To Wilt and Wither

(Printed with the demonstration version of Fade In)
TO WILT AND WITHER
by
John Murray
FOURTH DRAFT
10-02-2021
Exterior - Window:
Zoom through
1.
(Printed with the demonstration version of Fade In) Tripod shots of room
Rack focus from

pillow to clock
1 INT. BEDROOM - SUBURBAN HOME - DAWN
Overhead of Andrew
waking up
The room is filled with toys and posters. There is a ceiling
fan with only one bulb still lighting the room. There is Close up on hand on
light leaking through a window which is covered by a bed
makeshift curtain.
Get out of bed shot
On the right side of the room lies a bed with childlike Walks to the door,
sheets messily folded over and made. The bed lies empty. zoom in on the hole
Next to the bed sits a bedside table with a digital clock on
it. The red numbers on the clock strike 6:00 a.m. and 2.
Close the door softly
suddenly a man appears in the bed.
Walk to camera
Andrew Briner (age 22, looks like 17) jolts his eyes open. hallway shot
He sits up in the bed as he tries to catch his breath. He
feels the sheets under his fingertips and calms down. He Reverse shot behind
opened door
catches his breath and in a second he rises and exits the
room passing a rather large hole in the wall next to the Shuts door; close up
door. A gaping hole that would usually catch the attention on hand
of someone, but not Andrew.
OTS of hallway
2 INT. HALLWAY - SUBURBAN HOME - CONTINUOUS
Andrew shuts the door of the room softly behind him, and
begins to head down the hallway at a steady, intense pace.
He’s a man on a mission. He reaches the end of the hallway
and opens the door that lies at the end of it. He opens the
door and shuts it softly as he did before.
This door leads to an identical hallway. Many doors line it

but Andrew still makes his way to one at the opposite end of
the hall. He opens the door, walks through, and shuts it
softly. The cycle repeats. Another hallway, identical to the
previous two. He does the motion again, and again, and
again, and again. As the cycle begins to seem endless, the
end arrives. This time the hallway has no final door. No
doors at all. Only an opening that leads into a living area.
Andrew doesn’t hesitate to look around the area and marches
himself right out the front door.
3 EXT. SUBURBAN HOME - CONTINUOUS
He exits the home and walks on to a rather small front yard.

He looks to the right of his home and sees a woman standing
in a large parking lot. The woman wears a green blouse and a
black pants suit. The parking lot belongs to PAIR PRODUCE, a
grocery store located unusually close to the home.
Andrew approaches the woman. He stands in front of her, the

woman’s expression unchanged, her body unmoved.
2.
ANDREW
Who are you?
He asks with sincerity. The woman’s eyes lock with his. She
leans in and whispers in his ear.
MYSTERY WOMAN
You know who I am.
Andrew's face reads that of confusion. She puts her hand on

his shoulder.
MYSTERY WOMAN (cont'd)

It's alright. Everything's okay.
Breathe in.
As if willed to do so, Andrew inhales quickly. He holds the

breath. We pan to his shoulder to see her hand raised,
hovering above his shoulder. She looks him in the eyes
blankly as the lack of air begins to effect him.

And..................................
As if toying with him, she holds the word. She forces him to
linger on every progression of it until finally.

Out.
Andrew grasps at his throat, the pain is there but fades and
he recovers quickly. He stands straight up again. His face
filled with a look of determination.
ANDREW
Why are you...
MYSTERY WOMAN
Wake.
CUT TO:
4 INT. APARTMENT - MORNING
Andrew sits up in his bed, he gasps for air. He hunches over

and coughs loudly and painfully. He recovers after a moment.
He gets out of the bed and heads to a cork board on the left
wall. He grabs a note card and a pen from his bedside table
and begins to write on it. He finishes writing and places
the card on the board with a tac. He walks to the bathroom.
3.
PUSH IN ON THE CARD

It reads.
Day #32:
Same Woman
Same Location
Same Conversation
NO PROGRESSION.
Andrew turns on the sink. Splashing his face with water. He

turns the sink off and breathes in and out slowly. He turns
the shower on and closes the bathroom door.
CUT TO BLACK:
ACT 1 - A GROWING GRASP
5 INT. APARTMENT - KITCHEN - LIVING ROOM - CONTINUOUS
Andrew, now dressed in semi nice clothes with messy, unkempt

hair, enters the kitchen and turns the stove on. He pulls
out the eggs from the fridge, preparing to make breakfast.
Andrew puts grounds in the coffee maker and turns it on.
He heads into the living room and turns on the TV. He flips
through a couple channels until he reaches the local news.
The news continues talking about local stories that Andrew
doesn't pay much attention to. Andrew begins cooking his
eggs until he hears a story that catches his attention. He
heads into the living room and turns up the volume.
NEWSCASTER
(via the TV)
In other news Pair Produce announced
this morning that they will be
recalling all of their Romaine
lettuce. CEO and Co-Founder William
Pair had this to say regarding the
recall.
WILLIAM
(via the TV)
Well, like with any recall, it’s not
a good thing, and it’s gonna take a
hot minute to recover, but like all
recalls, we’ll get back on our feet.
Pair Produce is gonna come back
better than ever.
4.
NEWSCASTER
(via the TV)
Pair Produce asks that you throw out
your lettuce, if you have their
brand, and to not let this
unfortunate instance taint your view
of their company. Now for a check of
the weather from...
The sound fades back into the background. Andrew rolls his
eyes. He returns to his eggs and, rather than finish cooking
them, tosses the unfinished eggs in the trash.
CUT TO:
Andrew, with his bag over his shoulder, heads to the door.
He grabs his keys, wallet, and a to-go cup of coffee. He
exits the apartment.
6 INT. PAIR PRODUCE HQ - CONFERENCE ROOM - LATER
A cramped room filled with employees. William Pair speaks at

the front of the room. Jon sits in a chair on the left wall,
a seat saved for Andrew.
WILLIAM
(tense)
Look, I am going to try to stay as
calm as possible in this time. The
stress is mounting, and I don't want
to take it out on people undeserving
of my unraveling. Alright, now, as
for how we are to deal with this...
CUT TO:
7 EXT. PAIR PRODUCE HQ - CONTINUOUS
Andrew pulls up to the building and parks. He's not rushing,

but he's definitely not walking slowly. He heads inside.
8 INT. PAIR PRODUCE HQ - CONFERENCE ROOM - CONTINUOUS
William Pair continues on his ramble as Andrew makes his way

in the conference room.
WILLIAM
Andrew, nice of you to show up.
5.
ANDREW
Sorry, I know I---
WILLIAM
Just take a seat quietly.
ANDREW
Yes sir.
Andrew sits down next to Jon.
ANDREW (cont'd)
(whispering)
What did I miss?
JON
(also whispering)
What do you know?
ANDREW
Just what the news said: Pair Produce
recall, we're gonna recover fine.
JON
Always new that channel was BS.
Willie's pissed, scared, horrified,
freaking out on the inside.
Apparently a couple people got sick,
like ER level, threatening to sue. To
sum it all up, we're in crisis mode,
and going under has never seemed more
likely. What are you thinking for
lunch later?
ANDREW
Priorities Jon, that all?
JON
Basically, cut it down to size for
you, William's just a ticking time
bomb at this point, who knows when
he'll blow.
ANDREW
Hot potato?
JON
Yep.
6.
WILLIAM
Alright, I need ideas people. If we
can't recover from this then we'll
have to throw in the towel. So, what
do you got?
Silence.
WILLIAM (cont'd)
Nothing. Seriously!
(raising his voice)
Are you kidding me, what are you...
(catching himself)
Look, this business has been in my
family for 60 years, and now that I
have the reigns I am not going to
sink the ship, and...look I can't
think anymore, my metaphors didn't
make much sense in the first place
but now...I will take any idea.
Please.
A moment passes. Shifting in seats. Uncomfortable silence.
At the end of it, one hand rises. Andrew's
WILLIAM (cont'd)
Andrew, yes.
ANDREW
We could, um...we could, should,
focus on our image, public
perception, rather than the actual
recall, I believe, personally.
WILLIAM
Elaborate.
ANDREW
(quiet; insecure)
Well, 9 times out of 10, businesses
don't fully recover from a recall, at
least no immediately, but that rarity
is amplified with a recall on this
large a scale, with this kind of
public outcry, and now with people
getting sick from our product. I
mean, they're pursuing a lawsuit,
civil of course, but in the public
eye...lawsuits are lawsuits.
(MORE)
7.
ANDREW (cont'd)
(confidence grows;
volume increases)
But those companies that don't
recover, it's because they tried to
right there wrongs. Every chance they
got, they made comments about "how
well the recall process is going" and
"families have nothing to fear", but
that's what ends up killing them. Any
comment, direct or indirect, positive
or negative, if it mentions the
recall it will draw attention.
Anything can be used against us, so
we must push forward, carefully but
steadily.
WILLIAM
Andrew, cut to the chase please.
ANDREW
(undisturbed)
My point is that rather than letting
passing comments, or any update
regarding the recall occur, we should
stop mentioning it entirely, right
here right now. If we don't mention
it, provide zero updates, and do our
part in burying that this ever
occurred, than soon the rest of the
world will have no choice but to
forget about it entirely.
WILLIAM
Even if we stop making comments,
articles will still be written.
Outcry will still occur. You can't
bury something like this.
ANDREW
Anything can be buried, with the
proper time allotted. Sure, the
articles will come, but with no new
news other than hearsay and rumors,
the choice to write an article, or
even mention it in a larger piece
will provide them with no gain,
either financial or in a rise in
readers. If you don't give them a
reason to write, then they'll stop...
eventually they'll have to.
The room remains silent, people stirring in there seats.

William stares at Andrew.
8.
WILLIAM
We'll have to play our cards right.
Andrew, are you heading a project?
ANDREW
Not currently, no sir.
WILLIAM
You are now.
(to the room)
All projects are to be put on hold
immediately, Andrew will be heading a
new project to deal with the recall,
you will report to him.
(back to Andrew)
You think you can handle that?
Jon, and others in the room, look to Andrew, but despite the
onlookers, he stands tall.
ANDREW
Absolutely.
CUT TO:
9 INT. PAIR PRODUCE HQ - BULLPEN - MOMENTS LATER
Andrew is in his own little world. Earbuds in, mind racing.

Typing quickly. He’s interrupted by Jon.
JON
(muffled)
Hey, Drew.
Andrew doesn’t hear him.
JON (cont'd)
(piercing)
Drew!
Andrew hears him and unplugs.
ANDREW
Yeah, what?
JON
Here are the files you told me to
grab you.
9.
ANDREW
Yeah, yeah, thanks. Did you check in
with everybody else, see how there
progressing?
JON
Yeah...
ANDREW
And...
JON
They're progressing steadily.
Andrew looks down to his keyboard and begins typing again.

He forgets Jon's presence.
JON (cont'd)
You coming to Sarah's birthday party
tonight?
ANDREW
(eyes on the computer)
Is that tonight?
JON
Yeah. I hear she really wants to see
you there.
ANDREW
(turning toward Jon)
Oh, is that so.
He looks towards Sarah. She smiles at him. He smiles back.
JON
Yeah, so are you coming.
ANDREW
No, I've got plans.
JON
Plans? What are you doing?
ANDREW
I have a date.
JON
A date? You’re going on a date?
ANDREW
Yeah.
10.
JON
Since when did you have the balls.
Who is she?
ANDREW
Her name’s...Jen.
JON
Jen? Huh, yeah. Well you must not be
really invested in her, given you
just made goo-goo eyes over at Sarah.
ANDREW
The hell are you talking about? I did
not make "goo-goo eyes". It was just
a friendly smile.
JON
Just a smile? Yeah, that’s what that
was.
ANDREW
It was.
(muttering)
It was.
JON
So, how’d you meet?
ANDREW
Dating app.
JON
Ah, that tracks better than you
suddenly gaining some courage. Where
are you taking her?
ANDREW
Dinner and a movie. Actually, a movie
and dinner.
JON
Okay. Okay.
William exits into the bullpen.
WILLIAM
Jon!
JON
Yes sir!
11.
WILLIAM
My office, please.
JON
Yes sir.
ANDREW
Have fun.
Jon rolls his eyes. He heads to William’s office and shuts

the door behind him.
Andrew goes back to work but ignores his computer screen to

spy on Jon’s meeting. The meeting is short and sweet.
Jon exits the room and shuts William’s door behind him. Jon
heads back to his desk.
JON
You owe me one.
ANDREW
What?
JON
You owe me one, from when I jacked
your car. Remember?
ANDREW
Well, I saw that as more of the right
thing to do rather then something
that would come back to bite me,
but...
JON
Yeah, whatever. The point is, you owe
me, and I'm cashing that in now.
ANDREW
Okay, so?
JON
So...
William heads back into the bullpen.
WILLIAM
Hey Andrew, office?
ANDREW
Be right there!
(to Jon)
What is it?
12.
JON
Have fun.
Andrew heads to William’s office.
10 INT. PAIR PRODUCE HQ - WILLIAM'S OFFICE - CONTINUOUS
Andrew enters hesitantly.
WILLIAM
Shut the door and take a seat.
He does as he’s told.
WILLIAM (cont'd)
Andrew, I feel like your coming out
of your shell. Coming into your own.
Am I right about that assumption?
ANDREW
Yes sir, you would be, in part due to
you taking a chance on me with the
recall, thank you again.
WILLIAM
Don't mention it. I see promise in
you, Andrew. A promise and a spark
that I didn't notice before. Not
until recently, and I fell that spark
could lead to great things in the
future. What do you think?
ANDREW
I would love for it to lead
somewhere, but no offense, though I
like this job, I don't see myself
doing this for a living.
WILLIAM
No? Yeah, in truth I never expected
you to. I never expect anyone to,
it's an expectation that will never
be met. But that's against the point
at hand. You're heading up this
project, you've got great ideas, and
you're determined enough to do a job
to the best of your ability, and I
think your the person for this job.
ANDREW
What job?
13.
WILLIAM
We’ve got a magnate down in
Mississippi, Laurel to be specific,
who’s willing to chip in some cash to
help us out. Now, I asked Jon to head
down there to do some convincing, as
to let you stay up here and head the
project, but he said that you’ve got
family down there. So...
ANDREW
You want me to go to Mississippi? Why
can’t we just call this guy?
WILLIAM
He’s not the technological type. A
bit old in the brain. He’d rather
meet in person. So, you up for it?
ANDREW
Jon was your first choice?
WILLIAM
He seemed expendable enough, and he's
not a complete idiot
ANDREW
Is there a reason that you didn't let
me assign someone? I mean, this
relates to the project at hand, I
personally feel who goes is my
choice? Do you not like me or
something?
WILLIAM
You're reading into things, Andrew. I
like you. If I didn't I wouldn't have
you running point. You’ve got a good
work ethic, you’re passionate, you’ve
got a good heart, but I've already
told you this. The truth is that you
aren't the best salesman guy we have.
You haven't proven yourself capable
of it just yet. Andrew, we live in a
world of cynics. Your job here is to
close deals and make the company
money, and the truth is that people
like you don’t sell anymore. In a
world of cynics, the boy scout
doesn’t work. That, however, doesn’t
mean I don’t want you to be a
foundational member of our team, but
you have to prove yourself to me.
(MORE)
14.
WILLIAM (cont'd)
This is how. Show me you can make
this sale, show me you can execute
your great ideas with the project,
follow the book, convince the
magnate, and there’ll be a future for
you after all. What do you say?
ANDREW
(reluctantly)
Yeah. Fine. I'll go.
WILLIAM
Perfect. It’s a three hour drive, so
I suggest leaving first thing in the
morning.
William pulls out an envelope with money.
WILLIAM (cont'd)
Here’s your per diem. Good luck.
ANDREW
I'll be back on Wednesday?
WILLIAM
Thursday. Around noon I hope. We have
another money man a couple miles
south of there, you’ll hit him on
Wednesday.
ANDREW
Great.
Andrew leaves the office, closing the door softly, and heads
back to his desk.
ANDREW (cont'd)
You suck.
JON
Hey, you owed me. We’ll be even now.
ANDREW
Whatever. So the family thing was
just the means to the end?
JON
It got me off the hook. It was
efficient.
Andrew sits back down.

15.
JON (cont'd)
So what are you gonna do about your
date tonight?
ANDREW
It’s still happening, hold your
horses. Why are you so dead set on me
not going anyway? Get your own damn
life.
JON
Fine then, jeez. Look, Sarah's great,
and you can't fool me, I know you've
got something for her, but if you're
really not coming tonight then I hope
you show Jen a good time.
ANDREW
I will.
Andrew stares off into the distance.
JON
Good, now what movie are you taking
her to tonight? I hear there playing
some hammer pics this week over at
The Edge, that might be a good idea.
Huh?
Jon notices Andrew.
JON (cont'd)
What are you looking at?
Jon looks to where Andrew stares. He sees nothing.
JON (cont'd)
Hello?
Andrew snaps out of it.
ANDREW
Nothing. Nothing.
JON
Whatever. How about The Edge, huh?
ANDREW
Yeah, yeah. Sounds good.
Jon walks off. Andrew smiles. He looks to the point where he

was staring. Nothing is there. He begins to jot something
down on a piece of paper.
16.
CUT TO BLACK:
OVER BLACK WE HEAR:
ANDREW (cont'd)
(voice over)
When I was a child, in my bedroom,
there was a hole in the wall.
FADE IN:
11 INT. BEDROOM - SUBURBAN HOME - DAWN
We see a door and a hole in the wall immediately next to it.
PUSH IN ON THE HOLE IN THE WALL
ANDREW
(voice over)
A hole that I had put there in a fit
of anger. Something pissed me off, I
got upset, and I punched a hole right
into the dry wall. And you see, the
bad part wasn't that I lost my
temper, or even the fact that I got
my ass beat that night, the bad part
was that I had to live with it. Every
day, from age 7 to 18, I had to live
with that hole in the wall, and the
desolate, black void that lied beyond
it.
PUSH IN THROUGH THE HOLE
The screen becomes engulfed in darkness.
ANDREW (cont'd)
(voice over)
And every night, a noise would come
from that wall.
CUT TO:
A young Andrew (age 7) lies in a bed staring directly into

camera.
CUT TO A REVERSE SHOT
We see he is staring at the hole.

17.
ANDREW (cont'd)
(voice over)
A noise so unnatural and disturbing
that it made me terrified for my own
life. And even when I was well past
the age where something so simple
should scare you, I was still haunted
by the noise, and the desolation.
FADE TO BLACK:
MILLS
(voice over)
Why is that important for you to
mention now? Why at this point in
your life, why do you feel the need
to dwell on this childhood trauma?
CUT TO:
12 INT. MILLS OFFICE - AFTERNOON
We see Andrew laying on a couch with Mills, who's face is

obscured, sits to his right.
ANDREW
Because, as of late, I feel like it's
been dwelling on me.
MILLS
Do you care to relay how?
ANDREW
It's been happening in my dreams.
Every night, for the past month, I've
had the exact same dream. Not a
detail changed, not a phrase
misplaced. It begins with me waking
up in my bed. I wake up. Look to my
left, my right. Left is my bedside
table, right is a wall. On the table
is an electronic clock, that reads
6:00 a.m., every time. Unlike other
dreams, I've had or heard of people
having, I knew it was fake. The room
had a stillness, a peaceful
tranquility that was never present in
my house as a child, so I knew it
couldn't possibly be real. That was
the tip off, as well as the fact
that, as a grown man, I was in my
bedroom as it was when I was a boy.
18.
MILLS
A boy? How old, roughly, would you
say?
ANDREW
7,8,9. That age. Anyway. I always
wake up, glance around, grab my
bearings, and then I start walking.
MILLS
Walking?
ANDREW
Yeah.
MILLS
Why do you walk?
ANDREW
Because I think if I walk,
eventually, an answer will present
itself. I do it every time. I start
by exiting my room, closing the door
softly, the way my mother taught me,
and then I head down the hallway. My
room is the only one in the hall, and
the only door other than one at the
other end of the hallway. I walk,
reach the door, turn the knob, walk
through it, and then it repeats.
MILLS
Like a paradox?
ANDREW
Of sorts. The hallways are never
ending. One, after the other, after
the other, until it unceremoniously
ends. The last hallway has no doors,
just an entrance way into the living
room where the exit lies. I walk
through the door, out on to the front
porch, look around at the vast
parking lots that envelop my line of
sight, and that's when I notice her.
MILLS
And this is the woman that you talk
about?
ANDREW
Yeah, after that I---
19.
MILLS
I'm gonna stop you there. There are
little details, Andrew, that seem to
either be forgotten, unmentioned, or
nonexistent entirely. Now I'm gonna
ask you a question and I want you to
answer truthfully; do you know this
woman?
ANDREW
I'm sorry?
MILLS
This woman, who is plaguing your
dreams, who you see in your mind, do
you know her? Where have you seen
her?
ANDREW
I don't. I haven't.
MILLS
Think Andrew, just think, because in
order for you to be picturing her in
your mind, you have to know that
face. You have to recognize her from
somewhere, something.
ANDREW
I don't.
MILLS
Well I'm inclined not to believe you.
Andrew looks confused.
ANDREW
Who are you to...
MILLS
Andrew, I know you've been lying to
me. About how you are. Your
relationships with your friends and
family. This is a place free from
judgment. It is also a place where
the utmost confidentiality is used.
Now, I want to help you Andrew, but I
can't fix what I don't know.
Andrew is perplexed by his use of the word "fix".
A silence haunts the room. Andrew sits up on the couch

looking to his feet
20.
MILLS (cont'd)
Andrew, I need you to talk to me. I
need you to tell me everything--
ANDREW
(quiet rage)
--So you can fix me? I want help, Dr,
Mills. Professional insight. So
either you can work with me or give
me something to make this worth my
while, because I am trying anything
and everything to figure this out,
and no matter what I do...the pit
grows deeper. But no matter what way
you look at it, you can't "fix" me.
I'm not broken. I'm just lost. I
don't need to be fixed, I need to be
helped. So you can go and find some
other shit show to mold in your
image, or to tell you that you saved
their life, because you aren't gonna
find that in me.
Andrew looks to Mills.
ANDREW (cont'd)
The world's a sleazy place, and
you're just filler.
Andrew rushes out of the room.
CUT TO:
13 INT./EXT. SUBURBAN HOME - NIGHT
Andrew walks up to the door to the house. He straightens his

hair and knocks on the door. The door is opened.
ANDREW
Hey, Mom.
ANNE
Andrew, oh sweetheart how are you?
ANDREW
Good. Really good.
ANNE
Jack, get in here. Oh Andrew, now we
tried to make mac and cheese with
bacon bits, but we over boiled the
noodles. So I’m sorry.
21.
ANDREW
(slight embarrassment)
That’s fine, Mom.
JACK
Hey, buddy.
ANDREW
Hey, Jack.
JACK
How you been? Haven’t seen you in
forever.
ANDREW
I live two blocks away. I literally
walked here.
JACK
Well that doesn’t mean we’ve seen ya.
I gotta spend enough time with you
before you leave here. I figure
you're not gonna wanna live here
forever.
ANDREW
You’re not wrong. What's for dinner,
Mom?
JACK
I think your mother made some pizzas.
ANDREW
You think?
JACK
Yeah. It was pretty last minute after
the macaroni failed.
ANDREW
Well pizza sounds good to me.
JACK
Yeah. So how’s the job?
ANDREW
Fine. Good. Enough.
JACK
Good enough? You should want more
than good enough.
22.
ANDREW
It’s fine by me. I can settle for
good enough.
JACK
Why should you? You got your whole
life ahead. These next few years may
be the only time in your life where
you get a say in what you do, well,
without repercussions. Your young,
therefore you have an excuse to try
anything and everything you may want
to do with your life.
ANDREW
Yeah, probably. Right now I just feel
helpless. Like I have no say,
whatsoever.
JACK
So you're gonna try and wait it out?
You can't wait out helplessness,
Andrew. That's how it takes control
of you. And once it has you in it's
grasp, it'll never let you go.
ANDREW
So what should I do, quit my job. Run
off to Hollywood to try something my
6 year old self thought would be
cool? I mean come on.
JACK
What you should do, is enjoy tonight,
wake up tomorrow, and see where the
day takes you.
ANDREW
I'm leaving to Laurel tomorrow.
JACK
So you have plans, that doesn't mean
you can't take the long way around.
Andrew gives Jack a slight smile.
Anne pulls out the pizza. It’s black as night.
ANNE
What do you think, boys?
23.
ANDREW
(lying)
Looks good Mom.
ANNE
(to Jack)
What do you think?
JACK
It looks delicious.
Andrew stares off into the distance again. He pulls a piece

of paper out of his pocket, the same one from earlier, and
begins to write something down again.
We see what he sees The same woman from the dream.
ZOOM IN:
ANDREW (V.O.)
Her grasp is growing. Her face is
being seared into my mind. In the
beginning, I only saw her in my
dreams, waking up was an escape, but
now. Now I see her everywhere.
CUT TO:
14 INT. PAIR PRODUCE HQ - BULLPEN - DAY
The once empty corner he was staring at earlier is now

filled with the woman. He always saw her.
ANDREW (V.O.)
Everywhere I’ve been. There she is.
15 INT. APARTMENT - LATER THAT NIGHT
Andrew walks in the door to set his things down. He heads

into the bedroom and copies the notes from the paper onto
another card. He tacs it. He heads into the bathroom.
ANDREW (V.O.)
And the second I think that she’s
gone---
Andrew looks in the mirror after washing his face. There she
is in the reflection.
24.
ANDREW (V.O.) (cont'd)

There she is again. Her eyes piercing
through me. I’m becoming less of a
functioning person, and more just a
man, running from her. Or whatever it
is. My questions are endless, but the
answers aren’t coming.
Andrew heads to his bed and sits up.
CLOSE-UP
Andrew sits, starting doze. He closes his eyes slowly, but

once they're shut the only thing he sees is her.
He jumps and his eyes open wide. He look around. His eyes
lock on the clock.
8:45 P.M.
SMASH CUT:
1:21 A.M.
Andrew is hunched over, clearly having lost his battle to

drowsiness.
DISSOLVE TO:
16 INT./EXT. - SUBURBAN HOME - DAWN
He appears in the bed, the clock reads 6:00. He gets up and

goes through an abridged version of the first dream. He
reaches the woman in the parking lot. He asks the same
question.
ANDREW
Who are you?
The woman leans in.
MYSTERY WOMAN
What is this? If you know please tell
me, because I need help. Who are you?
Please, please, tell me who you are.
Please.
Andrew wakes up.

25.
17 INT./EXT. APARTMENT - MORNING
His alarm on his phone goes off. 6:00 in the morning. He

gets up. Jots down on his board again and heads to the
shower.
CUT TO:
Andrew at the door to leave. A duffel and a backpack. He

heads to walk out when he remembers something. He heads into
his bedroom and grabs a pack of cards and a pen.
Andrew heads to his car and is about to leave, when he sees

something.
Her.
He jots it down on a card and pulls off.
DRIVING
As Andrew continues to drive he begins to see the woman. He

begins counting the encounters on his fingers. The farther
he drives, the more she appears. It’s never ending.
CUT TO:
18 INT./EXT. HOTEL - LATER THAT MORNING
Andrew pulls up. He jots down on another little card. He

marks down 31 sightings.
ANDREW (V.O.)
Like I said, a growing grasp.
He gets out of his car and enters the hotel. He approaches

the Receptionist.
THE RECEPTIONIST
Hello, what can I help you with?
ANDREW
I’d like a room please.
THE RECEPTIONIST
Perfect, do you have a floor
preference?
ANDREW
None.
26.
THE RECEPTIONIST
Perfect...
She clanks the keys on her computer.
THE RECEPTIONIST (cont'd)

Will room 212 work for you?
ANDREW
That’s perfect, thanks.
CUT TO EXT:
A car pulls up in the parking lot. We can no longer hear

Andrew’s conversation. A woman in black heels steps out of
the car.
CUT TO INT:
THE RECEPTIONIST
Here is your key, I hope you enjoy
your stay.
ANDREW
Thank you very much.
Andrew gets in the elevator and heads up to the second

floor.
19 INT. HOTEL HALLWAY - CONTINUOUS
As he approaches his room he looks down to reception and

sees a woman wearing the similar clothes as the woman in his
dream. He is scared for a moment but his vision is blocked
by a pillar before he can get a good look. He writes it off
as paranoia.
20 INT. ROOM 212 - CONTINUOUS
He reaches his room and enters. He slaps his bag down on the
bed, and turns on the TV. He opens his bag and grabs a pill
bottle and takes two. He heads to the bathroom and cups
water in his hands to swallow them down.
FOCUS ON HIS PHONE WHICH IS SITTING ON HIS BED
The phones begins to vibrate. Andrew notices and rushes to

answer it.
ANDREW
Hello.
27.
WILLIAM
Andrew where the hell are you.
ANDREW
I just got to the hotel. Why?
WILLIAM
You---Wait? Hotel?
Andrew remembers. He's staying with family.
ANDREW
I meant to say my folks house. Sorry.
Misspoke.
WILLIAM
Okay. Your meeting with Goldstein,
why aren't you there?
ANDREW
It doesn’t start till 12:00.
Andrew looks at the hotel clock. The time is 10:42.
WILLIAM
Mr. Goldstein says the meeting’s at
10:30.
ANDREW
He’s wrong.
WILLIAM
I don’t care if he says the meeting´s
in 2012, we're relying on him. Just
get to the meeting
ANDREW
Alright, alright.
He hangs up and rushes out the door.
As he approaches the elevator he catches a glance of the

woman from earlier beginning to unlock her door. He gets a
clear look at her. It’s definitely her. The woman from the
dream. He gets in the elevator and begins to head down to
the lobby. As he heads down he is contemplating whether he
should go to the woman or the meeting. The door opens. Left
or right.
28.
He chooses left and begins to rush as discreetly as he

possibly can. The woman enters her room and Andrew sees the
door shut. He approaches the door to room 104. He hesitates
for a moment and then knocks three times rapidly. The door
flings open and Andrew looks the mystery woman in the eyes,
both of their faces enveloped in fear. She is clearly real.
22 INT. ROOM 104 - CONTINUOUS
He pushes her into the room and against the wall. He slams
the door shut behind them and locks the door. He holds her
against the wall forcefully.
ANDREW
Who are you?
CLOSE-UP ON HER FACE
She looks as if she's about to respond.
CUT TO BLACK:
ACT 2 - TRUTH HAS NOTHING TO FEAR
CUT TO:
23 INT. PLEASANT HOME - BEDROOM - NIGHT
ESTABLISHING SHOT
We enter a bedroom where the mystery woman sleeps. Sweat on

her forehead. We see glimpses of her dream and then---
24 EXT. SUBURBAN HOME DOS - DAWN
We see her exit the home into the backyard. It's quite nice.
Quaint. The mystery man(who we know to be Andrew) stands in
the grass, staring daggers. She approaches.
LAUREN
Who are you?
ANDREW
Who are you? Who are you?
(choking)
Please.
CUT TO:
29.
25 INT. PLEASANT HOME - BEDROOM - DAWN
She jolts awake. She sits up in a panic.
PUSH IN ON LAUREN
She tries to calm herself down.
DANI (V.O.)
Lauren? What's wrong?
LAUREN (V.O.)
That dream that I have been having,
it’s changing.
DANI (V.O.)
For better or worse?
LAUREN (V.O.)
Worse.(pause)I feel like that man...I
feel like he’s getting closer.
Becoming more intelligent. Less of a
dream and more of an individual, with
a mind. It scares me Dani. (voice
breaking) It’s terrifying.
26 INT. PLEASANT HOME - LIVING ROOM - CONTINUOUS
Lauren has a cup of coffee in hand. She is on a Skype with

her sister Dani.
DANI
Okay calm down. Deep breath. What do
you want me to do?
LAUREN
I don't know. I don't know. I just
needed to...speak...feel like I'm not
alone in this.
DANI
You said it’s happened before. How
long?
LAUREN
6 nights. The past five have been the
same, but now I've started to see him
during the day.
DANI
Like an hallucination?
30.
LAUREN
Yes. He does the same as in the
dream. He just stands there nothing
physical. There’s no interaction.
And...
She stops talking. At a loss for words.
DANI
Breath. In the dream, do you
recognize anything in it? Location,
objects around you?
LAUREN
Yeah. The house. It’s Mom’s house.
DANI
Do you know why?
LAUREN
No. I don’t know anything. I don't
know why it’s happening. I don’t know
who he is. I know nothing.
DANI
Okay. Well, if you want an idea from
me, my best is maybe visiting Mom.
Checking out the place. See if it
triggers anything. Other than that I
have no idea. Sorry I can’t be of
much help. I got a lot on my plate
too.
LAUREN
It’s alright. I just needed to talk.
DANI
Okay. Love you sis.
LAUREN
Love you, night.
DANI
Night.
They hop off the call. The coffee steaming. She has a look
of determination on her face.
CUT TO:
31.
27 INT. ROOM 104 - LATE MORNING
We return to the moment we left Andrew asks again.
ANDREW
Who are you?
No response.
ANDREW (cont'd)
WHO ARE YOU?
She closes her eyes. She’s trembling with fear.
ANDREW (cont'd)
What’s wrong with you?
She opens her eyes. Tears streaking down her face.
ANDREW (cont'd)
Are you afraid of me?
Her face is shaking. No answer, but he knows. He lowers her.
ANDREW (cont'd)
(whispering)
You’re afraid of me.
He takes a step back. He chuckles at the thought of her

being afraid of him.
Lauren is clearly disturbed by his chuckle. She takes a

couple steps toward her bed and sits down. Andrew notices
and pulls up the desk chair.
ANDREW (cont'd)
I'm sorry. This is just...It’s crazy.
Would you please tell me your name.
Lauren looks abrasive. She looks in his eyes. She can’t bear
it. She looks toward her feet.
LAUREN
Lauren.
ANDREW
Lauren. Okay, I’m Andrew. Do you know
me?
LAUREN
I know your face. Do you know me?
32.
ANDREW
Just your likeness. (pause) So I
guess you've been having these dreams
too?
LAUREN
Yeah.
ANDREW
Have you been seeing me everywhere or
just in your dreams?
LAUREN
Yes. Everywhere.
ANDREW
(talking rapidly)
And as you got closer to here, did
you begin to see me more? In the
dream, do you appear in your parents
house? I assume the roles are
reversed. What do I say in your
dream? Do I do anything?
LAUREN
Yes, yes. Yes it’s my parents home.
You said the same thing every night,
but one.
ANDREW
Last night?
LAUREN
Yeah. When you don't say anything you
just stare blankly.
A moment passes.
ANDREW
So we’ve been running parallel. You
and I. For 32 days.
LAUREN
32 days?
ANDREW
Yeah, what you...you haven’t?
She shakes her head.
ANDREW (cont'd)
How long?
33.
LAUREN
6.
ANDREW
Six? Six!?
LAUREN
I’m sorry.
He looks away in disbelief, but recovers quickly.
ANDREW
I'm not looking for sympathy. I’m
looking for a way to end this. I hope
finding you is a step in the right
direction.
LAUREN
How do we end this? We don’t know
what this is?
ANDREW
Well there has to be some
explanation, and I’m gonna find it.
LAUREN
Why can’t we just move on?
Andrew is shocked.
ANDREW
Move on? What do you plan to do about
this?
LAUREN
Live with it.
ANDREW
You can live this way?
LAUREN
I could. I could try.
ANDREW
No you couldn't. I can see it on your
face. You've doing this for just 6
nights and your scared out of your
mind. I'm half as scared as you and
even I can't live like this, so I
know for certain that you sure as
hell can't. This can’t be ignored,
trust me I tried. I tried waiting it
out. Tried living with it.
(MORE)
34.
ANDREW (cont'd)
But it eats you whole. It becomes
everything you know, and you can't
escape it. Now everything has an
explanation, we just need to find
this one. But if we’re gonna get
through this we can’t lie to each
other. Only truths. We have to be
transparent with each other. Now who
are you, Lauren? How old are you?
LAUREN
I’m 19.
ANDREW
19?
LAUREN
What?
ANDREW
Nothing, it's just, you're so young.
LAUREN
You can't be much older than me? What
are you 20?
ANDREW
22, calm down.
LAUREN
Don't act like your better than me.
ANDREW
I'm sorry, alright I'm sorry. I meant
no offense. Okay?
A moment passes.
LAUREN
Don't question me again.
ANDREW
What, so now I'm in the wrong?
LAUREN
Yeah. You questioned me, I had to
defend myself. I'm here for the same
reason you are. 32 days or 6, we are
still going through the same thing.
You don't get to discredit me because
you've been suffering longer.
Alright?
35.
ANDREW
Yes. Fine, alright. Let's start at
the beginning.
She goes to speak.
CUT TO:
28 EXT. SUBURBAN HOME DOS - MIDDAY
A car pulls up in front of the home. Lauren exits. She pulls

her jacket on and heads across the lawn and up to the front
door. She knocks. No answer. She knocks one more time. No
response. She looks around the corner to see if the car is
there. It isn’t must be at the store. Lauren comes back to
the front door. She pulls up a potted plant and finds the
key. She unlocks the door and enters.
29 INT. SUBURBAN HOME DOS - CONTINUOUS
She pushes open the door. No one home. A breeze pushes

through. She heads into the living room and sees the
backdoor is open. She starts to close it and looks down into
the backyard, she remembers. Andrew appears, staring blankly
at her. We are in the dream. Cut back to real life. She
closes the back door. She hears footsteps from downstairs.
LAUREN
Mom?
LAUREN'S MOM
I'm coming up.
LAUREN
Mom, what are you doing down there?
LAUREN'S MOM
Just looking through some old boxes.
Look I found this picture of you at
ballet practice, weren't you just
perfect?
LAUREN
Yeah. (pause) Mom, where’s the car?
LAUREN'S MOM
Oh I’m letting Jerry borrow it.
LAUREN
Why?
36.
LAUREN'S MOM
Well he was heading to the store and
he offered to make my grocery run if
he could borrow the car.
LAUREN
Alright.
LAUREN'S MOM
Why are you here, sweetheart?
LAUREN
No reason. Just wanted to check in
with you, see how you’re doing.
LAUREN'S MOM
Well I’m fine. How have you been? How
are things with Sam?
LAUREN
Fine, I don't really wanna talk about
it?
LAUREN'S MOM
Did he end it? What broke the camels
back? Huh?
LAUREN
Mom? Stop it. Nothing broke the
camel's back, we're just taking a
break.
LAUREN'S MOM
Alright then. Well since you're here
do you wanna get some lunch? There's
a new salad place that just opened at
the mall. What do you say?
LAUREN
Maybe. Sure.
Lauren approaches the hallway. She becomes distracted and

heads down the hallway to her childhood room.
LAUREN'S MOM
(from another room)
Alright, well if salad's aren't your
thing then maybe a wrap. Huh.
LAUREN
(loudly; trying to
shut her up)
Sounds good.
37.
Lauren continues into her room. The door is pushed open

softly. The room is filled with pink. She looks at a
particular spot. That’s when she remembers.
Cut to the spot where a little girl stands. It’s Lauren. We

hear a conversation between adults coming from down the
hallway. Lauren peers around the door. She’s scared of them.
One of the adults notices her. Lauren rushes back to her
room and hides behind the bed. The man enters, his face
unseen. She walks around the bed to her. He crouches down.
It’s Andrew.
NOT ANDREW
Hey, Lauren. Don’t you remember me?
The other two adults stand in the doorway. It’s Lauren's

parents.
LAUREN'S MOM
I doubt she does.
NOT ANDREW
Hey. Lauren, Shh. Breathe. Just
breathe. I’m not going to hurt you. I
would never hurt you. Okay.
Lauren nods, clearly scared.
NOT ANDREW (cont'd)

Okay. Now. How would you like some
presents?
Lauren smiles.
Back to real time. Lauren’s face is blank.
LAUREN'S MOM
Sweetheart? Where are we going? Wraps
or salads?
LAUREN
(annoyed)
Just one second, Mom.
She stares blankly at the room. She walks away.
ZOOM IN ON THE SPOT:
CUT TO:
38.
30 INT. ROOM 104 - NOON
Andrew and Lauren have cards sprawled out on the bed. They
are constructing a timeline.
LAUREN
Okay. So what’s the deal?
ANDREW
What do you mean?
LAUREN
This doesn’t help me very much, just
wondering if it’s helping you?
ANDREW
I don’t know. Jesus, I don’t know
what this can tell us. We have the
facts but they don’t add up to
anything. It just leads us together.
Lauren thinks for a moment.
LAUREN
Maybe that's it. What if it's not
adding up because we haven’t taken it
far enough?
ANDREW
You think there’s more?
LAUREN
Clearly. If we’ve reached the so-
called end with no resolution, maybe
we aren’t done yet.
ANDREW
If that’s true then what would the
ending be?
LAUREN
I don’t know if it’s true. It’s just
a theory.
ANDREW
We aren't done. No where close. As
we’ve gotten closer to each other the
sightings have increased. You saw me
more, I saw you more. Yeah?
LAUREN
Yeah.
39.
Andrew looks to the steps on the timeline.
ANDREW
But now that we’re here, together,
maybe the last step is dreaming
together. Coming together fully. We
head down the rabbit hole. Together.
I think it’s at least worth a shot.
LAUREN
It’s the best idea we have. Let’s do
it.
We see them close the curtains, set an alarm, and they each
take two melatonin. They sit down in the bed.
ANDREW
Okay. I guess we just wait?
LAUREN
I guess.
They sit in the bed together. A moment passes.
LAUREN (cont'd)
What are you here for?
ANDREW
At the hotel?
LAUREN
Yeah, why are you staying here?
ANDREW
I’m in town for my job. Investor
meeting.
LAUREN
Ah. That sounds like fun.
ANDREW
Yeah, 100%.
Lauren chuckles.
LAUREN
Why were you rushing out of your
room?
ANDREW
You saw me?
40.
LAUREN
I caught a glimpse. Thought I
recognized you, I didn't get a good
enough look to know for sure.
ANDREW
My boss called and told me that the
meeting I had scheduled for 12:00
started at 10:30. So I grabbed my
coat and ran.
Lauren looks confused for a moment.
LAUREN
A little coincidental, don’t you
think. That you’re running my way at
the perfect time to get a good look.
ANDREW
Yeah, big coincidence.
LAUREN
Or fate.
ANDREW
Fate, yeah. More like an old man who
needs a watch.
LAUREN
I’m serious. It’s very coincidental.
ANDREW
So fate’s the same as coincidence?
LAUREN
Not exactly, but it’s damn close.
Andrew chuckles.
LAUREN (cont'd)
What’s so funny?
ANDREW
You. Why does “fate” matter?
LAUREN
I'm just thinking. We're here to find
a solution, and to do so we have to
consider every possibility
ANDREW
Whatever is happening to us has a
reason behind it. Yes.
(MORE)
41.
ANDREW (cont'd)
But I'm not gonna waste time
considering an untangible, untestable
theory.
LAUREN
You said that everything has a
reason. That’s why we’re here. That’s
why we’re doing this. Because there
has to be a reason. Why are you
trying to ignore this? (pause) If
we’re looking for an explanation then
there has to be something pulling us,
a metaphorical string.
Silence. Andrew gives up.
ANDREW
Fine.
LAUREN
Fine?
ANDREW
Fine. I’ll humor you. Let’s...let’s
track this, why are you here?
LAUREN
Visiting my Mom.
ANDREW
Wait, if your mom lives near her, why
are you staying in a hotel and not
with her?
LAUREN
Well I...well...um...I don't know.
Fate again I guess.
ANDREW
So any little mistake, any dumb
decision by you or more is just gonna
be chocked up to fate? You're
reaching. I want real solutions, not
excuses.
LAUREN
You know, I have a question for you?
ANDREW
Shoot.
42.
LAUREN
Why are you acting like this? Is it
just the stress? Most everything you
have said has been some kind of smart
ass remark...and that's if you aren't
actively laughing in my face. You
think that I trust you based on your
word, but I don't, and I don't think
you really trust me either. Are you
always like this, or is it just doing
this to you?
A moment passes. Lauren rattled him, and Andrew's eyes read

that of mental recovery.
ANDREW
In the name of truth...This whole
situation is driving me insane. It's
changing me. For the past month, I
haven't been living. I've just been
coping. With this. Finding ways to
hide it, work around it, and every
time I attempt to do that, It always
brings me back to you. All I've done
for the past 32 days is go to work,
have dinner with my mom and my step
dad every Monday, and deal with this
shit. I'm trying to stay above this.
Be better than it. But I can't seem
to get away. I put up facades. Walls.
Barriers. Lies to keep people from
poking and prodding and trying to
find out more, because I know that
there is nothing they can do to help
me. And until I saw you today, I
thought there was no one out there
who could. All I saw was your face,
but that was good enough for me to
take the chance, and hope, that you
would have answers. But you didn't,
and you don't, and you haven't
suffered through this torturous
process the same way I have. And in
some respects I'm glad for that. But
in others...in others I wish you
would've have suffered, so you could
know my pain. So we could hurt
together.
Pause.
43.
LAUREN
We'll figure this out. We're not
gonna leave this room until we do.
Alright? And I may not know the exact
pain, but having been through it,
even just a little bit, I understand
where it's coming from. We're seeing
this through. Together.
A moment passes. They sit quietly.
ANDREW
Anyways, back to the house. Any
particular reason you wanted to go
there?
LAUREN
Yeah. I wanted to visit the house.
See if anything would stick out, now
that I’m having the dream.
ANDREW
And did anything?
LAUREN
I think so.
ANDREW
Think?
LAUREN
Yeah. I saw something. Like a memory.
Or maybe not a memory. I don't know.
I don't what it was, or if it was
real.
ANDREW
What was it?
LAUREN
It's obsolete now.
ANDREW
Why?
LAUREN
Because you're here. Besides, like I
said, I don't know if it was real. My
mind is so blurry that reality and
falsehood are one in the same at this
point.
44.
Andrew looks to the door. The wall nest to it where he threw

the chair when entering the room in his violent burst.
ANDREW
When I came in here...and I hurt you
and scared you...I'm sorry. Seeing
you, I was just as scared as you
were. I shouldn't have done it, I
have regrets, but I was afraid.
LAUREN
Afraid of me?
ANDREW
Afraid that there was meaning behind
this. A reason. Fear that I'd have to
confront it.
He looks to his hands once again. Regret on his face. He

gets up and walks over to the door. He unlocks it.
Lauren looks to him.
LAUREN
Thank you
ANDREW
I don't want you to feel trapped. We
have enough of that already. And
about what I said earlier, about
wishing the pain on you, I---
LAUREN
It's fine, Andrew. I'd probably wish
it too.
They smile at each other.
LAUREN (cont'd)
When is this medicine gonna ki---
CUT TO:
The two lying down in the bed. Hunched over in a comedic

way.
31 INT. SUBURBAN HOME - DAWN
Andrew wakes up in his bed. He sits up like usual. He heads

to the door.
45.
A wail comes from the entrance to the room. It starts and

then fades out. Andrew recognizes the sound immediately. The
sound from the hole.
A couple frames of him as a child splice in. He goes to the

hole He puts his ear to it. The wail begins again, but not
from the hole. It comes from behind the door. It fades
again.'
Andrew approaches the door hesitantly. He looks to the

bottom of it. He sees the shadow of feet from the other side
and the creaks of the floor.
The wail begins again, accompanied by a single solitary

pound at the door that breaks the hinge.
ANDREW
Who is it?
No response.
The wail again.
He grabs the door handle and opens the door. No one’s there.
ANDREW (cont'd)
Lauren!?
CUT TO:
Lauren wakes up in her bed and looks around for a minute. As

she heads to the door she notices a large gaping hole next
to the exit. It’s identical to the hole in Andrew’s room.
She puts her hand up to the hole. She feels a breeze. Her
face is filled with a look of confusion. She sticks her arm
in with slight hesitation. As the hole envelopes her arm,
she becomes confused as to why there is no end. She pulls
her hand out and then puts her eye up to the hole. In there
she sees a slight light and the end. She sees Andrew on the
other side.
LAUREN
Andrew!
33 INT. SUBURBAN HOME / SUBURBAN HOME DOS - CONTINUOUS
Her call rings out. Echoing through the room.

46.
LAUREN
ANDREW! THE HOLE!!
Andrew looks through and sees her.
ANDREW
Lauren, what the hell is this?
LAUREN
No idea.
ANDREW
Is it something? Anything?
LAUREN
I think. I'm just as clueless as you.
Anything different over there?
ANDREW
Yeah, there’s this sound, and
knocking. There's people over here,
Lauren. I'm telling you.
LAUREN
People. Who? How?
ANDREW
I don't know.
A moment passes. Lauren looks around her room and sees a

desk lamp.
LAUREN
Here I have an idea. Step back.
Andrew steps back. Lauren picks up the desk lamp and begins
to break the wall down.
Back to Andrew where dust comes through his side. He catches

on. He grabs a computer and begins to smash his wall. Both
walls are broken down in a couple seconds. The two look
across the way. They step over slightly.
ANDREW
Jesus.
LAUREN
Yeah.
Andrew looks below them.
ANDREW
Is there something down there?
47.
LAUREN
What?
ANDREW
Look? Do you see something?
Lauren looks down. She squints, trying to see what Andrew’s

talking about. She sees a slight outline of large black
pillars.
LAUREN
I see something?
ANDREW
What?
LAUREN
I can’t really tell.
Andrew sits down on the edge of his room. He leans forward,

as if he's about to fall into the abyss below them.
LAUREN (cont'd)
What are you doing?
ANDREW
We’re in a dream, what’s the worst
that could happen?
LAUREN
You could die?
ANDREW
We have no proof of that.
LAUREN
We have no proof denying it either.
ANDREW
Well I'll proceed with caution.
He pushes off the edge. He disappears into the darkness.

Lauren builds up the courage to leap.
LAUREN
Jesus. (to Andrew) I HOPE YOU’RE
RIGHT ABOUT THIS!
She sits down and pushes off. She falls into the darkness.
We follow her as she goes. Her eyes are closed. She feels
the wind rushing by her. Her face clenches.
CUT TO:
48.
34 EXT. TANK FARM - DUSK
The winds stops. She opens her eyes. She looks around and
sees large oil tanks, sky high. She steps around.
LAUREN’S DAD
Lauren.
She turns around to see her dad.
LAUREN’S DAD (cont'd)

Keep up sweetheart.
She nods.
She begins walking with him, lagging just behind. Her father
takes a lead and soon fades out of view.
LAUREN
Dad!?
THE MAERE
(disembodied voice)
He is no longer with us, as he is no
longer with you.
LAUREN
Who is that? Where are you?
THE MAERE
I am no one. I am nowhere I am
nothing. I am what you make me. Does
this place look familiar to you?
LAUREN
Why the fuck do you care?
THE MAERE
I searched through your mind. Through
your memory. This is your oldest.
This place. These people. It was hard
to find. It took searching, but
eventually, fear always makes itself
known. This is your first memory of
fear not blocked out by trauma.
You’re 3 here, Lauren. At this moment
your fear did not come from an
occurance, one uneasy recreate. You
afraid of the tanks.
PUSH IN ON THE LARGE OIL TANKS.
The oil splashes inside.

49.
THE MAERE (cont'd)

The large oil tanks, sky high. Your
stature and innocence caused you to
be overwhelmed by them. Do you fear
it now?
LAUREN
I have no reason to.
She looks to the tanks.
LAUREN (cont'd)
But I can’t help it.(terrified) Why
am I afraid of it?
THE MAERE
You remember the fear, and it’s all
flooding back now. Every moment of
terror is coming back. Feel it. Fear
it. Let it in.
She’s entranced. Her surroundings begin to warp around her.

Tears stream down her face.
LAUREN
I can’t help it. It’s too much.
CUT TO:
Andrew appears in Lauren’s bed. He sits up. Slightly unaware

of where he is. He sees where the hole should be, but it’s
gone. He exits out of the room, shutting the door quietly.
He walks down the hallway and starts to head into the living
room when he hears something. A wailing followed by a single
pound of a fist, coming from Lauren’s bedroom. He walks back
to the door and puts his hands on it.
The wail and then...
BOOM!!
The pound.
He feels the vibration and lifts his hands off quickly. He

hesitates for a moment before entering the room. The room,
which was rather modern, is now soaked in pink. He enters
the room and sees a little girl on the other side of the
bed. She’s cowering. He hears a voice coming from behind
him.
50.
NOT ANDREW
Hey, Lauren. Don’t you remember me?
He recognizes the voice as his own. He turns around to see

himself. He is terrified. However this Andrew can’t see him.
He doesn’t acknowledge his existence.
NOT ANDREW (cont'd)

Hey. Lauren, Shh. Breathe. Just
breathe. I’m not going to hurt you. I
would never hurt you. Okay.
ANDREW
What the hell?
NOT ANDREW
Don’t ask me Andrew? Ask her.
He looks at Lauren, now an adult, she looks back to him.
ANDREW
What is this?
She doesn’t respond.
ANDREW (cont'd)
(pleading)
Please, please answer.
No response.
ANDREW (cont'd)
ANSWER ME! What is this?
Once again, no response. Whistling wind begins to build in

sound.
ANDREW (cont'd)
WHAT IS TH---
The wind cuts him off. Cut to black. The whistling dies
down. An alarm sound fades in. Andrew opens his eyes.
36 INT. ROOM 104/TANK FARM - AFTERNOON/DUSK
He sits up slowly. A silence lingers in the room. He stops

the alarm. He looks around to see Lauren. She’s still
asleep.
ANDREW
Lauren? Lauren!?
51.
He begins to shake her in an attempt to wake her up. He is

screaming her name.
BACK TO LAUREN:
Lauren is unraveling. Mentally and physically. She is on the

ground and curled up. The fear taking over. She can’t take
it.
THE MAERE
Do you feel it?
LAUREN
Help.
Andrew’s voice breaks through the darkness.
ANDREW
Lauren! WAKE UP!!!
LAUREN
Andrew. Wake me up. Wake---
THE MAERE
Your friends attempts are futile,
submit.
In the dream, trees begin to twist into each other, as if

bending at the Maere’s power. A horse is heard galloping
through the woods, but Lauren’s vision is fading and
blurred.
BACK TO ANDREW:
Andrew hears this in the hotel room. He looks around for how
to wake her up. He gets a cup of water and ice and tosses it
on her. It doesn’t work.
ANDREW
Think. Think, think, think, think,
think.
He thinks of something. He cups his hand over her mouth and

nose.
BACK TO LAUREN.
She grabs her throat. The wall of sound builds.
LAUREN
(suffocating)
Please.
52.
She is pulled away from her curled up state and appears back
in the real world.
37 INT. ROOM 104 - AFTERNOON
She launches out of the bed and launches Andrew off of her.
She is still grasping her throat.
LAUREN
What happened to the alarm?
ANDREW
Worked for me. Don’t know what
happened to you? Where did you go?
LAUREN
I fell through, I just appeared in an
oil tank farm.
ANDREW
Why?
LAUREN
I appeared in the place of my first
fear, that wasn’t forgotten by
trauma. My first fear that still
lingers in my mind.
ANDREW
You were scared of a bunch of oil
tanks?
LAUREN
I was then. I was three. The fear was
still in my mind, and it brought it
out.
ANDREW
It?
LAUREN
This voice. Disembodied. It was
conscious, thinking. It’s what’s
doing this. It twisted trees, and
forced me into the fear. And I think
there was a horse.
ANDREW
A horse?
53.
LAUREN
I think I heard it galloping, but I
couldn't get a good look. But all of
those things, they're specific
enough, enough that if others have
gone through this, they would
remember them. We can't be the only
ones who have gone through this.
ANDREW
So what?
LAUREN
I need to know, know that we're not
alone in this. Seriously, did none of
this happen to you?
ANDREW
No.
LAUREN
What happened to you?
ANDREW
I appeared in a house, what I assume
is your house. It was the same dream
I had been having, but the roles were
reversed.
LAUREN
Why the hell did you go to my dream?
ANDREW
Lauren, why did you lie to me?
LAUREN
I didn't lie to you
ANDREW
Why did you leave out that you knew
me, that had met me before
LAUREN
I don’t know what you're talking
about.
ANDREW
It showed me, Lauren. I saw the thing
in your head. You knew me, when you
were a kid you knew me. You met me,
you saw me. Why didn’t you tell me
this?
54.
A moment passes.
LAUREN
I’m sorry.
ANDREW
You’re sorry? We said no lying, and
you went right ahead and helped
yourself, and you knew it was wrong.
You’re hesitation when you said you
were telling the truth. Did it not
cross your mind that this would be
good to tell me?
LAUREN
I told you that I thought I had
figured it out. When I went to the
house I remembered this. And when I
did I felt relief. You were just some
guy from an old memory and the dreams
meant nothing. And then I met you.
You being here messed everything up.
I had it figured out and then, there
you were. I thought it meant nothing
now. I don’t even know if it was a
real memory, or just something my
mind told me to let this go, but---
ANDREW
And is it? A real memory?
LAUREN
I still don’t know. Everything up
there's kinda fuzzy, hazy. It's hard
to tell what the truth is.
A moment passes.
LAUREN (cont'd)
How did you see the memory?
ANDREW
There was a knocking, at doors. It
lead me to your room, as if
beckoning, pleading to be released.
As if subconsciously you’re mind knew
that this was important to tell me,
and it paved the way.
LAUREN
You think you were in my mind?
55.
ANDREW
That was the thinking.
LAUREN
Look I’m sorry, hindsight, I
should’ve told you. But now I know
better. Let’s just take a breather,
and figure this out.
ANDREW
I need some time alone, clear my
head, and prepare mentally.
LAUREN
Okay, let’s sit down and let the
currents calm.
ANDREW
I need to be alone. For a minute.
Maybe you can do your research or
something, I don't know. Sorry.
He walks to the door and leaves. Lauren comes after him.
LAUREN
What are you doing?
ANDREW
Please, I just need a moment alone
with my thoughts. Could I have that?
She nods. He turns around and walks off and back into the
elevator. He takes these moments to contemplate.
CUT TO:
39 INT. ROOM 212 - LATER
Andrew sits on his bed, his face in his hands. He’s shaken
up.
QUICK SHOT
Lauren types rapidly on her computer. She rights the word

"Maere" on a piece of paper.
CUT AGAIN:
56.
40 INT. HOTEL BREAKFAST - DUSK
Andrew sits in the cafe area. He has a cup in front of him.

We see Lauren exit her room, she notices Andrew sitting. She
approaches him and sits down. Lauren has notes in her hands,
she was clearly heading to go grab Andrew before noticing
him.
LAUREN
Are you okay now?
ANDREW
I’m better.
LAUREN
Andrew I know how much this pissed
you off, I apologized, and you’re
right, I probably should have told
you. That’s on me. But we need to
finish this, I’ve been thinking
and---
ANDREW
I need to know that you’re telling me
the truth.
LAUREN
Well how do you want me to prove
that?
ANDREW
Tell me everything you remember about
the memory.
LAUREN
But I don’t know if it’s real.
ANDREW
Just tell me what you think you
remember. I’m asking for your truth.
What you believe it to be.
LAUREN
It’s when I was five years old. My
younger sister, Danielle, was two. On
Christmas eve the four of us, we did
the regulars. Went to church, ordered
pizza for dinner, drank apple cider.
But all day they had been telling me
about Uncle Shawn. “Uncle Shawn’s
coming for dinner Lauren, aren’t you
excited”.
(MORE)
57.
LAUREN (cont'd)
I had no idea who he was, but family
members always brought presents.
That’s something I knew. So I would
say I was excited. Dinner came, he
didn’t show. Cider came, didn’t show.
He didn’t show up until 9:30. By that
time my parents had already tucked me
in, but I wasn’t asleep. I was
basically waiting for two Santa’s. So
when he pulled up I was excited, and
I watched out my window as he walked
up the steps to the front door. And
the second I saw his face, your face,
my mood completely changed. My
excitement turned into fear, and
rather than running out from my room
to greet him I cowered in the corner.
And I cowered further as my parents
began to scream and shout at him, I
cowered as he approached my room with
large stomping steps, and I cowered
as you entered. Then you came in and
talked for a second, you offered me
presents and every other emotion
dissipated. Excitement returned.
As she tells the story we see her remembering the fondness

of the scenario.
ANDREW
Does it feel real to you?
LAUREN
What?
ANDREW
All of that, the story, does it feel
real?
LAUREN
Yeah.
ANDREW
Then it is.
LAUREN
How do you know?
ANDREW
I don’t, but I need to believe in
something.
She smiles.
58.
ANDREW (cont'd)
So what have you come up with?
LAUREN
Okay, so. When I went into the void
place and appeared in the tank farm,
the voice had full control of me. It
bent me to it's will. Cracked trees.
Whistled wind. And horses were
running around.
ANDREW
So?
LAUREN
Well, I researched it. I tried
finding connections between what I
saw in there, what it showed me and
recent supernatural occurrences.
Little luck. But then I started
comparing it to old folklore. Mainly
that from Denmark and Germany.
ANDREW
And I assume you found something.
She pulls out her scribbled notes.
LAUREN
It goes by the name, The Maere. It
haunts peoples dreams, makes them
witness there fears. It will
sometimes give them little braids in
there sleep, and sometimes, it cracks
tries. Twisting them around until
they snap. And it's mode of
transportation, horse. Unlike our guy
however, The Maere is most commonly a
woman, but this was the closest thing
to us out there.
ANDREW
So, what's your plan?
LAUREN
So, hindsight's twenty-twenty.
ANDREW
Do you really think going back in
there is a good idea?
59.
LAUREN
No, it’s not. That’s why I want you
to go.
ANDREW
Me. But I won’t know what’s going on.
It will overwhelm me. Easily.
LAUREN
Yes he would, but with me on the
outside walking you through it, and
able to wake you up in a moment’s
notice. We could do it.
ANDREW
But how do we prepare for this? It
won’t be the same. My fear, my
location will be different from
yours. We can’t prepare for the
unknowable.
LAUREN
You don’t have any idea what the fear
is? No clue at all?
He thinks. Truly trying to think of what it may be.
ANDREW
I have no idea. I’m sorry.
LAUREN
It’s okay. We can still prepare. We
just have to think and talk. We can
figure it out.
They lock eyes.
ANDREW
Okay.
CUT TO BLACK:
ACT 3 - TO BLOOM AND BLOSSOM
CUT TO:
41 INT. ROOM 104 - NIGHT
The two prepare for Andrew entering the dream. He lays down
in the bed. Fear on his face.
60.
LAUREN
You ready?
ANDREW
I never will be.
LAUREN
You’ll do great. I trust you.
Andrew smiles at her.
LAUREN (cont'd)
Okay. Remember, don’t let it control
you. Assume what it says are lies.
ANDREW
And what if they aren’t?
LAUREN
Hopefully we’ll never have to find
out.
ANDREW
Hopefully. See you on the other side.
LAUREN
I’ll be waiting.
Andrew closes his eyes and dozes off.
42 INT. SUBURBAN HOME - DAWN
Andrew appears in the bed and immediately sits up and grabs

the desk lamp. He begins to smash open the wall. He kicks it
and punches it until the hole is big enough to fit through.
He drops the lamp lackadaisically and sits down on the edge.
He hesitates for a moment. He takes a deep breath in, deep
breath out. He pushes off.
CLOSE-UP ON HIS HAND PUSHING OFF:
CUT TO:
43 EXT. PET CEMETERY - NOON
He appears in the cemetery. His height adjusted to the age

of 2.
ANNE
ANDREW!! SWEETHEART!?!?!
61.
Andrew looks down a hill to see Anne, now much younger,

yelling for her son.
THE MAERE
She will be gone soon, your father much sooner.
ANDREW
I know about you. I won’t fall for
your tricks.
THE MAERE
Oh, I’m sure she told you about me.
Everything I did to her. Everything I
made her feel. But even your
intelligence can’t help you.
One of the gravestones begins rumbling. Andrew looks to it.

His eyes locked in.
BACK TO LAUREN:
She sits at his side as he begins to mutter under his breath

as she did earlier. She can’t hear what he’s saying.
LAUREN
Andrew! What’s it doing to you?
What’s it doing?
BACK TO ANDREW:
He hears Lauren’s pleads in the wind, just barely making out

her question.
ANDREW
He’s showing me the fear. I think I
can fight it.
BACK TO LAUREN:
Andrew speaks quietly.
ANDREW (cont'd)
I think I can fight it.
LAUREN
Yes, Andrew. You can, you can do
this.
ANDREW
I’m trying, but it’s so cold.
BACK TO ANDREW:
62.
ANDREW (cont'd)
The feeling, it’s unbearable. I
can’t.
LAUREN:
LAUREN
You can. You absolutely can.
She grabs his hand to calm him.
ANDREW:
The wind slows. Her voice can be heard more clearly now.
LAUREN (cont'd)
Breathe. Just breathe. It can’t hurt
you, it doesn’t have power over you.
It never has, and it never will.
Breathe, and take control.
Andrew does as she says. He closes his eyes, deep breath in,
deep breath out. He can’t open his eyes. He’s too afraid. He
can speak though.
ANDREW
Stop! I’m in control! STOP!
As he says stop, his surroundings disappear. The noise

dissipates. He is alone. The Maere is gone.
ANDREW (cont'd)
You’ve lost. That means we beat you,
now let us go.
THE MAERE
You act like a child. Everything is
so black and white. So good and bad.
There is no such thing.
ANDREW
We won! Give up.
THE MAERE
The end will take truth. From all
involved. You have been talking of
truth this entire time, it’s time I
tell you mine.
ANDREW
So what’s your truth? What do you
have to say?
63.
THE MAERE
Nothing, but I have something for you
to see.
ANDREW
Get to it.
THE MAERE
I’ll show you the dawn. I won’t show
you the horror of your past. A slight
fear that can still torture you. I’ll
show you your future.
A hazy screen appears in the air for Andrew to view. It

begins showing him visions of what The Voice speaks.
THE MAERE (cont'd)

Your future, as compared to hers.
Your mother will die in 14 months,
your father in 5. Your father will
die of terminal cancer. A sickness
they have been keeping from you. They
don’t want to weigh you down. They
want you to accomplish great things
and not worry about them. Your mother
will die to grief, 9 months later. It
will take her swiftly. On this trip
you have forgone your
responsibilities as an employee, when
you return home you will be
unemployed. You will go through years
of turmoil and pain. Everyone will
abandon you or the other way around.
All of your ties will be cut. You
won’t be a man, not Andrew Briner,
you will simply be a name. A relic of
a lost life. A life that for one
reason or another was forgotten. For
better or for worse. While her, she
will prosper. She will be married,
give birth. Her loved ones will gain
happiness. She will be left flourish,
to bloom and blossom, whilst you be
left to wilt and wither.
Andrew doesn't truly believe it, but he can’t help but fear
what the voice tells him.
ANDREW
Why are you telling me this?
64.
THE MAERE
Because you have a way out. Just
beyond there.
The screen changes. It is now the memory of Lauren. The one

which Andrew is in.
THE MAERE (cont'd)

You can either remain here, with her.
Find a way to beat this, beat me. And
then you will be set to the future
that I have laid out.
ANDREW
Or?
THE MAERE
Or you can head to the time of this
memory. Make it so. You can set her
free, and yourself in the process.
You will be free back there, but you
will never witness me again. Never
her either, at least not her as she
is now.
ANDREW
And how do I know you aren’t telling
me lies? Spinning stories to
manipulate me like a pawn.
THE MAERE
Fact or fiction, this is the truth
you’ve been told.
ANDREW
Even if this is the truth, how does
one moment change everything. Set her
on this path. It doesn’t make sense.
THE MAERE
One moment can change everything.
Something as inconsequential as an
encounter, can determine the future.
Can change your course. Decide your
fate.
ANDREW
My fate? Her fate? Is decided by this
one moment?
THE MAERE
Fate is set out. A strand of string
stretched out across a flat surface.
(MORE)
65.
THE MAERE (cont'd)

You can move the string. Push
portions up, push portions down. But
the end is the same, but like the
rest of the string the end point can
be manipulated. Up or down. Left or
right. You have the power to do that.
Do you accept this opportunity?
ANDREW
Going back there, how would I only
change one moment? Even if you can
send me back to this instant, I’ll
still have a life to live. I can
still interact with others, make
connections, life my life the way I
wish. I wouldn’t be changing one
moment, I’d be hijacking one world.
THE MAERE
If that is how you have to see it,
then yes.
Andrew looks to his feet. Wind whistles. Push in on Andrew.

He looks up. The whistling stops. As it does a ringing
comes in. Not the ringing of a bell, but that of an ear
overwhelmed by sound. He begins to speak and we see quick
sporadic cuts of him as he thinks.
ANDREW
(inner monologue;
quick frenetic)
Was this the truth? Did it matter if
it was? It’s a way to end it, taking
the chance would be the smart thing
to do. But what if it’s a trap? An
elaborate ploy to take me down and
ruin me when there may be a much
simpler and more rational answer out
there. Or is the truth in front of
me? Reflecting back at me. A bright
and beautiful future compared to
mine, which unravels into
uncertainty. Into uneasiness. Is it
sane to listen to a voice who has
done nothing but manipulate us since
second one, or is sanity out the
window? If I do as it says will I
still have a life in another time, or
will I be left alone and afraid?
Scared and dying. Will I get to see
the sunrise? Will I get to see the
dusk end and the dawn appear. Will
this have all been worth it?
(MORE)
66.
ANDREW (cont'd)
Is it better to save one life, or
sacrifice two. But even then it
wouldn’t be a sacrifice, not for her
at least. Either way she comes out
unscathed. How could this be? Why do
I get to be bogged down by life and
suffer so greatly while she gets to
prosper. Why is this so unfair? Why
is this choice so hard? I have an
out, why can’t I take it. The night’s
ending. The sun’s rising. It needs an
answer.
THE MAERE
What is your choice?
Andrew begins breathing quickly.
THE MAERE (cont'd)

What’s your choi---
ANDREW
No.
THE MAERE
Why? I offer you a life of
prosperity. A world where you can
change things, where you can make a
difference. Why not take it?
ANDREW
Don’t call it a life. I couldn’t
live. If I agreed I would have one
moment that I could change. One
instant that I could make a
difference in. But that’s it. Even
then the changes I make are to your
liking. But in my life, I get to live
among people who can change me, mold
me, and I can do so in return. You
offer a world that has a set path,
the string can’t be moved. I want a
life, not a moment. I’ve been given a
life and I’m not gonna throw it away
for the easy way out. You said it
yourself, we can find a way to beat
you without this. I'm gonna fight for
my life.
THE MAERE
But the other way sets you on your
path of death and despair.
(MORE)
67.
THE MAERE (cont'd)

Why would you choose to wither when
you can bloom?
ANDREW
It's a part of life. We're all
phoenixes from the ashes.
A light appears in the sky, almost like the sun. It’s

blinding.
ANDREW (cont'd)
Like you said, the world’s not black
and white. Even those blinded by one
or the other, will always have the
gray. That’s what I live for.
THE MAERE
You can live with that?
ANDREW
I can.
A moment passes.
ANDREW (cont'd)
How do we leave this?
THE MAERE
Do you want to know what I am?
ANDREW
I know. You’ve been around for
centuries, and you are The Maere. But
at his point, I don’t care about your
genesis, or why you’re doing this.
I’ve spent too much time worrying
about what this is. Why it was
happening, and who or what was behind
it. I know, but I’d rather not give
you another second in my head. Now
how do we get out of here?
Another moment passes.
ANDREW (cont'd)
How do we---
THE MAERE
You wake up.
ANDREW
That’s all?
68.
THE MAERE
Wake.
FADE TO WHITE:
A moment passes on the white screen, and just like before

the alarm fades in. While earlier the alarm was loud and
obnoxious, it is know loud enough to awaken Andrew, but
still pleasant to the ear. We hear whispers.
LAUREN
(whispering)
Andrew.
FADE IN:
44 INT. ROOM 104 - MORNING
Andrew’s eye’s open slowly. He sits up and looks around. He

see’s Lauren, and he smiles. She is looking around
nervously.
ANDREW
Lauren. Hey. Lauren.
Lauren turns to see him.
LAUREN
Andrew?
ANDREW
Hey.
LAUREN
Hey. Are you okay? What happened?
ANDREW
It’s okay, I’m fine. We won.
LAUREN
What?
ANDREW
We won. It’s over. We can walk away.
LAUREN
Ha. But...How?
ANDREW
It doesn’t matter. And I would tell
you if I knew. But we’re free. You’ll
never have to see it again, or me.
69.
LAUREN
I wasn’t sure if it was a good thing
until you said I wouldn’t have to see
you. That seals the deal. Thank
goodness for that.
Andrew laughs.
ANDREW
Come on. Let’s leave.
CUT TO:
45 INT. ROOM 104/ROOM 212 - CONTINUOUS
“Blue Skies” by Willie Nelson plays as we inter cut between

Andrew and Lauren packing up their things in their separate
rooms. As Andrew is about to leave his room he gets a phone
call from Jon. He looks at it for a moment and then takes
it.
ANDREW
Hey.
JON
Hey? That’s all you have to say, what
the hell are you doing down there?
ANDREW
Yeah, sorry about that.
JON
Boss is throwing a fit, says you're
gonna get tossed the second he sees
you again.
ANDREW
I figured as much.
JON
But seriously, why the hell didn’t
you go to the meeting.
ANDREW
I just needed a break. A nice
Mississippi layover.
JON
On your employers coin?
ANDREW
Yeah.
70.
JON
Jesus. You’re dumber than I thought.
ANDREW
I know, you don’t have to tell me.
JON
Are you gonna go to the other meeting
today?
ANDREW
Yeah, I should at least try to win
Willy back over.
JON
It’s worth a shot.
ANDREW
That it is. See you when I see you.
JON
Yeah, if William doesn’t kill you.
ANDREW
Bye.
JON
See ya.
Andrew hangs up. He grabs his bags, and heads out of his
room.
46 INT. HOTEL HALLWAY/ELEVATOR/LOBBY - CONTINUOUS
He walks across the floor to the elevator and hops in. He

stands as it slowly lowers him to the lobby. He passes the
receptionist desk.
THE RECEPTIONIST
I hope you enjoyed your stay.
ANDREW
I did. Thanks.
The Receptionist nods and Andrew exits the hotel.
47 EXT. HOTEL PARKING LOT/ANDREW’S CAR - CONTINUOUS
Andrew steps out and heads to his car. He gets in and sits
for a moment. He waits and breathes in and out calmly.
71.
He basks in the moment. He sees Lauren walk out and get in

her car. She does something similar.
She sits, breathes, and then calls someone. We don’t hear

what she’s saying but she smiles when she talks to them. Her
smiling brings a smile to Andrew’s face. The call isn’t long
and she hangs up. She sits for a moment longer than pulls
off.
Andrew watches as she leaves the parking lot. Andrew’s phone

vibrates. He has a notification on his phone telling him
about the meeting. He silences the notification and puts the
keys in the car.
He puts the gear into drive. Close up on the tires. A moment

passes and just as they begin to move...
CUT TO BLACK:
FIN

To Wilt and Wither - Draft Four

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To Wilt and Wither - Draft Four

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(Printed with the demonstration version of Fade In)

Rack focus from

2 INT. HALLWAY - SUBURBAN HOME - CONTINUOUS

This door leads to an identical hallway. Many doors line it

3 EXT. SUBURBAN HOME - CONTINUOUS

He exits the home and walks on to a rather small front yard.

Andrew approaches the woman. He stands in front of her, the

Andrew's face reads that of confusion. She puts her hand on

MYSTERY WOMAN (cont'd)

As if willed to do so, Andrew inhales quickly. He holds the

MYSTERY WOMAN (cont'd)

MYSTERY WOMAN (cont'd)

4 INT. APARTMENT - MORNING

Andrew sits up in his bed, he gasps for air. He hunches over

PUSH IN ON THE CARD

Andrew turns on the sink. Splashing his face with water. He

ACT 1 - A GROWING GRASP

5 INT. APARTMENT - KITCHEN - LIVING ROOM - CONTINUOUS

Andrew, now dressed in semi nice clothes with messy, unkempt

6 INT. PAIR PRODUCE HQ - CONFERENCE ROOM - LATER

A cramped room filled with employees. William Pair speaks at

7 EXT. PAIR PRODUCE HQ - CONTINUOUS

Andrew pulls up to the building and parks. He's not rushing,

8 INT. PAIR PRODUCE HQ - CONFERENCE ROOM - CONTINUOUS

William Pair continues on his ramble as Andrew makes his way

Andrew sits down next to Jon.

A moment passes. Shifting in seats. Uncomfortable silence.

At the end of it, one hand rises. Andrew's

The room remains silent, people stirring in there seats.

9 INT. PAIR PRODUCE HQ - BULLPEN - MOMENTS LATER

Andrew is in his own little world. Earbuds in, mind racing.

Andrew doesn’t hear him.

Andrew hears him and unplugs.

Andrew looks down to his keyboard and begins typing again.

He looks towards Sarah. She smiles at him. He smiles back.

William exits into the bullpen.

Jon rolls his eyes. He heads to William’s office and shuts

Andrew goes back to work but ignores his computer screen to

William heads back into the bullpen.

Andrew heads to William’s office.

10 INT. PAIR PRODUCE HQ - WILLIAM'S OFFICE - CONTINUOUS

Andrew enters hesitantly.

He does as he’s told.

William pulls out an envelope with money.

Andrew sits back down.

Andrew stares off into the distance.

Jon notices Andrew.

Jon looks to where Andrew stares. He sees nothing.

Andrew snaps out of it.

Jon walks off. Andrew smiles. He looks to the point where he

11 INT. BEDROOM - SUBURBAN HOME - DAWN

We see a door and a hole in the wall immediately next to it.

PUSH IN ON THE HOLE IN THE WALL

PUSH IN THROUGH THE HOLE

The screen becomes engulfed in darkness.

A young Andrew (age 7) lies in a bed staring directly into

CUT TO A REVERSE SHOT

We see he is staring at the hole.

12 INT. MILLS OFFICE - AFTERNOON

We see Andrew laying on a couch with Mills, who's face is

Andrew looks confused.