s a pure Jew ...
distilled essence ... dropped a
quarter on the sidewalk one time
and it hit him on the neck when he
bent over to pick it up.
He laughs. John raises an eyebrow, shakes his head, looks at
his watch.
JOHN
You don’t say? Well ... I gotta be
go---
Enoch interrupts, ignoring John’s obvious dislike for the
conversation. He plows ahead with his treatise.
ENOCH
(reflectively)
I never much cared for Jews, but
you got to give ’em one thing for
sure. They’re better organized and
smarter than we are.
JOHN
That’s actually two things, but I
can see how you might feel
inferior.
(CONTINUED)
CONTINUED: 40.
ENOCH
(ignores his sarcasm)
God’s chosen, it’s the damn truth.
A beat as they look at one another. John shakes his head.
JOHN
Well ... thank you for your help
....
ENOCH
(distracted)
I never much cared for the whole
God-shtick in general, to tell the
truth. You know, all the
Bible-thumpin’, fundamentalist,
Jesus-loves-you-yes-I-know crap. Of
course, the boss says we gotta play
the game. Keep the peckerwoods in
line.
JOHN
Hmm....
ENOCH (CONT’D)
(confidentially)
You know, the only thing worse than
a Jew is an A-rab ... grind up an
A-rab and you can make about 10
Jewburgers ... at least that what
the boss says.
John raises one hand, shakes his head in shock and
disbelief, turns to leave.
JOHN
Well, party on, old dude. I can see
you have a lot of carp to land.
ENOCH
(aggressively)
You sure you wanna open that door,
boy?
John stops, turns back to Enoch.
JOHN
(suspiciously)
Who are you?
ENOCH
There ain’t no going back ... you
understand that, don’t you?
(CONTINUED)
CONTINUED: 41.
John takes a step back. Enoch grins sheepishly, looks at his

watch.
ENOCH (CONT’D)
Well, lawz-a-day, it’s getting
late. Time to land me some carp, I
reckon. Bush ranch is just up the
road on the right. Y’all have a
nice day!
Enoch walks back to the pond. John watches him as he goes.
He stops by the pond, casts his line, begins to fish again,
pays no more attention to John. John looks about at the
barren and bleak countryside. His cellphone rings. John
looks at his phone, sees who it is, closes his eyes, sighs.
He puts the phone slowly to his ear.
JOHN
Yeah, hello, Jay.
He listens.
JOHN (CONT’D)
Look, I’m sorry, Jay. I don’t know
what happened. I just kind of ...
blanked out.
He listens some more, looks around.
JOHN (CONT’D)
What? You think it’s not
embarrassing for me? Just tell Farr
I’ll do the story when I get back.
He listens some more, runs his fingers through his hair.
JOHN (CONT’D)
No, I’m fine now.
Listens.
JOHN (CONT’D)
(insistent)
I’m fine.
Listens.
JOHN(CONT’D)
Yes, I’ll go to the doctor when I
get back.
He listens some more.
(CONTINUED)
CONTINUED: 42.
JOHN (CONT’D)
(voice trembles a bit)
I know it’s important. I won’t mess
it up.
He listens.
JOHN (CONT’D)
OK ... OK .... I’ll call when it’s
finished. I’ll call just as soon as
I leave the ranch.
John ends the call. Leans against the car, looking worried.
He watches Enoch fish for a moment. Enoch doesn’t look back.
JOHN (CONT’D)
(mutters)
Great, just fucking great.
He gets back into his car.
EXT. BUSH RANCH - MOMENTS LATER

Exhaust belches from a Ford Crown Victoria as the camera
pulls back to show a Texas state trooper patrol car sitting
across the driveway. A second patrol car sits behind and
parallel to the first, also with it’s engine idling. The
camera pulls back more to show the entrance to the Bush
Crawford ranch in Texas.
John drives up to the gate, a cowboy-ish affair topped with
an arch of three wagon wheels flanked by a saguaro cactus
and a coyote on one side and a prickly pear bush on the
other. A fake helicopter lands on the center wagon wheel,
which is bigger than the other two.
The two patrol cars are positioned to block the drive.
Beyond them, a black Lincoln with tinted windows also sits
across the road, belching exhaust.
A trooper sits behind the wheel in each car with the windows
rolled up and air conditioners running. TROOPER 1 opens his
door and we hear his door-ajar alarm begin to bong
automatically. The trooper gets out reluctantly, walks over
to John’s car, waving him away lazily as if shooing a fly.
John rolls down his window and the trooper waddles over.
TROOPER 1
(heavy Texas drawl)
You lost boy?
(CONTINUED)
CONTINUED: 43.
JOHN
I’m a reporter with the Orange
County Times. I have an appointment
with President Bush.
The trooper yawns, scratches under his arm.
TROOPER 1
(lazily)
You’ll have to git out of the car,
sir.
John obliges him. TROOPER 2 exits his vehicle and waddles
over. A man in a PLAIN DARK SUIT WEARING MIDNIGHT FRAMES
gets out of the Lincoln, his eyes on John and the troopers.
He begins to speak into a shoulder held microphone.
TROOPER 1 (CONT’D)
(to Trooper 2)
Tell him he’s got an appointment.
Orange County Times.
Trooper 2 turns and walks back to his car, talks into his
shoulder-held microphone.
I’m going have to search you and
the car, son.
JOHN
OK.
TROOPER 1
You got any ID?
John reaches in his pocket for his wallet. He hands the
trooper his Driver’s License and Press credentials. The
trooper squints his eyes, holds the cards at arms length,
reads them.
(overdoing the Southern drawl)
John West. Orange County
Taihmes....
He smiles a big, fake smile.
Never read it.
He hands the press ID and the license back.
(CONTINUED)
CONTINUED: 44.
JOHN
Probably hard to get home delivery
out here, isn’t it?
TROOPER 1
(smirks)
Prob’ly. Empty out your pockets and
put everything here on the hood of
the car, son.
INT. REC ROOM, BUSH HOME, CRAWFORD -- MOMENTS LATER

An air-conditioner whirs while a small fire crackles in a
cut-stone fireplace in a split level room. In front of the
fireplace are two squarish armchairs with overstuffed
pillows against the backrests, flanking a low glass coffee
table with some oversize illustrated books on top. Some
heavy wood furniture, a couple of side tables, a small desk,
etc., lines the walls. In the elevated portion of the room,
there is a large pool table and along the walls are pictures
of Bush in flight uniform aboard the USS Abraham Lincoln,
including the infamous, "Mission Accomplished" photo.
John is ushered into the room by Assistant Press Secretary,
JED BAKER, 40-something, graying temples, neatly trimmed
hair and a smart gray suit with mirror finish shoes.
He’s quite an asshole.
Baker directs John to one of the armchairs, unbuttons his
jacket to reveal a gold tie chain, and sits in the other
one, leaning forward in John’s direction.
BAKER
(slowly)
Now ... this is an important
interview for the president. I kind
of expected someone a bit more ...
senior. Not a kid.
JOHN
Sorry to disappoint you ... we
couldn’t get Dan Rather.
Baker smirks.
BAKER
Cobb could have sent Bill Ward ...
he is your White House reporter,
isn’t he? ... and the President
likes him.
(CONTINUED)
CONTINUED: 45.
JOHN
Well ... I’ve been on the national
desk for seven years now ... if
that’s any consolation.
Baker makes a dismissive gesture.
BAKER
When I was your age I was covering
the White House ....
JOHN
And then moved on to an illustrious
career at Fox, I believe. Didn’t
you used to do commercials for Post
Crispies as well? Or was it Apple
Jacks?
BAKER
(defensive)
No one likes a smart-ass. Fox is
the only network out there with the
guts to tell it like it is.
JOHN
Like it is, huh? Interesting.
Baker shakes his head.
BAKER
In any case, Bush wanted you. He
asked for you.
JOHN
He asked for me?
BAKER
Called Farr personally. He liked
your series on the Indian
reservations ... what was it?
Economic development on the rez ...
some crap like that. You got an
award for it didn’t you? Have to
say, I didn’t read it though.
A beat passes while John soaks in this revelation.
BAKER (CONT’D)
Don’t look so shocked ... Bush
reads the papers.
(CONTINUED)
CONTINUED: 46.
JOHN
(quickly)
I’m sure he does.
Baker gives him a sideways glance.
BAKER
You think he’s a huge dumbass ...
don’t you? Just like the rest of
the press.
JOHN
I don’t suppose what I think
matters, does it?
Baker watches John, chuckles.
BAKER
Just don’t fuck it up, OK? Too much
is riding on this ... I think you
know what I mean.
JOHN
No, I don’t. Maybe you could
illuminate things for me.
BAKER
(irritated)
Maybe I should ... you don’t seem
up to the task, to be quite honest.
JOHN
I think I already clued into your
thoughts on the subject of my
abilities.
BAKER
(ignores him)
Ok, smart boy. Off the record?
John nods reluctantly.
BAKER (CONT’D)
You don’t understand this, most of
the world doesn’t get it either,
but this is a crusade, buddy boy.
And whoever wins this thing is
going to call the shots for the
next hundred years ... up until the
end of oil. There’s about a
century of crude left in the ground
(MORE)
(CONTINUED)
CONTINUED: 47.
BAKER (CONT’D) (cont’d)

and whoever controls that, controls
the planet. Everyone sees it. Putin
sees it, the Chinese see it, the
Brits and the EU understand that,
hell, even the terrorists
understand ... and so do we. Now
this thing is a long-haul
adventure, and we’re tanking in the
polls. That sound like high stakes
to you?
JOHN
Yes, it does sound rather dramatic.
But I’m not your press agent.
BAKER
We don’t need you to be our rah-rah
boy. We just need you to get it
right.
A beat.
BAKER (CONT’D)
(threatening undertone)
Don’t fuck it up.
John bristles, but says nothing. He watches John a moment,
stands to leave.
BAKER (CONT’D)
He’ll be here in about 10 minutes
JOHN
How long do we have?
BAKER
He blocked in the whole afternoon
for you. Impressed?
Baker walks to the door, turns back.
BAKER (CONT’D)
(suddenly friendly)
Like some coffee? Tea? Espresso?
John shakes his head and Baker leaves.
His cellphone rings. John checks the number, answers it.
JOHN
Hey, baby.
He listens. Grins.
(CONTINUED)
CONTINUED: 48.
JOHN (CONT’D)
Nothing. Just waiting on the
prez....
Listens.
JOHN(CONT’D)
No, I’m better now. No problems.
Listens.
JOHN (CONT’D)
Yeah, me too. Love you, baby.
Listens.
JOHN (CONT’D)
Bye.
He ends the call, puts the phone away. John watches the fire
crackle in the fireplace.
INT. ROOM IN A NURSING HOME - CONTINUOUSLY

The "other" John lies in a bed in the nursing home. He is
just as we saw him before, unconscious, dressed in hospital
garb. Someone has opened the windows in the room and a
gentle breeze is stirring.
The door opens, Zitteraal enters, clipboard in hand. He
walks over slowly and closes the window, comes over to John,
takes his pulse, makes a notation. He opens a lancet, begins
to prick the end of John’s fingers.
John’s middle finger jerks noticeably when he pricks it. He
pricks another finger and John’s hand jerks slightly.
Zitteraal’ eyes widen. He tries again and John’s hand jerks.
Zitteraal smiles. He reaches over and pushes the call button
for the nurse, begins to make a notation on a file.
After a moment, the same nurse we saw at the beginning
enters the room.
NURSE 1
Yes, Doctor Zitteraal?
ZITTERAAL
I want to increase his dosage to
100 milligrams every 3 hours.
The nurse looks surprised.
(CONTINUED)
CONTINUED: 49.
NURSE 1
Are you sure?
He stops writing, looks over his glasses at the nurse.
NURSE 1(CONT’D)
(flustered)
Of course, doctor....
She leaves. Zitteraal takes out his penlight, opens one of
John’s eyes, watches as the pupil contracts immediately when
he shines the light into John’s eye.
ZITTERAAL
(under his breath)
Unbelievable....
Fade to: John watching the fire crackle as he waits to
interview the President. John leans forward suddenly, his
hands over his face.
JOHN
No, no ....
John’s POV: The fire fades into Zitteraal standing over him
at the side of the bed, the penlight in hand. Zitteraal
smiles down at him, fade back slowly to the room with the
crackling fire.
INT. REC ROOM, BUSH HOME, CRAWFORD -- CONTINUOUS

GEORGE BUSH puts his hand on John’s shoulder. John starts,
looks up into the face of the president, who is smiling down
pleasantly. Bush is dressed casually in jeans and a gray
cloth jacket and cashmere sweater.
BUSH
Well, John, did you fall asleep
there? It’s a mighty comfortable
chair, idn’t it? I’ve been known to
doze off there myself ... listening
to the cracking fire.
John tries to shake it off. He seems disoriented.
JOHN
I’m really sorry. Guess I did kind
of doze off.
BUSH
(still smiling)
Long trip, huh?
(CONTINUED)
CONTINUED: 50.
John nods.
JOHN
Yeah, I’ll have to admit that I’m a
bit tired.
BUSH
Can I get you a coffee ... a
cappuccino ... a latte ...? They
got most everything in the kitchen.
Whatever you like.
JOHN
Just a coffee would be nice.
Bush turns. We see that Enoch is standing in the room behind
him.
BUSH
(to Enoch)
You think you might could get this
young man a coffee?
ENOCH
Sure enough, George.
Enoch leaves and a surprised John watches him go. Bush
watches John.
BUSH
Enoch told me he saw you down by
the old McClellan place. He’s
somethin, idn’t he?
JOHN
Who is he?
BUSH
Oh ... he’s what you would call
local color, I guess. He’s lived
around here forever. Does odd jobs
for us from time to time. I was
just going to show him some stone
that needs to be replaced on the
fireplace. He’s a good stone mason.
John nods.
BUSH (CONT’D)
Did he tell you any of his theories
about Jews?
John nods vigorously.
(CONTINUED)
CONTINUED: 51.
JOHN
Oh yeah.
Bush shakes his head.
BUSH
Well ... I hope you won’t hold it
against him. Like people say down
here ... he’s a bit "tetched."
Bush points at his head.
JOHN
And he works for the president.
Bush smirks.
BUSH
Well ... if you call rakin leaves
working for the president ....
JOHN
Isn’t it a bit improper to have a
man with views like that around?
Bush laughs.
BUSH
Son, you can’t choose your
neighbors. The best you can do is
just try to understand ’em and help
’em on their way. Look, if we
didn’t give Enoch an odd job ever
now and then ... he’d be on welfare
or worse, I imagine.
Bush makes a dismissive gesture with one hand.
BUSH (CONT’D)
John did you come all the way down
here from LA to talk about the guy
who takes out our garage or was
there something more important on
your mind?
John laughs.
JOHN
Fair enough. Well, I did have a
couple of questions.
(CONTINUED)
CONTINUED: 52.
BUSH
(smiling)
Well, that’s good. That’s real
good.
Enoch returns with the coffee, including one for Bush.
ENOCH
I brung you one too. Poured a
little Irish whiskey in it to take
off the chill of mid-summer.
He turns to John.
ENOCH (CONT’D)
Just kiddin, Mr. reporter fella
....
Bush winks at John.
BUSH
You’re just determined to get me in
trouble, aren’t you, Enoch?
ENOCH
Trouble falls on everybody every
once in a while ... just like the
rain.
Enoch gives John his coffee, then gives the other to Bush.
ENOCH (CONT’D)
Whelp, you gonna show me what needs
to be fixed?
Bush puts his coffee aside, stands up.
BUSH
This won’t take but a second, John.
He and Enoch walk over next to the fireplace, where Bush
points at some stonework and explains something to Enoch in
a low voice, his arm around the older man’s shoulder. After
a few second Enoch nods and Bush gives him a pat on the
back, comes back to sit down across from John. Enoch leaves
the room without a word.
BUSH (CONT’D)
You want to go ahead and get
started?
John nods, takes out a reporter’s pad and a pen.
(CONTINUED)
CONTINUED: 53.
BUSH (CONT’D)
First of all, I just wanna give you
a little background on ....
INT. REC ROOM, BUSH HOME, CRAWFORD -- MOMENTS LATER

Bush and John continue the interview.
BUSH
... and so, yes, we’re making
progress. But, no, I fully
understand those who say you can’t
win this thing military. That’s
exactly what the United States
military says, that you can’t win
this thing military. I’ve been
saying this all along too. You
can’t ... win ... this thing ...
military. That’s why it’s very
important that we continue to work
with the Iraqis on economic
progress, as well as political
progress. Because, you know, you
can’t win this thing military ...
not just military, I mean.
John scribbles notes for Bush’s response. Bush watches him
while he writes, begins to pick his nose. Enoch enters the
room again, some tools and materials in hand: a trowel,
mortar board, a small bucket of what looks like cement, etc.
John looks up, sees Bush picking his nose, but the president
doesn’t seem to care, keeps on digging in his nostrils.
Oblivious to the interview behind him, Enoch takes out a
hammer and starts banging on the fireplace, trying to break
out and remove a stone ... perhaps to replace it. John is
taken aback, but Bush hardly seems to notice. He looks at
Bush and then at Enoch, but Bush shows no reaction, keeps
picking his nose.
JOHN
Mr. President ... uh ....
He motions toward Enoch, who is happily hammering away. He
breaks one stone free and begins on another.
BUSH
(still oblivious)
Yeah?
Enoch has broken two stones now and is starting on a third.
He seems intent on destroying the fireplace.
(CONTINUED)
CONTINUED: 54.
JOHN
Could we ...? I mean, this is kind
of loud. It’s rather difficult to
work with this dust and noise....
He motions toward Enoch.
BUSH
(still oblivious, still
digging)
Really?
John stares at the President for a couple of beats.
JOHN
Yes, really.
BUSH
(still oblivious)
Oh.
Bush takes his finger out of his nose, wipes his finger on
the arm of the chair, but otherwise doesn’t move. John cocks
his head in confusion.
JOHN
Mr. President ... I really am going
to have to insist that we move ....
I ....
Bush suddenly springs to his feet.
BUSH
(enthusiastically)
Let’s shoot pool!
John is flabbergasted.
JOHN
What?
BUSH
Pool! Let’s play a game of
eight-ball!
Bush starts to walk over to the pool table, but John stands
up, calls to him.
JOHN
Mr. President ....
Bush stops, turns to look at John. Enoch continues to batter
the fireplace.
(CONTINUED)
CONTINUED: 55.
JOHN (CONT’D)
Mr. President ... respectfully, I
didn’t come here to play pool.
A beat.
BUSH
(hurt)
You don’t like me.
John looks like a duck that has been slapped on the head.
JOHN
(fumbling)
Mr. President ... I ... I don’t
know ... I ....
BUSH
(exaggerated whining)
Oh, come on .... Please!
John shrugs his shoulders.
JOHN
(confused, reluctant)
OK.
BUSH
All right!
He bounces over to the pool table on the other side of the
room. John follows, pad and pencil in hand, clearly
uncomfortable with things. He watches while Bush racks the
balls, takes up a stick and chalks the end of it.
(While they are playing, Enoch continues to bang away like a
moron, reducing the fireplace to more or less rubble.)
BUSH (CONT’D)
You mind if I break?
JOHN
No ... no, not at all. Your table.
Bush breaks. Two balls fall in on the break.
BUSH
Yeah! I got stripes.
He pumps his arm, looks at John with a satisfied grin.
(CONTINUED)
CONTINUED: 56.
BUSH (CONT’D)
Actually, it’s Laura’s.
JOHN
What’s Laura’s?
He points at the pool table with his stick.
BUSH
Laura’s table.
JOHN
Really?
BUSH
Yep. She’s quite a pool shark.
Wanna beer?
Bush strips off his jacket, tosses it in the corner, walks
over to a refrigerator against the wall, opens it up, takes
out a can of beer, pops the top and begins to chug-a-lug.
John stares at him in speechless horror.
BUSH (CONT’D)
You want one?
JOHN
Mr. President ... you’re an
alcoholic.
Now Bush seems confused.
BUSH
Really?
He thinks about it a minute, shrugs his shoulders, chugs
some more until the beer is empty, tosses the can in the
corner on top of his jacket. He walks over, lines up his
stick on the cue ball, expertly sinks a shot.
BUSH (CONT’D)
You know why I like pool?
John just shakes his head slowly, clearly disturbed with
things.
BUSH
Because you can learn so much about
life from pool.
JOHN
(weakly)
Yeah?
(CONTINUED)
CONTINUED: 57.
Bush snatches up the cue ball, holds it up for John to see.

Enoch stops banging, walks slowly over to the table, hammer
in hand. He is covered in dust. The fireplace is destroyed.
BUSH
You see, the way I got it figured
is ... the whole universe is just
like these here pool balls. Once I
get em going ...
He slams the cue ball into some other balls, watches as the
balls bounce around the table.
BUSH (CONT’D)
... once I get ’em going, what
happens after that is absolutely
certain ... the Seven hits the Nine
... the Nine strikes the wall, just
at this point right here ... there
can be no variation ....
Bush looks at John.
BUSH
No variation. You understand that?
You see, when God set the universe
in motion, it all fell into place,
one event automatically following
from the next with inevitable
certainty.
He walks over, puts his arm around John. Enoch stands by the
table staring at the balls as they slowly roll to a stop.
BUSH (CONT’D)
(confidentially)
John, there is no free will ...
from the very beginning of the
universe, everything was
preordained. A supernova would
occur 5 billion years ago, the Sun
would form from the remnants of
that tragedy ... which incidentally
destroyed an advanced civilization,
the likes of which you can not even
begin to imagine.
Bush stops one of the balls with his hand, picks it up,
looks at it closely.
BUSH (CONT’D)
Life would form on the earth, and
out of that primeval slime, our
(MORE)
(CONTINUED)
CONTINUED: 58.
BUSH (CONT’D) (cont’d)

ancestors would crawl ashore a few
-odd hundred million years ago ...
then, a lizard-like creature would
eat a butterfly a few eons back, a
volcano would erupt in what are now
the Philippines ... and those
seemingly ... seemingly random,
unconnected events would lead
inexorably to this precise moment
... to you and I standing in this
room, having this ridiculous
conversation.
Bush looks at John, grins.
BUSH
You like to play pool, son? Great
game. Laura and I just love it.
John has stopped writing, is staring at the President in
obvious shock.
JOHN
(voice trembling)
This is not real, is it?
Bush keeps grinning at him. He takes one of the pool
balls and slams it into several others bunched at one end
of the table.
BUSH
I just love this game.
EXT. BUSH RANCH - MOMENTS LATER

John is in full retreat. He exits the Bush home, drops his
reporter’s pad and his pen on the grass, stumbles like a
drunken man toward his rental parked nearby. He gets into
his car, tries to start it, but nothing happens. He tries
again. Nothing. He gets out of the car and slams the door,
runs his fingers through his hair, looks around, leans with
his back against his car. The state trooper who spoke with
him in the previous scene waddles up lethargically from
across the parking lot, except this time he has
shoulder-length dreadlocks and is smoking a huge joint.
He takes a deep toke, holds it.
TROOPER 1
You lost, boy?
A long pause. The trooper waits, takes another toke.
(CONTINUED)
CONTINUED: 59.
JOHN
My ... my car won’t start.
TROOPER 1
Won’t start?
JOHN
(nods)
Yeah.
TROOPER 1
Whelp ... you got yurself a problem
then, don’t you, Mister New York
Times.
JOHN
(tense)
Orange County Times.
TROOPER 1
Whatever ... hell, it’s just
bullshit anyways. Might as well say
you’re the US correspondent for Le
Monde in Paris. Hell, might as well
say you work for a newspaper on
Mars. Just make it up as you go
along ... hell, sounds better like
that, don’t it?
He takes another deep drag, passes it to John.
You want some of this, boy?
John eyes fill with anger. He lurches at the Trooper, pushes
him and grabs his gun simultaneously, points it at his
chest.
Whoa, son, now you have done
carried thangs into a new
dimension.
JOHN
I’m taking your car!
The trooper laughs.
TROOPER 1
Take it, boy! Take whatever you
fucking want. Dumbass!
(CONTINUED)
CONTINUED: 60.
The Trooper brings the joint up for another toke, just as

John shoots him twice in the chest. The trooper staggers
backward, feels of his chest, holds up his fingers to show
no blood, looks at John with a mocking grin.
(sarcastic)
Whoa, cowboy ... you done shot me!
John lets the gun slowly drop to his side, fear and
disbelief in his eyes.
(mock sympathy)
Oh, I’m sorry ... is this what you
wanted.
Blood spurts from the Trooper’s wounds as he falls on one
knee choking on blood. He grabs his chest in obvious pain,
falls on his knees, tumbles over backward, dead, as a pool
of blood begins to spread about his body.
The Trooper looks up one last time.
(big grin)
Much better, huh?
He drops his head back onto the pavement, the glassy look of
death sweeps over his eyes. After a moment, John lets the
gun fall upon the pavement. He runs for the trooper’s car,
jumps inside, as Trooper 2 gets out of his car, leans
against it, watches John burn rubber and speed away. Trooper
2 speaks into his shoulder-held microphone.
TROOPER 2
We got a raging hallucination,
southbound on Prairie Chapel Road.
Over.
Cut to PLAIN DARK SUIT WEARING MIDNIGHT FRAMES sitting in
his Lincoln. He speaks into his shoulder-held microphone.
PLAIN DARK SUIT WEARING MIDNIGHT FRAMES
Reality is just a very persistent
illusion. Over.
61.
INT. STATE TROOPER’S VEHICLE - MOMENTS LATER

John races south on Prairie Chapel Road. He fishes his
cellphone from his pocket, speed dials a number and waits.
No answer. He tries again. No answer. He tosses the phone on
the seat, looks up, sees something that disturbs him, slams
on the brakes.
JOHN
(in disbelief)
Shit!
EXT. A POND ON PRAIRIE CHAPEL ROAD - CONTINUOUS

The same pond that John stopped by previously. Enoch is
fishing just as he was before, just as if he had never left
the place. Next to him is "Comatose John," emaciated John
from the nursing home, fishing pole in his hand. John jumps
out of the car.
JOHN
Hey!
They both ignore or don’t hear him.
JOHN (CONT’D)
(louder)
Hey! Hey, you sons of bitches! Look
at me!
Enoch doesn’t react. Comatose John reaches up and scratches
his head. John beats his fist on the hood of the state
trooper’s car.
JOHN (CONT’D)
Look at me, you insane
motherfuckers! Look at me!
Still no reaction. He opens the door of the state trooper’s
car, takes out the shotgun, pumps a round into the chamber
and fires it in the air. No reaction.
JOHN (CONT’D)
Look at me, goddamn you both!
He pumps it again, levels the gun at Enoch and Comatose
John, fires again ... and again and again. No reaction. He
throws the gun aside and falls against the hood of the
vehicle, defeated. Finally, Enoch slowly begins to reel in
his line. Comatose John does the same. Enoch picks up his
tackle box and walks up the small incline to the side of the
road where John is now standing erect, watching him.
Comatose John follows.
(CONTINUED)
CONTINUED: 62.
ENOCH
I told you you wudn’t a reporter.
JOHN
God, I hate you, you crazy fuck.
Isn’t there anyway to kill you?
Enoch is unperturbed, glances over his shoulder, then back
at John.
ENOCH
Fish ain’t a-biting today ....
JOHN
Who are you?
Enoch shakes his head sadly.
ENOCH
... ain’t a-biting....
He walks away, past John and then up Prairie Chapel Road.
Comatose John now passes.
COMATOSE JOHN
... ain’t a-biting.
John’s POV: John watches them as they go, until about 50
yards away a small light begins to glow in the middle of
Enoch’s back and then grows larger and larger until it
consumes everything.
INT A HOSPITAL ROOM - CONTINUOUS

Suddenly, very vividly, John sees Dr. Zitteraal standing
over him beside the bed in the nursing home with penlight in
his hand. Zitteraal switches off the light, a look of
surprise or disbelief in his eyes.
ZITTERAAL
(voice a whisper)
You’re awake.
Weakly, John shakes his head from side to side, begins to
cry. He closes his eyes.
FADE TO BLACK.
FADE INTO:
63.
INT. JOHN & CLARISSE’S BEDROOM - CONTINUOUS

John opens his eyes slowly, finds himself again in his
bedroom, next to Clarisse. It is morning again, a gentle,
perfect breeze is stirring through the window, all is
idyllic, peaceful and calm. Sunshine pours into the room and
outside the sky is blue.
He rubs his face, gets slowly out of bed, goes and sits in a
chair near the bed, staring at Clarisse, naked, dark and
beautiful, the sheets wrapped about her body in a haphazard
way.
He watches her for a few seconds. She stirs, feels for him,
turns and looks at him sitting in the chair.
CLARISSE
(groggy)
You up already?
JOHN
(slowly)
I’m awake.
She smiles.
CLARISSE
(coaxing)
Come back to bed, baby.
John continues to stare at her, says nothing. She sees
something is the matter.
CLARISSE (CONT’D)
What’s wrong?
JOHN
Where do we live, Clarisse?
CLARISSE
(shrugs)
Paradise. Why?
JOHN
Where do I work, Clarisse?
She smiles.
CLARISSE
What kind of a question is that?
You know where you work.
She holds out her hand to him.
(CONTINUED)
CONTINUED: 64.
CLARISSE (CONT’D)
(cute pout)
Come, baby.
JOHN
(tinge of desperation)
Where do I work?
Clarisse looks concerned.
CLARISSE
Come here, baby ....
JOHN
(shouting)
Where do I work? Can’t you answer
one simple, fucking question?
She begins to cry.
CLARISSE
You work at the newspaper ... the
Orange County Times!
He throws his pillow at her.
JOHN
(angry)
There is no Orange County Times!
Where do I work, damn it?
CLARISSE
(sobbing)
I... I don’t know. Anywhere you
want to, baby. I’m sorry. I just
want to please you. What do you
want from me?
John picks up a book lying nearby, throws it at the wall.
She cringes in fright. The book slams into a lamp, knocking
it off.
JOHN
(shouting, out of control)
You’re not even fucking here! None
of this shit is here! It’s all
bullshit, isn’t it?
She looks at him in terror.
JOHN
(shouting)
Isn’t it?
(CONTINUED)
CONTINUED: 65.
CLARISSE
(sobbing)
I’m sorry.... I... please, John.
Please come ....
She holds out her hand.
JOHN
(loud, but not shouting)
You are not real! You are not here!
He gestures in a frustrated way.
JOHN (CONT’D)
Here? There is no fucking here!
She gets out of bed, trembling, cautiously approaches, her
hands out.
CLARISSE
Come ... come, my baby, please....
Now John begins to cry.
JOHN
(mumbling)
No, Clarisse ... no ... I won’t
....
She embraces him.
CLARISSE
Don’t let them do this to us, John.
I beg you. Don’t let them do this.
You can stop this, baby. Please.
Don’t let them take this from us.
You don’t have to do this. I won’t
let you ... I need you ....
John buries his face against her bosom, sobs uncontrollably.
She takes him by the hand, leads him to the bed.
CLARISSE (CONT’D)
Please come to bed ... Please, I’ll
make it right. I promise.
INT. JOHN & CLARISSE’S BEDROOM - CONTINUOUS

John lays with Clarisse in the bed, obviously after making
love. He doesn’t seem that happy about it though. He is
leaned against a few pillows, staring straight ahead, and
she is lying across his chest, looking up at him, watching
him carefully.
(CONTINUED)
CONTINUED: 66.
CLARISSE
(cautiously)
We can go away, John.
He looks at her.
CLARISSE (CONT’D)
We can go away forever and they’ll
never find you again.
He looks away again.
JOHN
(flat)
Where would we go?
CLARISSE
Mexico.
John smirks.
JOHN
You mean, fantasy Mexico .... Can I
pretend like I’m president of
Mexico?
She buries her face against his chest.
CLARISSE
(hurt, mumbles)
We can go anywhere you like.
He pulls her by the hair so that she is looking up at him.
She cringes with pain, but doesn’t resist.
JOHN
(aggressive)
How ’bout to the moon? Can we go to
the fucking moon? Can we go to
Pluto?
She reaches up and takes his hand.
CLARISSE
You’re hurting me, John.
He lets go of her hair.
JOHN
Who am I, Clarisse? Who am I
really?
She looks away.
(CONTINUED)
CONTINUED: 67.
JOHN (CONT’D)
You know, don’t you?
She shakes her head.
JOHN (CONT’D)
(angry)
You know, you little bitch ...
you’ve known all along ... haven’t
you?
She starts to get up, but he grabs her arm.
CLARISSE
(pleading)
Don’t John ... please don’t. I’ve
loved you, John. I’ve loved you
with all my heart ... I ....
He moves close, inches from her face.
JOHN
(shouting)
You are not even here! Goddamn you!
He pushes her away. Now she gets angry.
CLARISSE
Goddamn you, John! I am not here?
Do you not understand anything?
This is not real? I am not real? Do
you not see me standing before you?
Do you not feel me?
She takes his hand, puts it against her breast.
CLARISSE (CONT’D)
Do you not feel the beating of my
heart? Kill me, John. Kill me and
see how real I am.
Suddenly she produces a knife from god only knows where,
presses it into John’s hand.
CLARISSE (CONT’D)
Kill me, John. Kill me. I can’t
stand this. I won’t go on this way.
He backs away from her, knife in hand.
JOHN
(afraid)
Stay away, Clarisse.
(CONTINUED)
CONTINUED: 68.
CLARISSE
(shouting)
Kill me! Rip out my heart and see
that I live!
She lunges at him, but John drops the knife, backs away onto
the balcony. She picks up the knife, follows until both of
them are standing naked in the door to the balcony, a huge
semicircular structure attached to the building. They
struggle and John looks about as he backs up. A look of awe
slowly overcomes him as they move out onto the balcony, and
they slowly stop struggling with each other. He holds
still-upset Clarisse close to him, gently takes the knife
away from her, drops it onto the balcony.
JOHN
(quietly)
Stop Clarisse.
He holds her until she is calmer.
EXT. BALCONY - NIGHT

The balcony is made of white marble with an ornate
balustrade and a railing about chest high. The palm trees
and garden are gone. It is dark. Above, the sky is filled
with thousands of stars and a nearby swirling spiral galaxy.
Shooting stars light up the sky. An enormous planet much
like Saturn rises on the horizon. John leave Clarisse, walks
to the edge, carefully looks over the side. Below him, the
balcony drops for thousands of feet into a turbulent ocean
below. The house is standing alone in a vast, empty darkness
with the starlit sky above and the ominous churning sea
below.
John steps back from the edge, turns to see Clarisse
standing behind him. She is radiant, glowing, angelic. She
comes closer, takes his hand and they lean against the
balustrade, admiring a night sky of unbelievable beauty.
JOHN
It’s beyond words ....
CLARISSE
It comes from you, John. All this
beauty ... it’s in your soul ....
She snuggles against his arm.
JOHN
But, it’s not real.
She turns him to face her, looks steadily into his eyes.
(CONTINUED)
CONTINUED: 69.
CLARISSE
It’s real, John. In your heart,
what is ... and what can be ... are
the same. It is your story.
They watch the night sky, holding hands.
CLARISSE (CONT’D)
I waited for you ... trapped in an
eternity of possibility, like an
image imprisoned in a mirror. When
you touched me, you gave me life.
She reaches up, takes a glowing star into her hand, watches
it transform into a hibiscus. She puts it in her hair behind
her ear.
CLARISSE (CONT’D)
I would gladly give everything I
have for one second of the life
that you gave me ....
She kisses his cheek. There is a low rumbling and the
balcony shakes. Clarisse is suddenly troubled. Tears well up
in her eyes.
CLARISSE
Hold me....
John takes her in his arms.
JOHN
(concerned)
What is it?
She shakes her head sadly, pushes away.
CLARISSE
He’s coming, John. Goodbye, my love
....
She touches his chest with the palm of her hand, her eyes
fixed on his.
In an instant, the tentacles of a huge sea monster, slam
over the side of the balustrade, crushing it and
simultaneously grabbing and wrapping about Clarisse. It
begins to crush her as John watches. He claws uselessly at
the arms of the beast as bright red blood oozes from her
lips and the monster begins to retreat over the side of the
balustrade with its prey. John takes her hand, tries to hold
on, but she is gone in another second. He watches the arm of
the monster disappear over the side of the balcony, ripping
out a fresh section of the balustrade as it retreats.
(CONTINUED)
CONTINUED: 70.
He runs to the side, watches the huge arm pulling a thousand

feet backwards into the dark ocean with Clarisse wrapped in
its tentacles. Pieces of balcony fall and John’s entire
world is shaking, crumbling as if there were an earthquake.
John looks back, sees the balcony and house collapsing
simultaneously.
JOHN
(sobbing)
No .... No ....
FADE TO BLACK.
FADE INTO:
INT A HOSPITAL ROOM - CONTINUOUS

John awakes groggily in his hospital bed with Zitteraal
standing over him. Nurse 1 is standing to one side of the
bed. The light in the room is bright, sterile and
unpleasant. Zitteraal is excited.
ZITTERAAL
Can you hear me?
John nods slowly. He brings his emaciated hand up to shield
his eyes.
JOHN
(mumbles)
Why ... why ... did you do this
...?
Zitteraal nods to the nurse.
ZITTERAAL
(oblivious)
I think the lights are disturbing
the patient.
She walks over and flips the switch. Now the only
illumination is the dim light pouring through the window.
(clear and loud)
Wel-come back!
John lets his eyes wander around the darkened room, the
life-support equipment beeping away at the side of his bed.
(CONTINUED)
CONTINUED: 71.
JOHN
(flat)
Yeah ... welcome ... back.
Zitteraal leans in close.
ZITTERAAL
Can you tell me your name?
John shakes his head. Feebly, he takes Zitteraal by his
white lab jacket.
JOHN
You had no right ....
John can’t finish the sentence, drops his hand. Zitteraal
looks at the nurse.
ZITTERAAL
Give him 50 milligrams of Demerol
... let him rest.
(to John)
That’s enough for today. You rest.
JOHN
(mumbling)
Don’t give me Demerol.
ZITTERAAL
What?
JOHN
Just ... go away.
He grabs Zitteraal’ coat again feebly.
JOHN (CONT’D)
Sea monster ....
He loses consciousness.
FADE OUT.
FADE INTO:
72.
INT. SAME HOSPITAL ROOM - DAY

During the next three scenes, there is no dialog. Intro
music, then voice over, Leonard Cohen singing, Alexandra
Leaving. Song continues for next three scenes:
A day or two has passed. John, weak and unhappy, is being
fed some sort of gruel-like substance by a nurse in his bed.
He takes a spoonful, feebly tries to push the nurse away.
She moves his arm, seems to scold him, continues with the
feeding.
Suddenly the night has grown
colder. The god of love preparing
to depart. Alexandra hoisted on his
shoulder, they slip between the
sentries of the heart
John eats his gruel, tears welling in his eyes.
Upheld by the simplicities of
pleasure, they gain the light, they
formlessly entwine; And radiant
beyond your widest measure, they
fall among the voices and the wine.
INT HOSPITAL CORRIDOR - DAY

John exercises. He is being helped to walk down the corridor
by a burly hospital worker, who pulls him this way and that.
John tries to sit but the worker keeps him on his feet.
It’s not a trick, your senses all
deceiving, a fitful dream, the
morning will exhaust - Say goodbye
to Alexandra leaving. Then say
goodbye to Alexandra lost.
INT. NURSING HOME CAFETERIA - DAY

A sterile and tacky cafeteria room. Plastic flowers stand in
vases here and there. The tables and chairs are made of
white plastic. A buffet with workers doling out steaming
hospital slop lines one wall of the room as residents queue
up. John takes his tray and finds a seat beside an elderly
man, who is staring off into space, drooling. He looks
around the room, sees other patients staring off into space,
chattering to themselves, etc. An elderly woman nearby is
(CONTINUED)
CONTINUED: 73.
having an animated conversation with someone only she can

see. She seems very happy. John watches her, lost in
thought.
Even though she sleeps upon your
satin; Even though she wakes you
with a kiss. Do not say the moment
was imagined; Do not stoop to
strategies like this.
Slow close up on the elderly woman having an animated
conversation with herself, cutting tighter and tighter until
we can only see her eyes.
It’s not a trick, your senses all
deceiving, a fitful dream, the
morning will exhaust - Say goodbye
to Alexandra leaving. Then say
goodbye to Alexandra lost.
FADE OUT, SONG AND SCENE.
FADE INTO:
INT. SAME HOSPITAL ROOM - DAY

A few days have passed and John is now sitting up in bed. He
has gained a little weight back. He’s in the same crappy
room, but the window is open and he is looking at the trees
outside his window. Zitteraal is standing by his bed. Nurse
1 is nearby with a small paper bag in her hand. John doesn’t
look at either of them.
ZITTERAAL
We’ve arranged for you to occupy a
room in a half-way house. You’ll be
able to meet with a psychologist
everyday to discuss your ...
issues.
Zitteraal watches him carefully.
(evasively)
With time ... we feel sure you’ll
be able to regain ... at least part
of your memory.
No reaction from John.
(CONTINUED)
CONTINUED: 74.
You ... still have no idea who you
are? Nothing has come back?
JOHN
The only thing I remember is waking
up here.
Zitteraal looks at the nurse. She steps forward.
NURSE 1
Here.
She puts the bag on his bed. John picks it up, opens it.
Inside he finds his Rolex.
JOHN
A going-away present?
ZITTERAAL
No. Apparently, it was your
property when you arrived at this
institution. You were wearing it.
Do ... you remember anything about
it?
John gives it a cursory inspection.
JOHN
Nope.
Zitteraal looks at the nurse. He is clearly frustrated at
John’s lack of progress.
ZITTERAAL
Nothing?
John looks at Zitteraal for the first time.
JOHN
Nothing.
ZITTERAAL
Are you sure?
John turns red with anger.
JOHN
(bitterly)
You want to know what I remember,
doctor? I remember I was happy.
I remember clearly that I was with
someone who loved me with all her
(MORE)
(CONTINUED)
CONTINUED: 75.
JOHN (cont’d)
heart, who would do anything for
me, and I remember I had a great
life and a wonderful job ... and I
remember that you took all that
from me.
He drops the Rolex in a trash can by his bed.
JOHN (CONT’D)
That’s what I remember.
Zitteraal shakes his head impatiently.
ZITTERAAL
I know this has been very difficult
for you, but I think it would be
beneficial if you listen to me.
Your experiences during your coma
were fantasies. The sooner you come
to terms with that reality, the
sooner you can begin your recovery.
The nurse takes the watch from the waste can. Puts it on
John’s nightstand.
And the sooner you will start to
remember what is really important
in terms of your past ... and your
future.
John looks at the trees outside the window.
No matter how appealing or
comforting your hallucinations were
during your coma, they were not
reality ... and it’s illogical to
continue hoping that they will
return. Do you understand that?
JOHN
You are a gigantic prick, do you
understand that?
Zitteraal smirks. A beat.
ZITTERAAL
Ok.
He turns to the nurse.
(CONTINUED)
CONTINUED: 76.
Let’s go.
The nurse leaves. Zitteraal starts to do the same, tarries
in the doorway a moment. Turns back to John.
Give life a chance, John. Real
life.
JOHN
What the fuck would you know about
it? Half the people in this
hospital are living better lives
than you could ever imagine ... and
you pity them for it.
ZITTERAAL
No, John. I don’t pity them. I just
know the difference between reality
and fantasy.
He looks at John a beat to let that sink in. Turns and
leaves. John looks out the window for a few seconds, then
turns and looks at the watch. He picks it up slowly and
begins to examine it, carefully turning it around and around
in his hands while he looks at it.
INT. HALFWAY HOUSE - DAY

John enters a tiny, spartan room with WORKER 2 at the
halfway house. There’s a single bed on one wall, a tiny
closet, a desk and a chair against a window facing out on a
courtyard, a couple of fading prints in gilded frames on the
walls. He is carrying a small travel bag. Worker 2 seems to
be in a hurry.
WORKER 2
(quickly)
Ok, dinner’s at 5, about 15
minutes. Don’t be late. We’ll give
you an orientation on house rules
after that.
He starts to leave.
WORKER 2 (CONT’D)
Oh, there’s no smoking in the room.
John seems confused, looks at him quizzically.
(CONTINUED)
CONTINUED: 77.
JOHN
Smoking what?
The worker looks irritated.
WORKER 2
Oh, boy. Are you going to be a
problem, chief? No smoking anything
... capiche? No cigs ... no wacky
backy ... nothing.
The worker leaves. John stands looking about the drab and
depressing room, sits on the bed, stares straight ahead.
Finally, he opens the travel bag, takes out his Rolex, looks
at it.
INT. ROOM IN THE HALFWAY HOUSE - DAY

A group therapy session in progress. John sits with five
other men on fold-up chairs while a YOUNG PSYCHOLOGIST in a
cheap suit leads a session. There are bars on the windows
and the same genre of drab reproductions in gilded frames
that we saw in John’s room adorns the walls. The men seemed
bored as the therapist chatters away in an animated way.
John stares out the window at some trees in the courtyard.
He is wearing his Rolex. One of the men, DAVID WELLS, a
crusty old fart about 65, vigorous with
closed-cropped hair, starts to light a cigarette with a
butane lighter.
YOUNG PSYCHOLOGIST
(irritated)
Mr. Wells, I believe you know that
smoking is not allowed. We’ve had
this discussion before.
DAVE
(smirks)
Sorry, your lordship.
Dave puts his lighter away, but keeps his cigarette between
his lips. The psychologist gives him the stink eye, then
looks about at the apathetic faces before him, finally
settling on John.
YOUNG PSYCHOLOGIST (CONT’D)
Well ... John ... I was just
wondering if maybe today you might
want to share with us? I think
you’ve been with us a month now
....
(CONTINUED)
CONTINUED: 78.
DAVE
(under his breath)
Maybe he’d like to share that
fucking Rolex with us....
John and a couple of the men snicker. The Young Psychologist
shoots Dave another dirty look, turns back to John.
YOUNG PSYCHOLOGIST
As you can see, a lot of the men
are interested in knowing a bit
more about you ....
JOHN
No thanks.
INT. JOHN’S ROOM - NIGHT

A man screams from his room down the hallway outside John’s
room. John flips on the night light on his wall, sits up in
bed. He sees Worker 2 shuffle past his room. Worker 2
backtracks quickly, sticks his head inside the room.
WORKER 2
Don’t sweat it, Chief. It’s Mr.
Dempsey. Thinks he’s in Nam again.
Worker 2 hustles off to help Mr. Dempsey. John lays back in
his bed again.
JOHN
He is in Nam again ... Chief.
He turns off his light. A beat.
JOHN (CONT’D)
Goodnight, Clarisse. I miss you.
A beat.
JOHN (CONT’D)
I won’t forget.
EXT. A SHOPPING MALL - DAY

A mini school bus, bright yellow, pulls up into the parking
lot at a large suburban mall. On the side of the bus is
written, "Helping Hands Halfway House." About a dozen men
pile off the bus, John last of all. Some run for the mall,
(CONTINUED)
CONTINUED: 79.
others mill about absently, waiting for Worker 2, who gets

off the bus after John, to organize things.
WORKER 2
Ok, back here in 2 hours. That’s
two hours sharp. Understand, Mr.
Johnson?
MR. JOHNSON nods his head, winks.
JOHNSON
No problemo.
WORKER 2
And stay out of the video arcade,
damn it!
Johnson runs off. John and the others, including Dave, walk
toward the mall entrance.
DAVE
(to John)
Why do we have to ride that goddamn
dumbass yellow school bus? God I
feel like a retard on a class trip.
A beat.
JOHN
How long you been here, Dave?
DAVE
Too fucking long.
JOHN
Why don’t you leave then?
DAVE
And do what? Bag groceries at
Kroger’s? I tried being a greeter
at Walmart, but they fired me when
I told this guy to get fucked when
he asked for an extra smiley face
on his bag ... I got that kind of
cheery, can-do disposition, you
know. Did I tell you I used to be
an attorney? I was a damned good
one too.
JOHN
I heard you mention it, yeah. Why
don’t you go back?
Dave laughs.
(CONTINUED)
CONTINUED: 80.
DAVE
Well, there’s just one little
problemo. Since I got sick, I can’t
control my anger without the
medication. But when I’m on the
medication, I can’t think ... I
can’t concentrate .... Kind of
fucked up, huh?
A beat. John says nothing.
JOHN
Do you know if there is a watch
repair shop in the mall?
DAVE
Why, something wrong with the
Rolex?
JOHN
Needs a new battery, I think.
INT. WATCH REPAIR SHOP - MOMENTS LATER

John and Dave stand inside a small shop while the SHOP OWNER
opens the back of the Rolex with a tool, a jeweler’s lens on
one eye. The back snaps open and a piece of paper falls out
on the counter.
SHOP OWNER
Well ... here’s your problem.
He unfolds the piece of paper, hands it to John, continues
to inspect the watch.
John opens the paper, reads it.
DAVE
What’s it say?
JOHN
First City Bank 37854B. What the
hell does that mean?
DAVE
It’s a safety deposit box number.
They look at each other. The shop owner clears his throat.
SHOP OWNER
There’s more.
He shows John the inside of the watch’s back cover.
(CONTINUED)
CONTINUED: 81.
DAVE
It’s a PIN Number.
JOHN
Well, I’ll be damned.
DAVE
Looks like a message in a bottle.
INT. BANK OFFICE - DAY

Typical manager’s office in a city bank. Desk with two
chairs in front of it, small corner sofa with a coffee
table, a filing cabinet, small desktop printer, computer.
Dave and John sit next to one another in the chairs in front
of the BANK MANAGER, mid-30s, gray suit and glasses. He
finishes reading a document, takes off his glasses puts them
on the table.
BANK MANAGER
(to John)
This is an amazing story, Mr.
Harvest.
He reads from the document.
BANK MANAGER (CONT’D)
Paul Wellford Harvest ...
fingerprints a spot-on match, photo
... very much the same. There’s no
doubt that the safety deposit box
is yours.
BANK MANAGER (CONT’D)
(incredulous)
You don’t remember anything?
JOHN
Afraid not.
BANK MANAGER
We’ve also done a bit of checking.
You have a bank account here with
more than $250,000 in it, we set up
a 401k for you 10 years ago and a
home mortgage 8 years ago. Lucky
you that you set up an automatic
payment on the mortgage. We have
had some notification on some late
(MORE)
(CONTINUED)
CONTINUED: 82.
BANK MANAGER (cont’d)

taxes from the county and the
state, but that should be easy
enough to clear up ... given the
circumstances.
He stands, shakes John’s hand.
BANK MANAGER
Well ... welcome back to the world,
Mr. Harvest.
INT. A SMALL ROOM IN THE BANK - MOMENTS LATER

Four walls painted pastel blue adorned with framed photos of
a seaside, a small table in the center, overhead florescent
lights. John and Dave sit on one side of the table. The Bank
Manager enters carrying a safety deposit box about the size
of a desktop printer. He puts it on the table in front of
John.
BANK MANAGER
Enter the code right here on the
key pad and push the pound sign.
You can stay as long as you want
... just let me know when you’re
finished and I’ll put the box back
in the vault.
JOHN
Thank you.
The Bank Manager leaves, Dave gets up to follow him.
DAVE
I’ll wait for you in the lobby.
JOHN
I’d rather you stayed. I might need
your help.
DAVE
Sure.
He shuts the door, comes back and sits beside John. John
takes a deep breath, enters the Pin number and pushes the
pound sign. The lid of the box snaps open. He slowly opens
it.
He takes out various documents, a set of keys, some stock
certificates, some men’s and some women’s jewelry. Dave
sorts through the papers.
(CONTINUED)
CONTINUED: 83.
DAVE
Well, I’ll be damned. You’ve got
shares of stock in Microsoft and
here some for Walmart ... that’s a
fucking lot of money.
JOHN
What’s Walmart?
Dave looks at John askance. A beat, then he breaks out into
laughter.
DAVE
Man, you have been in a coma.
EXT. A HOME IN SUBURBAN SOUTHERN CALIFORNIA - DAY

John and Dave drive up in a rental car beside a home in
suburban Southern California. Parked outside is a van, upon
which is written, "Superior Lawn Service." Four workers mow
the grass, trim the bushes, etc. It looks as if the yard has
been well-cared for. The house itself is also quite nice,
not a mansion, but not a shack either. It’s a two-story
brick home. Obviously, it belongs to someone in the upper
middle class. The only indication that something might not
be quite right is that one of the rain gutters in front has
broken loose and is hanging down in front of the front door.
No one has bothered to fix it.
John and Dave pull up into the driveway. One of the workers,
WORKER 3, repairing a sprinkler, watches them as they get
out of the car. He stands up.
WORKER 3
(friendly)
Can I help you guys?
Dave nods at John.
DAVE
He’s the owner.
WORKER 3
(surprised)
Really?
He comes over and shakes hands with John.
WORKER 3 (CONT’D)
Jim Swenson. I own Superior Lawn
Service.
(CONTINUED)
CONTINUED: 84.
JOHN
Nice to meet you.
WORKER 3
I was wondering if anyone actually
lived in this house. I’ve never
seen anyone come in or out.
DAVE
Well, he’s been away ... in Europe.
He looks around
DAVE (CONT’D)
You’re paid by direct deposit,
aren’t you?
WORKER 3
Yeah, I am. My dad built this
business and I took over four years
ago when he retired. Never saw
anyone come in or go out of the
house. I was starting to think a
ghost lived here.
John and Dave look at one another.
WORKER 3 (CONT’D)
(to John, a bit eager)
Say ... since I finally get to meet
you, I was wondering if you have a
second to come around back with me.
You’ve got a major infestation of
dandelions near the pool and I was
wondering if you’d like us to take
care of that for you. I didn’t want
to get into anything like that
without the owner’s permission
because it can get costly ....
John again looks at Dave, seems unsure what to say.
DAVE
Uh, I’ll tell you what, if you
could just leave your card ....
He walks aside with Worker 3 and John goes over to the front
door, takes out the keys he took from the safety deposit
box, finds the right key, opens it.
85.
INT. JOHN’S HOME - CONTINUOUS

John opens the door and walks inside. An air conditioner
whirs somewhere, but inside the home is dusty and neglected.
Dead plants stand, dry and brown, in pots near a window. All
the furniture is dusty. A radio plays at a low volume in the
kitchen.
Other than the musty appearance of the home, the furniture
is nice, again not rich, but upper-middle class.
JOHN
(to himself)
I don’t ever remember being here in
my life....
He walks into the kitchen, switches off the radio. Again all
is covered in dust, but on the kitchen table are two plates,
two cups, forks, spoons, a couple used paper napkins,
yellowed with age ... all indicating that a couple had
breakfast long ago before they left one morning, never to
return. John picks up one of the coffee cups, looks inside
at the dried coffee on the bottom of the cup. He turns it.
There is a lipstick stain on the side of the cup.
Dave walks into the kitchen.
DAVE
You’re gonna have to give that guy
a big tip. He took damn good care
of the yard. He’s right though ...
you got dandelions coming out the
ass out back.
John keeps looking at the cup.
DAVE (CONT’D)
What did you find?
John shows him the cup with the lipstick on the side.
DAVE (CONT’D)
Could have been yours. Maybe you
were a transvestite before.
John smirks.
DAVE (CONT’D)
OK, it probably wasn’t yours.
Dave opens the frig, peeks in, shuts it quickly.
(CONTINUED)
CONTINUED: 86.
DAVE (CONT’D)
Oh, my god ... Don’t even think
about looking in there.
JOHN
Pretty bad?
He puts his arm around John’s shoulder.
DAVE (CONT’D)
(in a low voice)
Just buy a new refrigerator.
John laughs, puts down the cup.
JOHN
I don’t remember anything, David.
DAVE
Take it slow, bud. Just give it
some time.
A beat. John looks at the table.
DAVE (CONT’D)
Did you go in the bedroom yet?
INT. JOHN’S BEDROOM - CONTINUOUS

A bedroom overlooking the pool in the back yard. The
king-size bed is unmade and covered in dust. There are two
pillows on the bed, both with the indentations of heads
where two people were sleeping. The covers are in disarray.
Typical bedroom furniture, a wardrobe, walk-in closets,
chest of drawers, a dresser, etc. Outside the bedroom is a
deck that overlooks the pool. Locked sliding doors lead to
the deck. John walks into the bedroom. Dave follows, stands
in the doorway.
John opens one of the walk-in closets. It’s filled with
women’s clothes, some of which appear moth eaten. He touches
the clothes with his hand, turns back to the room.
On the chest of drawers on the other side of the room is a
studio photograph of a woman. It’s Clarisse.
John inhales sharply as if in fright. He staggers backward,
then crosses the room quickly, picks up the photograph with
trembling hands.
(CONTINUED)
CONTINUED: 87.
JOHN
(trembling, crying)
Clarisse!
QUICK FADE OUT.
FADE INTO:
INT. JOHN’S BEDROOM - SIX YEARS EARLIER (VISION SEQUENCE)

Begin Vision Sequence:
John’s POV: The past comes rushing back to him now. In rapid
succession, John sees:
Clarisse puts on her pantyhose in the bedroom in which John
and Dave are standing. She turns and smiles at him, comes
over and kisses him, puts her arms around him.
EXT. DRIVEWAY AT JOHN’S HOUSE - CONTINUOUS (VISION SEQUENCE)

Cont’d Vision Sequence:
John opens the door for Clarisse and she gets into a silver
Beemer. He goes around to the other side and opens the door
for himself, gets in. He’s dressed in a suit and wearing
sunglasses. It seems they are going to work.
EXT. ORANGE COUNTY REGISTER BUILDING - CONTINUOUS (VISION

SEQUENCE)
John goes to his job at the Orange County Register. He gets
out of the Beemer in front of the building and Clarisse
comes around, gives him a kiss, gets into the driver’s seat
and drives away.
EXT. A TRAFFIC ACCIDENT SCENE - CONTINUOUS (VISION SEQUENCE)

An agitated John watches as police and a rescue team clear
wreckage at a freeway accident site maybe 30 yards away. A
policeman is standing in front of him, obviously trying to
make sure he doesn’t go any closer. His Beemer is crashed
against a bridge support, totally destroyed, a smoldering
wreckage. A couple of rescue workers open the car with a
hydraulic rescue tool, a "Jaws of Life." Rescue teams remove
(CONTINUED)
CONTINUED: 88.
what appears to be a horribly burned, blackened, smoldering

corpse from the vehicle. It is impossible to tell who it
might have been.
John turns away, begins to vomit.
EXT. A BUSY FREEWAY - CONTINUOUS (VISION SEQUENCE)

John runs down the middle of a busy freeway somewhere in
Southern California. He seems oblivious to any danger. He
takes off his suit jacket and throws it in the air. He kicks
off his shoes, keeps on running. Cars swerve and blow their
horns, trying to avoid him. Suddenly one appears directly in
front of him and the horrified female driver screams just as
she slams into John, who flips over the top of the car like
a rag doll.
SLAM FADE TO BLACK.
FADE SLOWLY INTO:
INT. JOHN’S LIVING ROOM - EVENING

John awakens on the couch in his living room. Dave has
tossed one of the blankets from the bed over him. He sits up
slowly, finds Dave sitting in an armchair next to him,
watching TV, drinking Jack Daniels from a bottle. Dave leans
over toward John when he sees him sit up, offers John the
bottle.
DAVE
Want some?
John takes the bottle, takes a swig. John screws up his face
after he drinks.
JOHN
Know what? Jack Daniels doesn’t get
better with age.
Dave smiles, turns off the TV with a remote control. John
drinks some more.
DAVE (CONT’D)
(slowly)
I thought it was her ... the
photograph. She was the woman you
saw when you were in a coma, wasn’t
she? And she was your wife too ...
in this world?
(CONTINUED)
CONTINUED: 89.
A beat.
DAVE (CONT’D)
Am I right?
John nods.
DAVE
You must have loved her dearly.
JOHN
(quietly)
Yeah.
DAVE
Do you remember everything now?
John nods.
JOHN
I think so. Most everything anyway.
DAVE (CONT’D)
Lucky you. I still can’t remember
lots of things from before. I
remember my second wife leaving me
though. Soon as the money stopped
coming in, she skedaddled ...
didn’t even let the door smack her
tremendous fat ass on the way out.
She divorced me and took what
little I had left.
He takes the bottle back, takes a big swig.
DAVE (CONT’D)
After I got out of the hospital, I
would get so mad I would pound on
the walls until my fists were
bloody, then I’d laugh like a moron
for hours. Couldn’t control myself.
He shakes his head, passes the bottle back to John.
JOHN
And now?
DAVE
Well, I take the drugs ... and I
can function ... sort of ....
(CONTINUED)
CONTINUED: 90.
JOHN
You know, you never told me what
happened to you.
DAVE
Fucking stupid, it was. I don’t
really remember much. I was late,
was on my way to court, was
hustling down the street from my
office ... just up the block. I was
talking on the cell phone with a
client, I saw a bright flash of
light and felt a tremendous pain
in my head, and the next thing I
knew I woke up in the hospital and
two months were gone.
John drinks, passes the bottle back. Dave puts the bottle to
his lips, takes a drink.
DAVE (CONT’D)
Stroke. Couldn’t even sue anyone
... not even God.
He leans back in the armchair.
DAVE (CONT’D)
They said I’d never walk again, but
that was just bullshit. Doctors
don’t know shit from Shinola, I
tell you.
A beat.
JOHN
Well, I guess I was a reporter
after all. I worked at the
Register, covered national news. I
even remember that I did interview
Bush .... He wasn’t that funny
though.
Dave smiles, drinks more whiskey.
JOHN (CONT’D)
At least, not in this reality.
Dave passes the bottle back.
JOHN (CONT’D)
I met Clarisse in college ...
Berkley. She was in Marketing. We
were going to have a child the year
... the year it all happened.
(CONTINUED)
CONTINUED: 91.
John falls silent.

DAVE
What happened to her?
JOHN
(flat)
She was on her way to work and a
truck cut her off. She slammed into
a bridge support and the car
exploded. Just like that ....
He snaps his fingers. Both fall silent. John drinks, passes
the bottle back. Dave drinks.
John looks up.
JOHN (CONT’D)
You got any kids?
DAVE
Me? Yeah, I’ve got a kid by my
first wife. Never should have left
that woman. She wasn’t pretty, but
she was good to me. Better than I
deserved. You know, you get making
the big money and your head gets
all fucked up. Start thinking that
maybe you’re just a bit better, ...
a bit smarter than everyone else. I
guess I wanted a trophy wife. Some
trophy, huh?
He drinks some more.
DAVE (CONT’D)
Fat ass bitch.
He shakes his head.
DAVE (CONT’D)
I got what I deserved, I suppose.
He takes out his wallet, opens it, passes a photo to John.
DAVE (CONT’D)
This is her, my second wife.
JOHN
She does have a fat ass, doesn’t
she?
(CONTINUED)
CONTINUED: 92.
DAVE (CONT’D)
She could pull a truck with it ...
easy.
He passes another photo to John.
DAVE (CONT’D)
This is my kid.
John looks at the picture. It’s a woman about 25 years old
with curly blond hair and blue eyes. She is smiling and has
her arm around Dave.
JOHN
She looks like you.
John hands the photo back.
DAVE
She’s a marine biologist. Loves the
sea. We used to go sailing all the
time when we I was married to her
mother. Real smart kid. If there’s
one thing I’ve done in this life
that was right ... it was her.
Dave drinks again.
JOHN
(slowly)
David, I ... I’ve got to go to
Mexico ... to a beach in Sonora.
A beat.
JOHN (CONT’D)
Do you wanna come with me?
Dave puts the bottle down.
DAVE
Well ... I’m so fucking busy, you
know ....
John shakes his head, grins.
DAVE (CONT’D)
Sure. Why not? Of course, you know
we’ll have to miss group therapy.
JOHN
That would be a shame, wouldn’t it?
Give me that bottle.
93.
He takes it back, takes a big swig.
EXT. ROAD IN MEXICO - DAY

John and Dave bounce along in an old Jeep on an isolated
gravel road in some back country mountains in Western
Mexico. The area is high desert terrain, barren hills and
sandy, rocky soil. The road follows a creek with scrubby
brush growing along the edges and here and there a small
cottonwood tree. John is driving.
INT. THE OLD JEEP - CONTINUOUS

John and Dave pass over an especially bad and bone-jarring
segment of the road. Dave grabs the seat and the arm rest on
the door to steady himself.
DAVE
Geez-Louise, I thought you said we
were going to a beach. I had
visions of daiquiris, dark
senoritas and soft sand.
JOHN
We are going to a beach ... by the
long road.
DAVE
Well where is this fucking place
and do they have lots of tequila?
JOHN
It’s Mexico, isn’t it? We’re almost
there. We just have to cross those
mountains up there and then 20
miles or so ....
Dave peers at the distant mountains.
DAVE
Those mountains up there. That’s
almost there for you, huh?
EXT. THE OLD JEEP - CONTINUOUS

The old Jeep bounces along somewhere in the desert, late in
the evening, maybe an hour before sunset in summer.
(CONTINUED)
CONTINUED: 94.
DAVE (V.O.)
Almost there, he says. This bumfuck
place got a name?
JOHN (V.O.)
Sueno. It’s called Sueno.
DAVE (V.O.)
And they got tequila?
JOHN (V.O.)
Lots of tequila. Trust me.
The old Jeep rounds a corner, out of sight.
EXT. A BEND IN THE ROAD - MOMENTS LATER

An OLD MAN, bent back, barefoot, wearing ragged clothes and
a beat-up straw hat, sits astride a donkey in the middle of
the road. From the unfocused look in his eyes, it’s clear he
is blind.
The old Jeep bounces around the curve and John breaks
suddenly, slides to a halt in front of the old man and his
donkey. Neither move or appear to take any notice.
CUT TO:
Inside the car. John and Dave lurch forward as the car slams
to a halt.
JOHN
Jesus!
CUT TO:
Outside the car.
Dave sticks his head out the window.
DAVE
Hey, you dumbass! Are you trying to
get yourself killed?
A beat. The old man says nothing, doesn’t move.
Finally, the old man turns his head slowly toward them,
slides down off the donkey. He walks over toward the car,
his arms stretched out, feeling his way. He finds the car
and guides himself toward the driver’s side window.
CUT TO: Inside the car.
(CONTINUED)
CONTINUED: 95.
John and Dave look at one another.

DAVE
What the hell is this?
JOHN
Gatekeeper.
DAVE
(confused)
What?
Finally the man reaches John’s side of the car. He takes off
his hat, sticks his head inside the car abruptly as if to
look around. John moves back out of the way.
DAVE
Hey!
JOHN
It’s cool, David. Don’t worry.
The man pulls his head out, looks at them both with his
scary blind eyes, then speaks in a gravelly voice.
OLD MAN
Bueno.
He stands up and stares off into the distance as if he had
totally forgotten about them. As if on cue, the donkey steps
out of the path of the vehicle.
John drives slowly on.
INT. THE OLD JEEP - CONTINUOUS

Dave and John bounce along on the road toward to Sueno. Dave
is still scratching his head over the encounter with the old
man, but John doesn’t seem concerned.
DAVE
Well, what the fuck was that?
JOHN
The people in Sueno call him, "the
Gatekeeper."
John shrugs.
DAVE
The Gatekeeper, huh?
John nods.
(CONTINUED)
CONTINUED: 96.
JOHN
Sueno Welcome Wagon.
DAVE (CONT’D)
(under his breath)
What is this ... the fucking
Twilight Zone?
EXT. VILLAGE OF SUENO - LATE DUSK

About an hour after sunset, the old Jeep pulls up in the
hamlet of Sueno, a collection of maybe a dozen dwellings on
a bluff overlooking a vast and empty, sandy beach on the
Gulf of California.
John stops the Jeep on the bluff near a small cantina
constructed of corrugated iron and plywood. There is a stone
patio next to the building overlooking the pounding waves
and a couple of local men sit drinking a beer at a plastic
table and talking. They look up as John and Dave stop, then
go back to their beers and conversation.
John and Dave get out of the Jeep.
DAVE
Look at that, will you. There must
be a billion goddamn stars up
there.
A beat as they admire the sky.
JOHN
(quietly)
Yeah, Clarisse loved it here.
Dave looks at John as if to say something, but then decides
not to.
JOHN (CONT’D)
There’s about a half dozen
bungalows down there, just down
from the cantina, and a little
fleabag hotel up there.
He points back up toward the bluff.
JOHN (CONT’D)
Otherwise, it’s just a fishing
village. Hardly anyone ever comes
here.
(CONTINUED)
CONTINUED: 97.
DAVE
Sweet.
JOHN
Clarisse and me came here many
times.
John shuts the door of the Jeep.
JOHN (CONT’D)
A German guy named Jurgen owns the
cantina and the bungalows. Let’s go
see if he remembers me.
INT. SUENO CANTINA - CONTINUOUS

The cantina is a rather sad affair on the inside. A broken
down pool table on one end, a few ancient, dusty video games
(Pacman, Space Invaders, etc.) line the walls, in between
are some plastic tables and chairs like the ones outside, a
worn wooden bar lines the wall opposite the pool table.
Behind that is a small kitchen with a window into the bar
for passing food. A large black dog of undetermined breed
lies dreaming in front of the bar, it’s front leg twitching
as it sleeps.
JURGEN, about 40, a big guy, 6 feet and 250+ pounds, the
owner of the cantina, wipes off a table and simultaneously
argues in Spanish and German with ROSITA, 30-something, a
waitress and his sometimes girlfriend.
JURGEN
(sarcastic)
Ja, ja, das waere bestimmt das
beste. Bueno. Muchas gracias.
He waves her away with a dismissive hand gesture, looks up,
sees John standing in the doorway with Dave.
JURGEN
John West! Gott in Himmel! It’s
been years zince you darkened my
door.
JOHN
Jurgen! It’s good to see you again.
Jurgen bounds across the room, gives John a bear hug. They
look at one another, beaming.
(CONTINUED)
CONTINUED: 98.
JURGEN
John West. Mein Gott. I buy you ein
beer!
He motions to Rosita, who goes over to a rusty yellow
horizontal refrigerator with a bottle opener on the side. On
the side of the refrigerator in faded red lettering is
"Drink Royal Crown Cola." She opens the door on top and
takes out four bottles of beer.
The dog looks up from his place on the floor, barks
indolently, lays his head back down and falls to sleep.
JOHN
Still got old Max, I see.
JURGEN
Ja, and now all he does is eat and
dig the holes everywhere.
DAVE
What kind of dog is it?
JURGEN
I zink he is the full-blooded sheet
eater.
Max looks up, wags his tail lazily, goes right back to
sleep. John nods at Dave.
JOHN
This is Dave.
Jurgen and Dave shake hands.
JURGEN
I am pleasured.
Jurgen motions for them to sit
JURGEN (CONT’D)
Please ... bitte sehr.
They all sit and Rosita brings the beer, sits with them. She
says something to Jurgen in Spanish, nods at Dave, giggles.
DAVE
(eying Rosita)
Something funny?
JURGEN
She says, you have the face like
the eagle, bald with a big hook-ed
noses. She like your face.
(CONTINUED)
CONTINUED: 99.
Rosita keeps eying Dave, who is pleased at the attention.

DAVE
Well, thank you very much .... uh?
JURGEN
She is Rosita. A local girl, una
chica muy loca.
Rosita slaps Jurgen’s arm. He grins at her.
JURGEN
(to Dave)
She is the only the tourist
attraction in the Sueno.
DAVE
Well, put me on the tour bus, hell!
Jurgen turns his attention to John.
JURGEN
And vere is the beautiful Clarisse,
the flower of California, Johann?
John takes a deep breath.
JOHN
Long story, my friend.
He nods his head.
JURGEN
Ja, it is alvays a long story vith
the vimmen. The vimmen is a story
vithout end.
He brings up his bottle to toast.
JURGEN (CONT’D)
Salut!
They clink their bottles together.
INT. A BUNGALOW - NIGHT

Three room bungalow with two bedrooms and a shower/toilet, a
kitchen/living room area. There is no TV or phone and the
furniture is below basic, a ratty sofa with a coffee table,
a frayed armchair, a small kitchen table with two chairs.
That’s about it. The roof is corrugated iron and the walls
are unpainted concrete. There is no electricity.
(CONTINUED)
CONTINUED: 100.
John and Dave enter holding travel bags in one hand, glowing
kerosene lanterns in the other, behind them is Rosita,
carrying blankets and towels. John puts his lantern on the
table, Dave on the coffee table. Dave looks around at the
stark surroundings.
DAVE
(sarcastic)
Wow! Now this is fucking luxury!
Concrete walls and floor!
John grins.
JOHN
Best place in town. You should see
the hotel.
Rosita hands her load of blankets to Dave. She doesn’t move
away from him.
ROSITA
I think you get very cold here
tonight, Eagle man.
Dave looks at John. Wow, she can speak English!
ROSITA (CONT’D)
What you look at him for? It is I
who speak to you.
Dave grins at her.
DAVE
Should I look at you, then?
ROSITA
(bold)
You look where the hell you want,
old man.
A beat. She reaches up touches his cheek.
ROSITA (CONT’D)
I think you get very, very cold
here tonight, old Eagle.
John knows when three’s a crowd.
JOHN
Hey, I’m going to go for a walk on
the beach.
(CONTINUED)
CONTINUED: 101.
DAVE
(not really listening)
Hmmm ....
John shakes his head, walks out the door, living Rosita
stroking Dave’ cheek.
EXT. THE BEACH - NIGHT

John walks under the starry sky, the waves crashing to shore
just to his left. The full moon has risen about 30 minutes
before. John stops, sits in the sand, watches the moon
rising.
After a minute, a second full moon begins to appear above
the horizon. John quietly watches the second moon as it
rises.
EXT. THE BEACH - NIGHT

A couple of hours later. Both moons are high in the sky now
as Dave staggers along the beach staring at them with his
mouth agape. He walks over to John, who sees him, looks up.
DAVE
No wonder he called you John.
John gives him a confused look.
DAVE (CONT’D)
Jurgen. Jurgen called you John.
JOHN
So?
DAVE
Well, your name is Paul, now isn’t
it? Paul Harvest? At least in the
real world.
John looks back out at the sea.
DAVE (CONT’D)
What is this fucking place, John?
Two moons, more stars in the sky
than a Walt Disney movie, a
gatekeeper ...? Just what the hell
is this place?
(CONTINUED)
CONTINUED: 102.
JOHN
It’s Sueno.
DAVE
Sueno, Draino ... whatever the fuck
it is, just what the fuck is it?
Where are we?
JOHN
Sueno means "dream," David.
Dave sits beside John. A beat. They listen to the waves
pounding on the shore.
DAVE
So, you’re trying to tell me that
this is not real?
John picks up some sand, gives it to Dave.
JOHN
What do you think?
Dave feels the cool sand sliding between his fingers.
JOHN (CONT’D)
Most of us spend our lives ... like
a little bug crawling across the
sand on a beach, never knowing
there’s a huge ocean just a few
feet away.
He looks at Dave.
JOHN (CONT’D)
We can only read one word at a
time, but God sees everything at
once, all the present, all the
past, all the future. Everything.
DAVE
(skeptical)
That may be true ... but there is a
reality. One reality.
As Dave finishes speaking, one of the moons and many of the
stars fade from the sky.
JOHN
See what you did?
Dave looks at the sky in shock, then at John.
(CONTINUED)
CONTINUED: 103.
JOHN (CONT’D)
Just imagine that one thought has
so much power ... the power of one
negative thought can reverberate
across the entire universe.
He snaps his fingers. Slowly, the rest of the stars and the
moon fade until the sky is pitch dark, the waves stop
pounding, the breeze stops and there is total silence.
JOHN (CONT’D)
I kind of think there’s more ...
than one way of looking at things.
Slowly, the moons and all the brilliant stars return, the
sea pounds, the wind blows. Dave watches in astonishment.
JOHN (CONT’D)
You can call it a dream if you
like.
Dave thinks about this.
JOHN (CONT’D)
So, how was it with Rosita.
DAVE
(quietly)
Aye caramba! What a dream!
John laughs.
DAVE
Then ... Clarisse ... is still
alive ...?
JOHN
(quietly)
I don’t know. I have to find her,
but I don’t know where to look.
They both look out at the sea for a moment.
DAVE
(suddenly)
Maybe that’s why I’m here.
John looks confused.
(CONTINUED)
CONTINUED: 104.
DAVE (CONT’D)
Can we get a boat from Jurgen?
EXT. A DOCK - MORNING

Jurgen, Dave, John and Rosita stand on a decrepit dock, next
to a rather dubious-looking sailboat. A couple of Mexican
fishermen stand nearby. John and Dave load supplies, water
and food, into the sailboat. Dave and John shake hands with
Jurgen and Rosita and then Dave gives Rosita a big hug and a
kiss. She wipes a tear. John gets into the boat and then
Dave climbs aboard, hoists the sail and the boat moves out
onto the rough ocean.
INT. THE BOAT - CONTINUOUS

John settles in as Dave gets things underway. They look back
at the dock, now more than a hundred yards back. Jurgen and
the Mexicans have already left, but Rosita is still standing
on the dock. She waves.
JOHN
Are you sure you can sail this
thing?
DAVE
You want the fucking truth?
JOHN
Maybe.
DAVE
(grins)
I can sail it. I’ve sailed all my
life. I had a boat on Lake Erie
when I was a teen-ager. I used to
take tourists out. I can sail it,
sure.
JOHN
I guess the next question is where
are we going?
DAVE
I thought it might be better if you
told me.
John thinks about it, nods.
(CONTINUED)
CONTINUED: 105.
JOHN
OK, then. That way.
John points southwest and Dave steers the boat in that
direction.
They look back. Rosita is still there.
JOHN (CONT’D)
Maybe we shouldn’t’ve left.
DAVE
Don’t you feel in your guts that
this is right?
John thinks about it.
JOHN
Maybe I’m crazy.
DAVE
Well, then you’ve got company.
John grins. Dave looks back again at Rosita.
DAVE
We’ll be back.
INT. THE BOAT - DAYS LATER

The boat is in the doldrums. Not a breeze is stirring, no
land in sight on the mirror sea. The sun is pounding down on
the vessel. John and Dave are asleep under the sail, which
they have rigged up as a shade. Both are sunburned and
seemed to have lost weight.
Dave stirs, wakes up, sits up slowly, looks about, wets his
finger, holds it up. No breeze. He frowns, kicks John’s
foot. John wakes up, sits up, looks around.
DAVE
Sweet dreams, Cinderella?
JOHN
I dreamed that the wind was
blowing.
Dave looks out over the ocean.
DAVE
Three days.
(CONTINUED)
CONTINUED: 106.
JOHN
What’re we going to do?
DAVE
We wait. Nothing we fucking can do.
We wait.
Dave checks their provisions. There is hardly any food left
and only a little water.
JOHN
Pretty bad, huh?
DAVE
Well, it ain’t good.
He passes the water bottle to John.
DAVE (CONT’D)
(smirks)
Hey, where’s your dream now? Why
don’t you dream us up some fucking
wind?
John drinks.
JOHN
There’s always wind. We just have
to find it.
Dave scans the flat, hot horizon.
DAVE
Maybe it’ll find us.
INT. THE BOAT - THE NEXT DAY

Still in the doldrums, Dave looks through the food supplies.
Nothing is left. The water too is almost gone, maybe one
good mouthful left. He looks at John.
DAVE
Food’s finished.
John nods.
JOHN
What now?
DAVE
Now we fish.
Dave baits a line, drops it over the side.
(CONTINUED)
CONTINUED: 107.
DAVE (CONT’D)
I saved a big piece of SPAM for
bait.
JOHN
Could have saved it all, as far as
I’m concerned.
Dave laughs. He secures the line to an old rusty nail on the
boat.
DAVE
You’ll be glad to get some SPAM in
a few days. You should have been
with me in Nam.
JOHN
You were in Viet Nam?
DAVE
I sure has hell didn’t dream it, I
can tell you that.
JOHN
So, tell me about it.
DAVE
You don’t wanna hear about that
shit.
JOHN
Sure I do.
Dave is obviously reluctant to talk about it
DAVE
(slowly, flat voice)
Well, it was a spectacular country
... like paradise ... great food,
beautiful women, the people are so
fucking friendly, so polite,
especially the kids ... I ....
He stammers to a halt.
JOHN
You gonna tell me about it or not?
Dave takes a deep breath.
DAVE
Ok ... the worst part was one
mission I was on, up near the
(MORE)
(CONTINUED)
CONTINUED: 108.
DAVE (cont’d)
Cambodian-Laotian border, northwest
of Camp Enari. That was our base
camp, Fighting Fourth Division ....
He looks out over the sea. A beat.
DAVE (CONT’D)
I went out as a volunteer once with
a bunch of Green Berets, special
ops, really scary macho fucks ...
but I was young and I wanted to be
a hero or some shit like that. At
least I wanted to think I was one.
CUT TO: Night scene, rural Vietnam, jungle, 1967. A much
younger Dave in regular army garb walking along with five or
six beefy Green Berets wearing camouflage makeup. He is
carrying a radio. They pass an old peasant woman on the path
who watches them fearfully out of the corner of her eye. One
of the Green Berets, GREEN BERET 1, pulls out his gun and
points it at the woman.
She holds up her hands in terror.
GREEN BERET 1
(quietly)
Bang!
He chuckles, reholsters his weapon and they walk on.
DAVE (V.O.)
They let me be their radio man for
the night. Boy, I felt like I was
John Wayne. Our mission was to raid
a small village up near Laos and
try to apprehend this guy.
Intelligence said he was a Vietcong
commander and lived in the village.
They cross an exposed area along a levee through a rice
field and approach a small collection of homes with thatched
roofs on the edge of the field. As the approach, there is
some shouting and movement in the village and tracer rounds
blip through the night toward them. One of the Green Berets
goes down and the rest take cover, begin to return fire.
John dives over the levee to protect himself.
DAVE (V.O.)
It was a pretty short firefight.
Maybe five minutes. Basically, the
VC just ran off into the jungle,
but one of the Green Beret was hit,
(MORE)
(CONTINUED)
CONTINUED: 109.
DAVE (V.O.) (cont’d)

took it right through the forehead,
stone dead.
Cut back to: Dave and John in the little boat. Dave looks
out over the sea, seems reluctant to go on.
A beat.
JOHN
You don’t have to talk about it if
you don’t want to.
Dave gives a small smile through his sunburnt, chapped lips.
DAVE
(sadly)
Hey, I’m 65 and I may not even
fuckin’ be here tomorrow. I’ve
never told anybody about this in my
life. After the war, I just wanted
to forget it all.
JOHN
Yeah, I can understand.
Dave looks back over the sea.
Cut back to the village in Vietnam, 1967. About a dozen
villagers huddle on the ground fearfully in front of five
angry Green Berets, who shove them about, kick them,
brandish their weapons aggressively.
DAVE (V.O.)
First, they rounded up everyone
they could find ... women, kids, a
couple of old men and some old
women.
One of the Green Berets, GREEN BERET 2, pulls an old man to
his feet. We see the following action as Dave describes it.
DAVE (V.O.)(CONT’D)
One of the Green Berets told this
old man he was a VC. The old man
spoke some English. He shook his
head and pleaded, but then the
Green Beret just shot him right in
the face pointblank with his M-16,
just blew his head right off ....
Cut back to: Dave and John on the ocean in the boat.
(CONTINUED)
CONTINUED: 110.
Dave’s eyes fill with tears and he chokes. He looks at John,

then back out over the ocean.
DAVE (CONT’D)
Shit! Dear God, I just walked away.
I had to get away from it. I
couldn’t watch what they were
doing.
Cut back to: Vietnam, 1967. Dave walks to a hut on the edge
of the village. Behind him we hear screaming, the rattle of
gunfire. We see events happen as John describes below.
DAVE (V.O.)(CONT’D)
I was standing there next to a
thatched-roof hut, and I heard a
baby crying quietly and then it
sounded like someone was shushing
it and I looked through the door of
the hut and there was this girl
with a baby in her arms. I bet she
wasn’t any older than 17. She put
her hand over the baby’s mouth and
she looked up at me with fear in
her eyes and I knew she thought I
was going to kill her ....
Cut back to the boat.
JOHN
You helped her escape.
Dave nods his head.
DAVE
I helped her get away into the
jungle while the Green Berets ....
He shakes his head. John reaches over, puts his hand on
Dave’s shoulder.
DAVE
(choked with emotion)
I think about it every fucking
night ... 40 years later and I
still think about it every fucking
night.
He looks into John’s eyes.
DAVE (CONT’D)
I always wonder what happened to
that woman ... her kid. There was
so much bad shit going on then ...
(CONTINUED)
CONTINUED: 111.
He watches the ocean.

DAVE (CONT’D)
Look ... I know everyone’s gonna
die, John ... I’m cool with
that ... I ain’t afraid to die ...
it’s just ... I ... I just don’t
understand why we lived in the
first place. It was just the story,
wasn’t it John? Just the story ....
John nods.
JOHN
There’s nothing you could’ve done,
Dave.
Dave nods slowly.
FADE TO BLACK.
FADE INTO:
INT. THE BOAT - MOMENTS LATER

Dave finishes cleaning a fish he has just caught, takes a
strip of the flesh and re-baits the hook, tosses it over the
side. He cuts the rest of the raw meat of the fish into thin
strips, hands a piece to John, puts some in his mouth. John
looks at it doubtfully.
DAVE
Pretend it’s sushi.
John tries to eat the raw fish, gags on it. Dave laughs.
DAVE (CONT’D)
You’ll get used to it. The blood is
good. It will keep you from getting
too thirsty.
INT. THE BOAT - A DAY OR TWO LATER

Dave leans over the side of the boat staring at the listless
sea. John lays on his back. Both are badly sunburned with
ragged scraggly beards, blistered and cracked lips.
JOHN
God, I’ve got to have some water!
Dave doesn’t move.
(CONTINUED)
CONTINUED: 112.
DAVE
(coarsely)
End of the day, you’ll have more
water than you want.
He points at the horizon. John looks, shrugs.
JOHN
I don’t see anything.
DAVE
You don’t see those clouds?
John looks again, peering hard at the horizon.
JOHN
I see ... some clouds.
Dave chuckles.
DAVE
You’ve never been on the ocean
before, have you?
DAVE (CONT’D)
(under his breath)
I hope you can drink a lot of
water.
INT. THE BOAT - LATER THAT DAY

It is raining fairly hard and the wind is picking up. John
is capturing water in a bowl and pouring it into a container
as Dave watches the sky, tries to keep the small boat
steady.
JOHN
(happy)
I think the wind found us.
He drinks some of the water he has collected.
DAVE
(concerned)
Son, you don’t even fucking know.
John suddenly stops drinking, looks at Dave, who shakes his
head.
(CONTINUED)
CONTINUED: 113.
DAVE (CONT’D)
You better tie your ass down to
something. We’re going to be right
in the middle of it in about an
hour.
INT. THE BOAT - COUPLE OF HOURS LATER

Now they are in deep shit. The waves are swelling meters
high all around them, the wind is raging, there is a driving
rain, lighting cracks and thunder roars. The sky is almost
pitch black and the two are hanging on for dear life inside
the small boat as it pitches and rolls at the mercy of the
sea. John almost tumbles from the boat. Dave lurches
forward, grabs hold of John and the mast.
DAVE
We’ve got to get the fucking sail
down! I can’t keep it steady any
more. We’re going to capsize.
They work to bring the sail down, but as they do so, the
boat turns parallel to the oncoming swells. Dave sees what
is happening, tries to get back to the rudder, but it’s too
late. The boat flips into the air sideways and comes down
upside down, tossing them both into the sea.
Cut to: John under the sea.
Sudden quiet as John sinks beneath the waves. He looks up,
vaguely sees the outline of the boat above him, swims like
hell. His head finally breaches the surface. He takes a half
breath just as a swell breaks over him, choking him. When it
passes he sees a piece of the boat floating in the water,
swims for it, latches on for dear life just as another swell
pounds him. After the swell passes, he sees that the boat
has broken into at least three large pieces of wreckage. He
clings to the piece he found, searches the turbulent sea for
Dave.
JOHN
Dave!
Lightning strikes the water about a half-mile away. A
tremendous crack is followed by a deafening reverberation of
thunder.
JOHN (CONT’D)
David!
He searches the waves frantically, sees nothing but the
boat’s wreckage and the storm.
(CONTINUED)
CONTINUED: 114.
JOHN
David!
The waves crash against him and the storm roars on. He holds
on to the wreckage.
EXT. THE SEA - NIGHT

John clings to the wreckage, completely alone on the vast
ocean. The sea is still rough, though the storm seems to be
subsiding. Thunder rumbles in the distance as lightning
strikes the sea miles away.
EXT. THE SEA - DAYBREAK

The storm has passed but John still clings to the wreckage.
He doses off, slips from the wreckage, chokes in the water,
grabs hold again, looks about him in terror. In the dim
distance, he makes out what seems to be land. Weakly, he
pushes the wreckage toward the land, paddling with his feet
while still holding on.
EXT. THE SEA - HOURS LATER

It’s clearly land. A tropical island several miles long.
Exhausted, John feebly paddles, but he seems to be making
little progress. He can’t be more than a kilometer away.
Finally he pushes free of the wreckage, begins to swim.
EXT. THE SEA - CONTINUOUS

Maybe 200 yards to the shore, but he’s not going to make it.
John chokes, tries to keep swimming, but he is exhausted. He
thrashes feebly in the water, begins to sink.
As he sinks, John sees millions of tropical fish below him
and a gorgeous reef of pink and blue coral. He swallows
water, chokes, tries to reach the surface, but he finally
gives up, begins to sink rapidly.
Suddenly, a man grabs him under the arms. Swimming strong
and sure, the man pulls John to the surface. John vomits sea
water as he surfaces. He loses consciousness.
115.
EXT. THE ISLAND’S BEACH - MAYBE AN HOUR LATER

John is lying on his back on the beach. He begins to cough,
turns on the soft, white sand, wretches, coughs some more,
tries to get his breath. He turns on his back again finally,
looks up to see the silhouette of a man’s face against the
blazing tropical sun. He can’t make out who it is.
He sits up on one arm, sees that the man who saved his life
is none other than ...
George Bush!
Bush is grinning.
BUSH
Ah, my old friend. It’s good to see
you again.
John loses consciousness.
FADE TO BLACK.
FADE INTO:
INT. HUT NEAR THE BEACH - EVENING

John awakes on a cot in a thatched hut somewhat Gilligan’s
Island-esque. He hears the waves pounding outside, sits up,
throws off the blanket, sits on the side of the cot and
looks about.
On one wall he sees a framed photograph of a smiling
Condoleezza Rice. Some hand tooled leather cowboy boots sit
on the sand floor by an old chest. There are some fishing
poles in a corner of the hut and a mountain bike against one
wall. That’s about it.
John doesn’t see Bush looking in at him through one of the
windows of the hut.
BUSH
(grinning)
You about ready to finish that
interview, John?
John looks up, smirks.
JOHN
Now I’m certain I’m in la-la land
again.
(CONTINUED)
CONTINUED: 116.
BUSH
I guess you’re probably hungry,
aren’t you?
JOHN
You cannot imagine....
Bush nods.
EXT. THE BEACH - CONTINUOUS

John and Bush walk together down the beach to find a
barbecue grill smoking happily away about a hundred yards
from the hut. The grill is manned by none other than Enoch,
who is wearing Bermuda shorts and a bright blue island shirt
with a hibiscus motif printed on it. Enoch flips a steak,
looks up as John approaches.
ENOCH
I told you you wudn’t no reporter,
boy.
BUSH
Be nice, Enoch. John’s come a long
way to be here again with us in
la-la land.
He grins, winks at John.
JOHN
I feel like I’ve taken acid.
BUSH
Actually, in that universe, I would
have a parrot growing out of the
top of my skull.
He winks again at John.
BUSH (CONT’D)
Have a steak, John. There’s some
A-1 over there, if you need it.
He indicates a small table under some palm trees.
EXT. A MOUNTAIN PATH IN THE JUNGLE - COUPLE OF HOURS LATER

John follows Bush, now in hiking gear with a carved wooden
walking stick and leather hiking boots. They walk on a
winding trail, high on the side of a volcanic mountain with
frangipani, hibiscus and other tropical flowers blooming
(CONTINUED)
CONTINUED: 117.
everywhere. They come to a clearing and stop to rest, look

off at the vast turquoise ocean hundreds of feet below, the
long white sand beach, the green tropical forest ...
paradise, the Garden of Eden.
Bush takes out a handkerchief, wipes his brow.
BUSH
I guess this would be your time for
questions then, wouldn’t it, Mr.
reporter?
JOHN
I guess I was wondering most of all
where you are taking me ....
Bush keeps looking at the sea.
BUSH
Some things are better left as
surprises.
John smirks.
JOHN
Well, then, who the hell are you
... really?
BUSH
I’m George Bush, president ....
JOHN
(interrupts)
... really, who are you?
A beat. Bush looks at him.
BUSH
You know, every few billion years
... I ask myself that same question
....
JOHN
And so ... what answer do you come
up with ... every few billion
years?
Bush points at the sea.
BUSH
Do you see those waves down there?
If you wait long enough, you will
see any kind of wave that you can
(MORE)
(CONTINUED)
CONTINUED: 118.
BUSH (cont’d)
imagine ... but it’s just the same
wave in the end, isn’t it?
He looks again at John, winks, grins.
BUSH (CONT’D)
Yeah, the possibilities are
endless, my friend, but it all
reduces to the same thing in the
end ... it’s the ocean.
He looks again at the sea.
BUSH (CONT’D)
But the thing that you don’t
understand ... can’t understand ...
can’t even begin to imagine is that
everything that can exist, does
exist ... every possibility, every
random permutation, every chance
event that you can imagine ... and
even those you can’t imagine.
He looks deeply and calmly into John’s eyes.
BUSH (CONT’D)
And here’s the clincher, son ...
He puts his hand on John’s shoulder.
BUSH (CONT’D)
... these permutations ... have
always existed ... always. At all
times. All the present, all the
past, all the future ... every
possibility ... simultaneously and
forever ...
Bush snaps his fingers. The waves stop and the sea is calm.
There is no breeze, total silence.
BUSH (CONT’D)
... and never. Can you get your
mind around that? If you can, then
I’ve answered your question ....
John seems skeptical ... if not fucking just confused.
BUSH (CONT’D)
(extremely disappointed)
Ah, son ... do you really think
there’s not at least one universe
where George Bush is a genius?
(CONTINUED)
CONTINUED: 119.
John chuckles. Bush snaps his fingers and the waves begin
again, a gentle breeze blows.
BUSH (CONT’D)
(smiling)
Come on, John. It’s not much
farther.
Bush walks on. George takes one more look at the ocean,
follows.
EXT. SUMMIT OF THE MOUNTAIN - MAYBE 30 MINUTES LATER

At the peak of the lush tropical mountain, the caldera of an
ancient volcano is filled with a lake, turquoise blue like
the sea. A path runs in a giant circle round the lake, and
in the center of the lake is an island with a garden. In the
garden, there is a small house, somewhat reminiscent of a
Japanese Buddhist temple, a small dwelling with a graceful,
sloping roof supported by simple wooden posts.
John and Bush walk down the path that circles the lake.
JOHN
Hey, why don’t we just walk across
the lake? You know, pull a Sea of
Galilee thing?
BUSH
(sarcastic)
Thou shalt not tempt the Lord thy
Bush....
EXT. A SMALL DOCK - MOMENTS LATER

Bush and John stand on the dock, next to a wooden rowboat.
The island, from this vantage point, is about 100 yards
away.
BUSH
And this is where I leave you....
John looks at the canoe.
JOHN
Finished?
BUSH
Who can say for sure? It could be
that we’ll meet again. I’d be
happy. You can always call on me.
(CONTINUED)
CONTINUED: 120.
He points up at the sky.

JOHN
And you’ll answer my prayer?
BUSH
(sarcastic)
I kind of doubt it.
JOHN
Now, that’s the spirit.
Bush gives him a little two-finger salute, turns and walks
away. John watches him go. He turns, stands looking at the
nearby island, sees no one there. He starts to get in the
boat when he is startled by someone walking out of the
jungle on a path. It’s Dave.
DAVE
Hey, nobody touches my boat.
John looks around. Dave is smiling at him.
JOHN
David!
The embrace. John is overjoyed at their reunion.
DAVE
Hey, you didn’t think I was that
easy to get rid of, did you?
EXT. A ROWBOAT - CONTINUOUS

Dave, facing John, slowly rows to the island on the lake.
The water is crystal clear and John sees colorful tropical
fish swimming around fresh water reefs in the lake.
JOHN
I thought you died.
DAVE
Well ... maybe I did. At least I
did in that universe.
John laughs.
JOHN
Oh, this is just too fucking much.
(CONTINUED)
CONTINUED: 121.
DAVE
So, now you’re starting to swear.
Picking up my bad habits, I see.
JOHN
Yeah, in this universe.
DAVE
(smiling)
It’s good to see you again, John
... or Paul ... or Ringo ... or
whoever the fuck you are.
EXT. THE ISLAND - MOMENTS LATER

The boat touches the shore of the small island, the Buddhist
temple in back. John gets out, turns, waits for Dave.
DAVE
Huh-uh, John. Not me.
John looks confused.
DAVE
Not my island, friend. It’s your
island. I have a date with Rosita.
He winks. Without another word, he pushes off, turns the
boat slowly in the lake and rows away as John watches. When
Dave is about halfway across, they wave to one another. John
turns and walks toward the temple.
The garden is immaculate and simple. He walks along a board
walkway that leads to the temple. On one side is a rock
garden of small gravel and with large boulders placed here
and there with the gravel contoured about them. Ivy and moss
grow on some of the boulders. A frangipani flowers at the
edge of the garden, near the entrance. He passes on and
comes to the open doors of the temple.
The temple is constructed of rough timber and lumber with no
ornamentation, the sliding doors are made of rice paper. He
walks up on the wooden steps, takes off his shoes and passes
inside.
INT. BUDDHIST TEMPLE - CONTINUOUS

The simplicity of the outside construction is continued in
the interior. There is no ornamentation. The room is open on
all sides and breezy. Neat, clean tatami mats line the
floors.
(CONTINUED)
CONTINUED: 122.
In the center of the temple on an elevated dais is a statue

of the Buddha, a copy of the Great Buddha of Kamakura, it’s
serene visage turned down to John, who stands looking up
into the Buddha’s face.
After a few moments, John slowly sits on the floor in front
of the great Buddha, looking up into his face.
INT. BUDDHIST TEMPLE - HOURS LATER

The sun is setting and John still sits before the Buddha,
looking up into his face. The breeze blows peacefully and we
hear the far away sound of the surf pounding on the shore.
John lies on his back, still looking up into the face of the
Buddha. Slowly, he begins to doze off.
SLOW FADE TO BLACK.
SLOW FADE INTO:
INT. A BEDROOM - MORNING

A large, airy, well-lit bedroom with pastel blue walls and a
white, vaulted ceiling, tasteful antique furniture and a
canopy bed in the center of the room on a small dais. On one
side of the bedroom, white lace curtains flutter lazily in
the doorway to a balcony. Yes, it’s John and Clarisse’s
bedroom.
John, lying on one side of the bed, wakes, slowly opens his
eyes. Clarisse is next to him, her long raven hair spilling
over her pillow and John’s arm on which she is resting. She
stirs, snuggles against him. He runs his fingers down her
arm, then her thigh, pulls her closer to him, inspects her
hair, kisses it.
He smiles, tears in his eyes.
FADE TO BLACK.
THE END

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Copyright © 2008 Tom Hayes

They pass an old woman having a pleasant conversation with

INT. ROOM IN A NURSING HOME - DAY

INT. A BEDROOM - MORNING

INT. BATHROOM - MOMENTS LATER

JOHN (CONT’D) (cont’d)

INT. A BMW - A SHORT TIME LATER

EXT. BMW - MOMENTS LATER

EXT. BMW - CONTINUOUS

INT. A BUSY NEWSROOM - MORNING

He nods at a corner office, stops typing. John glances

INT. NEWSROOM BREAKROOM - MOMENTS LATER

Standard company breakroom: coffee machine, sandwich

INT. BMW - DAY

NEWS ANCHOR (cont’d)

INT. AN OFFICE - MOMENTS LATER

John looks at her askance, unsure what she is getting at.

Zitteraal arches an eyebrow.

EXT. LONG TERM CARE FACILITY - MOMENTS LATER

INT. A CORRIDOR - CONTINUOUS

INT. A CORRIDOR - MOMENTS LATER

Zitteraal looks at him as if he had no idea what John is

EXT. HOSPITAL - MOMENTS LATER

INT. BMW - MOMENTS LATER

He turns off the radio, waits a couple of seconds, turns the

EXT. JOHN’S APARTMENT BUILDING - MOMENTS LATER

INT. JOHN AND CLARISSE’S BEDROOM - DAY

INT. A JET AIRLINER - DAY

EXT. AIRPORT RUNWAY - DAY

INT. A RENTAL CAR - DAY

John takes a step back. Enoch grins sheepishly, looks at his

EXT. BUSH RANCH - MOMENTS LATER

INT. REC ROOM, BUSH HOME, CRAWFORD -- MOMENTS LATER

BAKER (CONT’D) (cont’d)

INT. ROOM IN A NURSING HOME - CONTINUOUSLY

INT. REC ROOM, BUSH HOME, CRAWFORD -- CONTINUOUS

INT. REC ROOM, BUSH HOME, CRAWFORD -- MOMENTS LATER

Bush snatches up the cue ball, holds it up for John to see.

BUSH (CONT’D) (cont’d)

EXT. BUSH RANCH - MOMENTS LATER

The Trooper brings the joint up for another toke, just as

INT. STATE TROOPER’S VEHICLE - MOMENTS LATER

EXT. A POND ON PRAIRIE CHAPEL ROAD - CONTINUOUS

INT A HOSPITAL ROOM - CONTINUOUS

INT. JOHN & CLARISSE’S BEDROOM - CONTINUOUS

INT. JOHN & CLARISSE’S BEDROOM - CONTINUOUS

EXT. BALCONY - NIGHT

He runs to the side, watches the huge arm pulling a thousand

INT A HOSPITAL ROOM - CONTINUOUS

INT. SAME HOSPITAL ROOM - DAY

INT HOSPITAL CORRIDOR - DAY

INT. NURSING HOME CAFETERIA - DAY

having an animated conversation with someone only she can

INT. SAME HOSPITAL ROOM - DAY

INT. HALFWAY HOUSE - DAY

INT. ROOM IN THE HALFWAY HOUSE - DAY

INT. JOHN’S ROOM - NIGHT

EXT. A SHOPPING MALL - DAY

others mill about absently, waiting for Worker 2, who gets

INT. WATCH REPAIR SHOP - MOMENTS LATER

INT. BANK OFFICE - DAY

BANK MANAGER (cont’d)