"WHAT DREAMS MAY COME" (1998)

VincentWard Director:

RichardMatheson by novel the on Based

into Stacey's eyes. Only Chris looks back.

to do with that. But she doesn't like it.w_bat -Themother.doesn'tknow

My kid used to say, "What's the difference? You CHRIS

Smiles. ..ey~s outraged Chris turns to the mother's

thinking!! What in the world were you Stacey Jacobs! MRS. JACOBS (O.S.)

just goes up to the girl... finishing here. Chris The mother has heard her name, and shoots an imperious hand up, wait a minute, I'm The girl with the crayon looks up. She's the winner. Palms the crayon, self-consciously. ,0. And the lucky winner is... Jacobs! CHRIS

Noticing this, he grins... smile as he scans his file on the move. Every parent locks focus, please God, me next. a soft and decidedly likable eyes, of this maelstrom. Keen and loose against the tension

enhancing the mural. She has found a rear-view figure of a small nude boy, and is the stub of a yellow crayon is carefully ~nd ... an eight-year-old girl with serious eyes

PANNING to a MURAL, set close to the floor, children's height. Slightly surreal garden, reality. Keep fantastical everywhere. Vivid colors, somewhat ARTWORK, fanciful ...

the walls now, to feature... patience. PAN their at the edge of parents occupied. Toys in use, keeps a few youngsters something, the motion constant. In one comer, a CASTLE with clockwork moving figures 'whining CHILDREN. Infant to pre-teen, each with a parent or two, the racket is lit room, crammed with cozy sofas, ancient wing chairs, and coughing, sneezing, annlyW

(_j screen. Eight views of Stacy's brain. lit vertical display a brightly into it He pulls the MRI from its manila envelope. Slides

MRI. cat-scan and an a She's had

Ar.there, too. Swoops her up onto the table. Stares in her eyes, real close. have entered into an examining room. They deal. not a big it's But ..He nods, understands •

Head still hurt? CHRIS

a pediatrics officethis Like the waiting room; the examining room is lined with prints. Is

as the mother follows. corridor,

Too bad, he's mine. CHRIS

She looks up. Really?

Holds out his hand, she takes it. He leads her to an area where four very large rabbits

Sure you like rabbits. I can prove it. CHRIS

Who asked you? CHRIS

Stacey shakes her head.

You like rabbits? (to Stacey)

tedious work. it's schedule, but Well, I'm training all these kids to get sick on CHRIS

She's in no mood to fool around.

... okay, your choice on the shoes, no pressure. (O.S.) CHRIS

Christy, I've got a meltdown. ANNIE'

gallery. The paintings she passes are 19th century. lovely. She holds her cordless phone as she paces anxiously along the wall of the art cut short and soft, she is genuinely hair ANNIENIELSEN, 37, petite and sleek. Jet black .

* White dress, black shoes. No underwear.

than she can talk. Which is really an achievement. That's my wife. Let's see if you can do that longer CHRIS

phone. Chris nods, good, real good. Points to the flashing light on the cordless Stacy tries.

.. not fast, just regular. and out. in breathe And · your hands over your nose and mouth, like this. Cup ·· CHRIS

Just turns back to Stacy ... But he doesn't jump up.

Mrs. Nielsen on four. (O.S.) NURSE

And holds the look. Until she knows he will. The intercom BUZZ.

Well, we'll figure this out. CHRIS

voice ...

gentle Now he looks over. First time. But there's no impatience in his eyes. Gentle look,

anything. pediatricians because the other doctor couldn't find She doesn't need glasses, we're changing

No glasses, ever? More photos than a supermodel.

3 YELLOW) (REVISED: 5/30/97:

Absolutely. More distinctive,huh? CHRIS (0.S.) (j than the Murphy's, y'think? Better ANNIE

it. her through voice talking his soothing calming, She's

... 23, maybe. and the Peters 16, 19 Then. let's do the Hollenbeck, (0.S.) CHRIS

noddingat the tears, back to hold tryingand disturbing themes, dark of paintingswith fallingon a groupinganxious'eyes her She is standingnow at the entrance to anotherroom,

6 INTERCUTANNIE6

? three, right... us Rivers, that gives we take the Hudson Okay, , (soft) CHRIS

God, I'm so sor.•. ... I can't leave-this, Christy, I (O.S. edge of tears) ANNIE

to scan the slides with an expert eye... begins of focus, Chris by his change outraged Stacy's mother watches, As SUBMISSIONS..0 the top is scrawled across dozen, four perhaps see the slides are of paintings, of slides. We now the sheet it with replaces and the display screen the MRI from He pulls

everything! ruiningrm I can't believe it's our Double-0 anniversary,and distraught) (0.S. ANNIE

the drawer calmlypullingfrom the room. Chris Stacy still breathinginto her hands across

s CHRIS lNTERCUTs

.. Jight. m- and m-hang, get 'em down here, and.mm... ANNIE

Landscapes- A Retrospective". of Romantic"Restorations SIGNAGEwhichreads exhibitionon LADDERSare nailing and lightingpaintings. To the side, WORKERS ASSISTANTS still hanging Two young

replacements... choose the opening! I've gotta beforenim1 the showed, Gennany never pieces from ~ The ANNIE

Hear his moan of excitement. u That's quite the compliment. ANNIE

_laughs. He is breathing hard, provocatively into the phone. She

Makes me think of your body. CHRIS (O.S.)

,that. He's made her smile. He alone can do

Sexy. ANNIE

Clinging to her phone. Talking to the man she loves.

B. 7 . ANNIE INTERCUT 7 B.

Hang it. It's too sexy to leave out. CHRIS

just fits right in. Yeh, it ANNIE (O.S.)

'Maytag by Moonlight'. I'll bring it right over. CHRIS d German romanticism. of a Dali meets version post-modernist landscape.Overtones romanticCentuzy floating through a ghostly 19th old fashionedWASHING MACHINE an FEMALE FIGURE as of a blurred rendering

original A strikinglyco_rridor. Chris glances at a painting by Annie which hangs in his

Hey, this gives us a chance to show yours. CHRIS (joking)

* phone into his office for privacy. the cordless taken He has

* A.7 INTERCUT CHRIS - CHRIS' OFFICE - DUSK A. 7

Only if you are incrediblygrateful. CHRIS (O.S.)

You'd do that for me? ANNIE (playful)

how much she loves him. even believe can't She

CHRIS (O.S.)

and I've got nobody to send... way out in Fairfield, the You're right, but they're all ANNIE

5 (REVISED: 6/24/97: GOLDENROD)

past, horns BLARING, except for Chris, who... (j SAILING SWERVINGto avoid the pile-up, ...MISSESsomehow. The tunnel traffic

AT us, and.••STRAIGHT cars COLLIDING,a wheel comes OFF and ROCKETSback ... hear the CRASH, see a Porsche FLIP over, SKIDDINGon the shoulder, two other

lucky break. a what .•• (V.0.) CHRIS

HORNS, tires up ahead, sudden curve. Something wrong a around Easing

that. I said, "G'bye. I love you." I'll always remember CHRIS (V.O.)

TUNNEL. endless, darkly-lit an BLURRSpast. He enters reads 'DD Anni'. Light in which tucked bow, and a CARD a goJd reflectivepaper, with

in wrapped GIFT, long, thin a the freeway. On the seat next to him is driving Chris

8 - NIGHT CALDECOIT TUNNEL INT. CAR,8

family? Any migrainesin your CHRIS

The kid thinks about it. And nods. Slightly amazed. He's not, turns to Mom... ,d,_ Feelin'better? CHRIS

And makes the CUT sign. Stacy stops.

to your brain. next world... in this interestingthings Paintingsare the most My wife restores pictures. And paints her own. CHRIS

the kid.•• Tells her to keep it up. She giggles, and keeps going. Mom is dumbstruck.but he ignoresher. followingthe conversationwith great interest He does more heavy breathingto encourage

been into her hands, but has obviously Stacy, who is still breathing to up. Looks Hangs

G'bye. I love you. CHRIS

* Re-enteringthe examining room. She'll be all right now. Murmurs...

7 CHRIS. INTERCUT7

kit. bring my tool Okay, weirdo, I'll be home late. but I'll be there. I'll ANNIE

And a math test. u (O.S.) CHRIS

Have to carb up, Mom, gotta a game. IAN

and I know what you'll get. Yeh, ANNIE

I'll get something at school. IAN

* half-finished MODEL of an aircraft carrier. a languidly working on He is

Actually. I don't. IAN.

* Beautiful sleepy face. comer is IAN, 13, rugged, rangy, a jock.

She reads a Garfield book and ignores her bagel. At a counter in the and huge quiet eyes. REVERSE ANGLE ... two children. At the table is MARIE, 8, delicate, with caramel hair

You have to eat something. ANNIE

toaster. Keeps one eye on the bacon, which looks nearly done. Another on the ... Annie yawn. d PULL BACK to see ... three. CLOSE on the stove top, butter sizzling in a skillet. One egg breaks into the pan, two,

Silence.

... see The word lost in the CRASH of another car joining the pile-up, Chris WHIRLING to

... GET ME OUT OF H WOMAN

I'm a doct ... CHRIS

... YANKS the door OPEN, with a CRUNCH of metal grinding metal.

... Chr_is Porsche, a young woman inside, terrified, blood on her face. to the upside-downRACING Everything a chaos of lights and horns, Chris the seat and RUNS toward the disaster. SLAMS to a stop. GRABS his black medical bag from ... pulls·OFF onto the shoulder.0

7 · GREEN) ~/10/97: (REVISED:

husband ... A quicker one for dad, and she too is gone. Annie glances to her grateful kiss and hug. The tall boy kisses his shorter mom. Ambles off. Marie is slower. Gives her mom a He means that. Serious and contrite and responsible all at once. His dad nods, tonight.

· tonight, I promise. I didn't forget what we said. We'll get it all straight IAN .

... disappears. Both kids stand, pull their books together. Ian looks to his dad An~

... the van out pu,l We're late, guys. I'll ANGIE_

... The nanny-housekeeper ANGIE pokes her head in. She is young, Latina

I don't want to miss it. I'll work it out. ANNIE (murmurs)

... Annie goes, strokes her baby's hair

I thought you couldn't. You sure? MARIE

The chocolate eyes come back up.

But I will see your chorus thing tomorrow. ANNIE

... On impulse that help? Marie looks down, as if a light dimmed out. Staring blankly at her book. Does -

... take the van swing by, on the way to get your brother. l'11let her Angie will I'm sorry, baby, I've got this meeting. 4, ANNIE

... Annie wants to, but Puh-leeze? Just for me?

game. million hours at his incredibly borin,: Mommy, if you pick me up, I won't have to wait a MARIE (overlapping)

... worry about it n I was up till two-thirty, it's the best I can do. I can't IAN (softer)

Doesn't know what to do with that lie. And seeing this.... Chris looks down.

I'm ready, I'm cool. IAN

· repair to a minor fitting. ANGLE.:. Chris has been watching from the doorway His son puts the last touches on a/....~-- C-)

8 GREEN} (REVISED: 6/l0/97:

The body below curls unconsciously closer to a fetal baU. l_)

· now? it them again. Four years. Why would I dream It was the last breakfast, of course, we never saw (V.O.) CHRIS

chest. growling in itsc,ieep but frightening movement. A small a SPASMS, us, the body Below

So perfect?· dream a memory? really Can you CHRIS (V.O.)

But always watching the body in the bed. VIEW SHIFTS slightly. bobbing up and down. As if the POV of a helium balloon. Our

memory. wasn't really a dream. But a it was, thing funny The (V.O.) CHRIS

bad as it gets. As side. Tubes, monitors, the works. its curled onbelow,

in the bed lies motionless room. A figure HIGH ANGLE from the ceiling of a brightly-lit

our view is••• the strobing of a faulty fluorescent tube. As it clears, is flickering LIGHT. It BRIGHT,

• 11 NIGIIT INT. HOSPITAL ROOM -11

... waiting ambulance. We move down, as if following them. SMASH CUT TO

a man's body into the back of a our AERIALVIEW,we see paramedics loading From

were there. kids Should have known right away. Just the fact that the have known the breakfast was a dream. I should (V.O.) CHRIS

female corpse. a remove to car overturned an sparks, as firemen cut away part of accident scene in the tunnel. The flashes were welding BRIGHT, blinding FLASHES. When they subside, we are looking DOWN on the

rm depressed. But I'm not ready for suicide. CHRIS

eggs. and A small smile, for she knows the answer. He looks to the bacon

breakfast? his You want ANNIE , ·--- ~n

u perfection. And Chris... beyond and creamy and bathes the setting into something

liqμid islight we can't know is Lugano. The city dotting the shoreline. In the distance, a

peaks, villages are mountain a pale azure lake. All around in floating on his back Chris

* 13 - DAY- FLASHBACK EXT. LAKE MAGGIORE13

12 OMITIED12

· Why can't I see you? CHRIS. (V.0.)

Our POV WHIRLING in all directions...

anesthetic.~.? under am I hallucinating you operatingon me, Are Who are you? A doctor? CHRIS (V.0.)

We are trying to look around...

Uh. I ate something really gross before bed? (V.O~) CHRIS

The voice is young and easy. As direct as it is kind.

Chris, do you know what's happened? gentle) VOICE (V.O., MALE

they are swollen shut. And from somewhere... comes from the body's throat It seems to want to open its eyes, but A desperate RATTLE

God, I never had a dream like... CHRIS (V.0., hushed)

slightly. Then, settles in for a closer look. recognizable. Our POV STARTLES Still closer now. Right down to the FACE. It is Chris' OWN. Horribly battered, barely

operating table. an hospital. Even on... in a And I'm dreaming-Or was the accident,mm? CHRIS (V.O.)

their limits. to The tubes stretchus. Closer. The body rolls its face away from

dream, the Porsche in the tunnel? But why dream this? Was it part of the accident

a feather settlingHke series of slow arcs, And we begin to drift DOWN now, in a graceful

myself fly. proved a dream was a dream. I could make always I Like prove that. I could I was still dreaming, C CHRIS (V.O.)

(REVISED: 6/24/97: GOLDENROD}

u Is that you, the blur? CHRIS (V.O.)

· · man. a silhouette of even discernible as the and we can. A blurred SHAPE at the end of the hall. Scarcely ..•

Can you see me now, Chris? VOICE (V.0.) MALE

up, whirling, in every direction... look we And

She does. Dogs are different. VOICE (V.0.) MALE

me? ~ Ginger? Ginger, you CHRIS (V.0.)

away with what could only be a whimper... ... STOP. Stare directly at us. A strange, worried look. The dog begins to slightly edge the room, only to into female German Shepherd. BOUNDING running, a DOG comes .••a

here... But around, VOICES, low and grave from a room somewhere. lined with art. Our POV looks home. A hallway We are in the front hall of a comfortable

d he watches. As

that was sensible advice. Waves a thank-you. And sails away. like She nods,

* in chocolate!

you,step Just keep sniffing, till you smell money! Or calls out)( CHRIS

He laughs. She has sailed closer. He thinks about it, and points toward Lugano across the

Switzerland? is Which way (calling louder) ANNIE

Chris has to smile.to himself. Sir, huh? Not the way he sees himself. She sure is pretty. .

... ! 'Scuse me, sir (calls out) ANNIE

... a young woman. In a bikini. Jet-black hair.

by... lake, because a small SAILBOAT is approaching, 16 feet, a Lido, one-handed,

place, but somehow the same. As he begins to towel off, he squints at the sun-splashed duffel bag lie. He is younger in this and ... rises. Walks to shore, to where his towel

Doc.? Everyone but y... How come I see everyone, ~/ (V.O.) CHRIS ". (

shape. Which is now by the mantle.

blurred sounded more uncertain than omniscient. That makes us tum toward the The voice

different. Ev~rybody's Guess you do. quietly) VOICE (V.O., MALE

Before... A beat

me?. I need you to tell Doc. If I were dead, would dream, a You have to be CHRIS (V.O., quietly)

, fear so profound she can scarcely contemplateit. her friend, into a misery and Annie's eyes are red, her face is hollow. She stares through

You've died, Chris. simply) VOICE (V.O., MALE · . '

that stare into Annie's, the strong ~yes blue and sympathy in the liquid There is intelligence comforts her. Casting glances toward a far sofa where CINDY, Annie's best girlfriend, in low tones. ... Into the living room. A dozen friends, family, circulate.. Speaking

* paint won't budge. He moves on... the But

* I always have to clean it up.

(V.O.) CHRIS

* smudge away. the reaches out. Tries to wipe ban~ Chris'

She always does this, there's paint everywhere. CHRIS (V.O.)

against the walls. Back to the paint smudge...

lean darkness, covered easels, canvasses in Annie's STUDIO, we see the large room

It is the doorway to it at jamb with a smudge of PAINT. We stop. Look ... a door

we FLOAT toward the distant voices, the dog tagging along, as we pass... can't. sharper. When we We are staring so hard at the blur. Trying to make the focus a little

Dreams don't deal in time, Doc. Time doesn't count (V.0.) CHRIS

? know how many hours, how many days... confused about how you got home so fast? Do you I'll get clearer when you want me to. Are you VOICE (V.O.) MALE

that. teach me could You MARIE -~) \ r·

through. As her quiet him straight it melts her eyes smile. But they do. So clearly, Only

that. you teach chess. I could said you wanted to learn You CHRIS

his head. He stares at her. So sad to hear those words. Shakes

Don't you have to go somewhere? MARIE

her say so directly... the silence makes smiling at her. UntilJust quiet. And stays

104 is no fun. But it's going down.WelJ, CHRIS

on her bed. jacket. Sits down his so old. He takes off seem She doesn't smile. Keeps watching with those·seriouseyes that

rm gonna keep doing this till you tickle. CHRIS

her chest. Now her side. Now lower.

tQ her daddy with his stethoscope see TIGER. Her face sheens with sweat. Pull back to

STUFFED her well-worn hugging on Marie, alone, propped up on pillows, CLOSE

to Marie's photo. Thoughtfulpose, no smile. moves VIEW And our

curious. was Sorry. I MALE VOICE (V.O.)

care anyway? you you supposed to ask questions? Why would Are CHRIS (V.0.)

Our POV hesitates. As if stopped by the question.

pictures put these she could it before was How long VOICE (V.0.) MALE

his jock give-a-fuckgrin. simple frames. Ian, flashing in are two PHOTOGRAPHS as we come closer. On the mantle clearer gets no the shape, which We are drifting toward

want to be dead. the one you don't want to see. You don't rm ... MALE VOICE (V.0.) ,/___n

-----===-..:...~---.: . .. __ .... ---------~~~-·-·--""

rest on TWIN CASKETS. The crowd wants to be quiet the podium. Behind him, flowers

rises to gaze at their children's coffins. The music stops. A slender, scholarly MINISTER

his. Real tight. They are stunned, uncomprehendingas they in Chris holds Annie's hands

PAN quickly to the first row, to the aisle, where... sunlight lends ironic counterpoint. Through the glass walls, brilliant funeral. ordinary

· among the adults. Nearly a hundred. For this is noCHil.,DREN of the chapel to find

An organ plays. A Lutheran cross stands sentinel above a bank of flowers. PAN the pews

possible. By the one person he'd known he could always trust. fear. But mostly, astonishment. A betrayal he could never have believed resentment, comprehend. Flickering across young eyes, The kid so shocked, he can scarcely

best idea. the Is ... about whether you staying at Head-Royce. CHRIS

ab... What did you taJk IAN

A full beat.

And we always listen. To each other. CHRIS

quietness. The boy alerted. in its That sounds almost ominous C_J your mom and I did talk. Well, CHRIS

And stuff. Chris staring at this boy. Until he decides to say...

y'know... grades, and stuff. WeJI. She didn't want us to do this. Cos... ·- IAN

his father turn. Hmmn? Which makes

I'm glad you didn't listen to Mom.Man, IAN

back against the bark, each other. Good to be there. Then, silence. Gazing up, leaning

their breath. here. Still laughing, they crouch together in its protection. Catch trickles

scarcely rain big, its canopy so thick, the sc, is ... slam against a huge TRUNK. This tree

each other through the downpour to...racing across the underbrush, they are Chris and Ian,Cr~.shing are shouting, laughing, swearing. trees. Two SHAPES running toward us in dim Jight,they giant Hard rain·filtering through

14 YELLOW}5130191:(REVISED:

IS

• We see now that his hands and jeans, a cowboy's body, not one we'd expect. works~

companion, who has now taken on a clearer image. A body in a blurred Chris. And his

FOCUS to the back of the hall, center aisle, two figures stand... hold back tears. RACK

to the mourners are adults. Annie sits with Cindy today, her eyes frightened,struggling All •. full-sized cascades beyond the glass. There is only a single CASKETnow, larger, of rain funeral. A MONSOON funeral home. It is another A different day, a different

20 - DAY HOME INT.FUNERAL20

Wishes he'd said more. Then again he always does.

uneasy. the glass, he looks Chris stands. Watching them go. Seeing his children's heads through

'

AWAY... And Angie PULLS turning. for him. A manly wave, without it's knows Ian

* too, Sport. You,

Ian) {to CHRIS

turned. She leans out. Kisses his cheek. His son hasn't

Love you. CHRIS

lot. a this Hears look. a him Marie cuts

it away for chips and cookies. trade Your mom puts healthy stuff in here, huh? So don't0 CHRIS

through the open window...

it to herhands again. He out to catch them. Marie has forgotten her lunch RUNS .•.Chris

last morning. Angie has pulled out the chevy van. Both kids are climbing in, as.••Their

1, DRIVEWAY-MORNING-FLASHBACKEXT.19

CRY hystericaJly, and we cut..• to woman begins

a the still face. Somewhere, across beautiful, at peace. A breath of air blows mysteriously * eyes closed. He is IAN. see to side its CLOSE now on one of the coffins, pass through

When death claims.our children•.• MINISTER

He seems, himself, almost too sad to continue.

true meaning. Until today. its lost that has word... A word we hear too often. a Tragedy. Is MINISTER

He surely understands. CLOSE on him now...

waits. here and there. And the ministerup But there are open sobs that spring him. for

· doesn't mean to hurt us. idiot, but he an Sbhhh, baby, it's okay. He's CHRIS

drones on. minister· Chris crouches beside his wife. The aisle, on the podium. But here, in the minister

the at And Annie's tears come. She can't help it now. At her side, Cindy glares bullets

years ago••• her only children, four short lost woman who •••a MINISTER

podium... the Chris stops now. Just behind Annie. Just at her shoulder. While on splash of flowers. The rain pounds harder. a A coffin of polished rosewood rests beneath

You didn't. You only died. VOICE (V.0.) MALE

His companion stays with him. aisle. the down waJk to begins Chris

you disappeared. That MALE VOICE' (V.0.)

Fear. CHRIS (whispers)

them move.wat.ching himself now, as we see him. He flexes his hands, see gn Chris looks down. He'· d your fear. At least you're willing to see yourself. You're losing VOICE (V.O.) MALE

for coming. But I still can't see you. Thanks CHRIS (whispers)

He looks now. To the cowboy.

Chris. funeral today, their It's not VOICE (V.O., softly) MALE

· Because..• stops. And

but ••• kid's funeral. I was sitting... right up there, The CHRIS

without turning..• And

Where were you just now? In your mind. VOICE (V.0.) MALE · glass.

distorted slightly through frosted, as bl~rred, are those of a black man. The face is still

speciaJ day. Kind of our ... It was for our Double-D anniversary. CHRIS

* her painting. for borrowed elements from these

Clearly, Annie has There are two large prints hanging nearby, each of a forested lake.

me; For It's a present. CHRIS

of it remains completely blank.Pm:t yet painted in. not sketches of trees Part of it contains not been completed.has ...The lower right comer of the painting

It is a work in progress, almost finished, but. .. mist. Clouds roll over the peaks, a soft promontory, stands a small, Ione silhouetted FIGURE. mountain. In the far hills, a few simple brushstrokes suggest a dwelling. On a closer a large landscape of a lake ringed by forest and easel, The cowboy stands in front of an

onto canvas ... images were so clear in my mind ... but, putting them The I tried, when I was young. Annie's the artist. ; CHRIS

Chris has to laugh, in spite of himself.

of these yours? Any COWBOY

He walks from canvas to canvas, taking it all in.

can't see. still studio, alone with the cowboy, whose features we sunlit Chris in Annie's

Given all this. Be surprised if you didn't. MALE VOICE (V.O.) .

this. to shreds to see her like him It tears Shakes his head.

Could I cry? If I was dead. Fess up, Doc. CHRIS

For love of each other. out. Silently crying their hearts Chris starts to cry, too. And there they are, husband and wife.

Jesus,·Doc, this is the god-damnedest dream. CHRIS

inch away. Fingertips would give anything to caress her hair, less than an Just short. it stops. And

He just doesn't know what to say. CHRIS

He reaches a hand toward her face ...

17 (REVISED: 6/24/97: GOLDENROD}

v pages. : / Empty journal. book. It is a blank Annie at the writing desk. Opens the cloth-bound

22 DAY INT.BEDROOM-22

Figure of speech. ·CHRIS·

his blurry face toward his companion. A beat of silence. turns And

Used to? COWBOY

to bug me. things on time. That always used finishes She never CHRIS

· ' outline of a huge tree.;hesketch, The cowboy points to a blank section in the lower comer, by the picnic. There is a pencil

That's me, I think. CHRIS

Lookingdown on aUof it. hill. seen at the crest of a foreground, the MAN

· the one, in things on the bank. No human figures, there. OnJy picnic Near the sailboat,\__j

' this was our first picnic, stuff like that. And CHRIS

painting, the same sailboat floats on the water. Then... points to the lake in Annie's Chris snapshot. Young Annie on her sailboat. a easel is

· together. Maybe here... our lives out. Just be old farts Live I guess. retire, It's where we met. And where we're going to... CHRIS

in her sailboat. Annie memory of meeting Chris'

it from MAGGIORE. We recognize LAKE Chris points to a large blown-up photo of

place. Your COWBOY

It's her version of our place. CHRIS

has also taken inspiration. from which she masterpieces tear-outs, clippings, All around are dozens of other prints,

Annie.. CHRIS

even more than I do. his obsession, you know. I think he loved them were I was looking through his postcards. Paintings ANNIE (V.O., writing)

going.!.K,eeps Almost overcome by that.

When it was only Christy. Always. Only Chris. ANNIE (V.0., writing)

us? to I done have What CHRIS (whispers)

breakdown ... pulled me throughthe thinks~ He's so dumb, he ANNIE (V.O., writing)

done?. Jesus, Annie, what have I CHRIS

He's so dumb. ~? ward, what'll I do withpsycho can hammer me into ababie~ if two He figures, ANNIE (V.O., writing)

hands come up. Why is he afraid to touch her? He's wondering that. His

is crazier than I am. He thinks you're therapy! shrink rm writing in your bullshit pages because my ANNIE (V.0., writing)

Thinks. But only an instant. Writes...

* ... Diary Dear

How you doin', babe? CHRIS (softly)

seems to break her reverie. It behind her. Right behind her. heard something. He steps up·she ifas was almost It Annie glances up. A stray thought?

the funeral? Doc, the funeral's over! Why is this going on past CHRIS (loud) ,,/___-~n

19 fWlQ sn/97: (REVISED:

•• ba. my You are the best, you are God bless you, darlin'. CHRIS

ISTILEXST. - It says -THSICRS She looks.

Readit. CHRIS

• down. look And as if moving by itself, her hand SCRIBBLES something violently. But she won't

Write, "This is Chris, I still exist." CHRIS

C'mon ! C'mon babe ...

Write it down. CHRIS

not an inch. move, He won't is sudenly at the edge of tears. She

* ... I still exist.

EXIST!.I STILL CHRIS

another planet. It is a strange look on her face, all right. Like listening for a soundfrom

~ still finish each other's sentences, remember us? I me, you were always with me. We2li.tb. C'mon, CHRIS

mid-air. in the pen is frozen And

thinking of me. ~ You're thinking of me. CHRIS

His eyes flicker at that. Why did she stop? And she stops.

I still exist. rm here, babe. CHRIS

.. More than he can bear

To keep us always together ... another way to love me, to help me. as He used art writing) (V.b., ANNIE

the dream. I'm not here. is.l1m ANNIE

He stops.. She looks deeply into his eyes. From so near.

No, Chris. (murmurs) ANNIE

of everythinginside him. He looks at ... he begins to LAUGH. To laugh with the release

loving, so terrified for his sake... CLOSE as he knew she would. Her eyes frightenedfor him, and seeing her so near, so

to hold him him, AWAKE beside him, LUNGINGto GRASP ... she is THERE, startling

SHRIEK in the dark, and... a strangled inbed, GASPING UPRIGHT beneath the sheets, Chris sits BOLT From

23 - NIGHT/ FLASHBACK ANNIE'SBEDROOM INT.23

And everything... I ever promised you... will be... CHRIS

Tormented,tom to pieces. clearly. so We see her face

And we will make love. CHRIS

without touching,an inch away. hair, her His hand caressing

We will laugh. when I tell you the dream..And CHRIS

slows. And on this. Her breathing

close. and you'll hold me going to wake up screaming,rm CHRIS

No change. Nothing.

up? wake 1 When like? gonna be is this You know what CHRIS

touching.

quite as close to her ear, without ... and lies down. Inches away. Gets his mouth

back... behind her trembling up on the bed, again. He climbs He can only watch. His heart breaking. And breaking in his hospitalbed. Chris unlike a fetal ball. Not in miserableand desperate.Curls herself

bed, on the THROWSherself its path. Annie Chris instinctivelyDODGING back,

from the desk, her chair FLYING the paper in anguish. LURCHES ... she CRUMPLES

doesn't move. he loves. But the cowboy Chris starts down the hill. Toward the woman u there is a point. If That's the point.

And shrugs.

real. is ... It's all real... You, me. Her. Everything COWBOY

back of his blurry head.the. looks down. Scratches The cowboy

· imagination?· of your What do you think, I'm some figment COWBOY

like us.more_ enhanced. He is becoming seem

his voice that made resonanttimbre that slight than voice-over. Somethingelse is gone,

seem more spoken can be seen to move. His words For the first time, the cowboy's mouth

Someplaceelse. COWBOY

you? were Where CHRIS

•· can. we nearly

see. Althoughthis time, quite we can't cowboy with the features is there. The black He

no rules. It ends when you want it to.. There's (V.O.) COWBOY .

when does it end? Go~ Jesus, CHRIS (murmurs)

pretty. are very They wrappedin newspaper. She has a bundle of flowers away. kneeling on the grass. Not far is hair. She Annie's .•.

that tousles... the breeze unaffectedby slope. Chris standing,his hair and clothes grassy BLINDINGsunlight. A

24 - SUNSET EXT.CEMETERY24

... ,Good-b . ANNIE

Her eyes close. Her mouth almost to his...

always will. I love you, Christy. I ANNIE

part. She moves closer. Her lips

to..• and finally things, the picnic the sailboat, past the cottage, move over the water, They hill.the ofcrestthe atfiguretheJone touch nearly her fingertips band reaches, Her

presentshe never gave him. of the lake. The stares at her painting folded,arms Annie, C

25 AFI'ERNOON STUDIO- LATE INT. ANNIE'S25

And she, too, is gone. Walking slow. Down the hill.

her fingertips. Touch his name.Kiss

away. it flag. She tucks a burial folding Marine the flowers. Compulsively,absently,meticulously. the newspaperthat wrapped She folds

free. But that's all right. petals blows a few there. The breeze them places She plaque,

the set into the earth before vase the flowers,so carefully. There is a plastic .••unwraps

· now, as she... a little strongerbreeze ANGLE... the hillside is empty above her. No husband.No cowboy. The REVERSE

· Wonderingwhy. that by startled somehow. Almost now, cleansingbreath. She is better And GONE. Annie alone in frame. A deep,

G'bye. I love you. CHRIS

bitter smile... small A even before this. Chris stares down at her. He knows. He has known, againsthis denial,

in tears. dissolves shattere~ ... lets go. Annie,d

and ...

realizes, he of her soul, he clutches TIGHTERand she screamsLOUDERuntil depths from the she SHRIEKSan agonizedHOWL and on her shoulders, fingers CLOSE His

not going anywh..• Don't worry, babe. I'm not leaving you alone. rm CHRIS

leans so close above her..• letters. Rest tenderlyon them. He reach for that word. The bronze And Annie's fingers

Forever. CHRIS (murmurs)

* AND HUSBAND. FOREVER.FATHER1998. BELOVED 1953- NIELSEN. JAMES shiny new plaque. It says: CHRISTOPHER a from grass · is cleaningbits of dirt and Annie just now, of his children. The dates of their lives. But

we see two tarnishedPLAQUES,the names her kneeling form. Nearby, Standing behind shake his head. He's reachedher now. at that one. And Chris has to smile Well,

· leave. You'll you. of the both tired of hurting is. When you're Reality

\ j .. ('·• I~'

·~ worse. ; ( If I had to pick a dream. I could have done Hey.''\ , CHRIS (so softly) . ,

beaming.

* So happy to see her, he can't keep from her~ Katie WOOFS again, and his eyes return to

I screwed up, I'm in dog heaven. • CHRIS

* Utterly, confused, disoriented...

? this place... js. what.•.what Katie, CHRIS

He looks around...

you. But so young... i£ God, it CHRIS (amazed)

down to embrace the dog... sinks Chris as over for a cuddle Trots WOOFS happily. Katie

? Katie... CHRIS

almost swear... place. Chris squints, he could bizarre in this young DALMATION. So incongruous ...a

reveal itselt as... RUSTLING, he WHIPS around, as something moves through the paint foliage to ...a

flower, a tree trunk, the same, and suddenly...

A ...paint. Not painted, but made completely of paint. Which comes off on his hand.

Reaches out, touching a brillant leaf, only to find it is.•• real. be

can't around, this looks so. He ...a WOODS of vibrant color. Too vibrant, surrealistically

••• i:eveal BACK to CLOSE on Chris, his eyes DARTING, here, there, where am I? PULL

28 - LATEAFfERNOONHH..LSIDEEXT. - SUMMERLAND 28

OMil'IED 27

* just below the crest of a hillside, as we CUT TO... woods, * next to a painted grander than all the others. She sets the other pencils down in the tray, * Chooses one, and begins to SKETCH in the empty space a NEW TREE, much larger and * PENCILS from the easel's tray. SKETCH ... the uncompleted comer. She lifts four

2S

acceptance. And trust. them. It carries passes betweenSometh~ng

You be angry, if you want. Death does that. ANNIE

cop out. Won't But Annie won't blink.

You're going to kill my dog. MARIE

The stare holds. The dark eyes harden.

I love her. because it, to stop can help that. I'm going and nothing She hurts bac4 ANNIE

hand. smaller her fingers. Around a Winds

rmgoing to help her die, yes. ANNIE

· Never wavering from Marie's eyes...

at him. Just... I'll handle this. angry Not But Annie raises a hand, without turning.

Baby ... CHRIS (0.S.)

•••you're going to kill my dog? MARIE

aslee..• falls shot. That doesn't hurt. And she a They give her ANNIE

Marie doesn't understand. Or doesn't want to.

Katie isn't going there to get well, sugar. ANNIE

side. mother who steps forward. Crouches at her daughter's like all others. It is theshai:ed, This moment side. In the doorway, her parents side by

I'm going too. When she goes to the hospital, MARIE

in the little girl's expression. But she will not cry. registers over. Katie's pain all eyes. She studies her friend, carefully, dark ... Marie, with her huge

Crouchednext to on her soft blanket bed in the comer of Annie's studio. pain. Trembling

and in CLOSE on Katie, the Dalmatian, but not as we've seen her. She is old here, blind

29 AFI'ERNOON/ FLASHBACK LATE -WOODSIDE ANNIE'S STUDIO, INT.29

Albert ... ? (calls out) CHRIS

* Chris squints ... here, the cowboy's body.

... a FIGURE moving toward him, walking across the SURFACE of the lake. Even from

... He looks down the path, to see soon finds he is MIRED in paint above his knees.

and Katie come around the hillside, on a dirt-brown path just above the lake. Chris Chr,is

... dimensional, surrounding us, yet very st.ill.· HEAR a crunching, as

Three- forest, a rippling lake, made entirely of paint. deep Near the foot of the hill now. A

31 AFTERNOON LATE -LAKESIDE EXT. -SUMMERLAND31

Maybe you're in mine. CHRIS

Emotions swim in his eyes.

your heaven after all, girl. in Maybe I'm not Kati~) (to CHRIS

A stunned, forever moment. Annie's painting, completing the image. Unwittingly, Chris' own posture at the top of the hill has become the precise figure in made only of paint. But three dimensional, countless miles wide and deep and high.

All sky. The lake, the forest, the mountains, the cloud-strewn ANNIE'S PAINTING.

... down on a vista which is Because he is looking And Chris FREEZES. They reach the crest, Katie BARKS.

That can't be bad. Can it? ... where we all go. (munnurs) CHRIS

.. crest of a hill, and as they climb it. They are a few steps from the Chris and Katie where we left them in the paint woods.

30 AFfERNOON LATE - LAKE/HILLSIDE SUMMERLAND-EXT.30

Yes, you are. ANNIE

I'm going, too. When she goes to the hospital. MARIE

Marie's eyes cloud with feeling.

· bad? She will go. Where we all go. And how_can that be ANNIE

What'II happen to her. MARIE

26 YELLOW) (REVISED: 5/30/97:

Can you hug a guy in heaven? much. On the other. You croaked before you taught me CHRIS

· His arms already opening, reaching ...

You did give me my first Well, on the one hand. CHRIS

That he is. From Chris' face.

* Me being your favorite doc of all time. 'Doc,'

I thought you recognized me, when you kept saying ALBERT

can't. Chris keeps trying to stand on top of the paint-mud like Albert, but he Albert grins, yep.

... when I died, yeh. CHRIS

ahead, say the word. Go.

... you were there, just now, when I... And you CHRIS

* more ... something

Chris remembering how much he loves this guy. And then he realizes Albert laughs.

* said would tum white.

Well, white hair, at least. That was the one part you CHRIS

Chris just blinks, confused, delighted, dumbfounded.

* · I'd look old and decrepit, huh?

figured You to? when they don't have 63 wants to be Well, old Katie looks better too, huh? Who the hell ALBERT

Chris has to smile in spite of himself. He grins, so cowboy-handsome,

stretched out in a cardiac ward. Last time you saw Albert Lewis, he was 63, ALBERT So Albert laughs ... face. A glint of mischief, but yes, angelic all the same. Chris taken a back by this good looks. He is indeed black,,a boyish 25, sleepy eyes, roguish face, for the first time. ... Albert's

* ' us to see...

CLOSE enough now for FAST, as if he were on one of those airport moving walkways. He's walking effortlessly, but moving And then the cowboy waves, cheerily. Half a beat.

7 2 5/30/97: YELLOW} (REVISED:

....•....••... ,, -., - .. ----------'-------·--~,·.~~-

A* 27

Well. Maybe you taught me a little. CHRIS

softly ...

Very So tight. They look at each other. Guess so. ·Because Albert GRASPS him tight.

A* 27 YELLOW) (REVISED: 5/30/97:

--- ......... ······-···-·---··---·-·---

a clear space for his eyes. Chris grins, wiping ..with laughter ROAR~ Chris square in the face. Albert glob of purple paint that SMACKS a massive SHITS it ..•

its wings, and as it SWOOPSover our head.•. from flying

of paint then.DIVESinto a barrel-roll,flecks The bird sails UP into an airplane LOOP,

You're the painter now! ALBERT

him do a barrel-roll? Can I make CHRlS

delight. with laughs Chris into the painted sky. And effortlessly its great wings and SOARS And then. It DOES. The lavender bird FLAPS

bird will fly when you want it to. That ALBERT

elegance. at the creature. Its frozen, regal Staring

moves? come nothing really Hit's a whole world. How CHRIS

you want. anything love... you other paintings from From your imagination, world, here. entjre an onto. But you're creating to hang like handrails Annie gave you a start. Sorta ALBERT

high branch. a on everything, condor. Motionless,like a the size of raven A huge, majestic. The BIRD is lavender,

bird •.. that like But there's so much here she didn't paint, CHRIS

his wonder. Paint SUCKING around Chris' eyes moving everywhere. In absolute

somewhere safe, comforting. at first. So we see ourselves pretty insecure,We're ALBERT

and exquisitedetail. magical, impossible. And in such complete ~ it in. It taldng Albert

it. But you're the first guy I know to use real paint. here, at least "painting"is what we call surroundings own got. We all paint our ~ Nice place ALBERT

Nice place you got here. CHRIS

u

32 OMITIED32

he turns back... When grand.

pretty villa. It looks away. A gracefulItalian Miles the mist. And there it is. Through

a house,somewhere? guys you paint Annie Didn't ALBERT

y'think. controls. Nice give-and-take,don't_ dual like together,it's are See, when two of us ALBERT

bad... half glob. Tastesit. Not purple Chris' in his finger Scrapes

You wouldn't. I did that. ALBERT

I do that? Now why would CHRIS / \ ()

29 llYEE)7/8/97:(REVISED:

29A

* My brain, I suppose .. * CHRIS

* So what is the 'me?' * ALBERT (O.S.)

* Bob ...But, I'd still be me. be If I could surface, I'd * CHRIS

* . XQY? be * your limbs, wouldn't you stilll!lJ. Really? If you lost

ALBERT (O.S.)

* .

* Partly. * CHRIS

* ...slogging along, feeling miserable.

* D.~34 INTERCUT CHRIS D. 34

* ? ... or your leg arm are you your * Well. What do you mean by 'you' anyway? I mean, * ALBERT

* Albert thinks about that. Calls down ...

\

* really here? Am I not drowning? am I Why * CHRIS (0.S.) ·

* completely normal conversation. * ...Albert on the surface. Despite the distance between them, they seem able to hold a

* 34 c. . INTERCUT ALBERT C. 34

* does... * (with only a slight gurgle), as clearly Even though he is under water, we hear his words

* pick the short cut. XQl! time ~t * CHRIS

* in a good mood. mt the bottom of the lake. He is alo~g He trudges

* Chris jumps into the water and sinks to the bottom.

* B. 34 FLOORLAKE- EXT. 34 SUMMERLAND B.

* ... Albert PEERS down,-as if looking below the surface, at sweat * Albert STRIDING across the surface of the lake. Katie trots.happily at his side. No

* A. 34 A. 34SUMMERLAND-EXT.LAKESURFACE-SUNSET

29A SALMON) Bn/97: (REVISED:.

,·,,:i-.·

29~

G

* of the water. He starts to rise to the surface

* ..Qf a 'me' to be conscious there~ ...including that * ...CHRIS (muffled)

* is partially submerged. Chris

* ... things * The part that thinks...and feels...and is consciousof * (struggling)

* am sort of a... voice. In my head... 'I' Because * CHRIS

• F. 34 INTERCUTCHRIS 34 F.

* the one that's 'you?' fingernail. Why is that * But. It's just a body part, like your heart or your * ALBERT -

* E. 34 INTERCUT ALBERT 34 E.) \,

(\

29B SALMON} sn/97:(REVISED:

u

* ... Look

* is this so hard? Look... Why * ALBERT

mouth. a HORRIBLEface. Brown paint all over his he takes a sip. Makes_but is scared,<:;hris

be. if you want it to Drink, willya? Just think, it's coffee ALBERT

* · stuff.. the Chris stares down at * ·paintmug of steamingcoffee. a holding in a paint room,each They sit at a paint table

* workingon that. a beat, the villa. Chris stands And starts off toward

wonder. In or out?. see,~ to What aren't you ready ALBERT

that. Interesting. thinks about Albert

No windows. CHRIS

* ...toward the villa. From here, we can see that it has...

* up... Chris steps out of the water, Albert turns and squints As

* in the water? l still Am * CHRIS

* to his chest level. comes to rise, pausing as the water continues Chris

* grins. Albert

* the water? in I am So, * CHRIS

* Chris rises out of the water up to his chin.

* why you're still here. * you do. That's you don't exist. If it's still around, * So your consciousnessis you. If that disappears, * missinga beat) ALBERT(not

* right there waiting on the bank. stand and Katie THROUGHthe surface. Albert ...break

i \ /'\.

30 SALMON) sn/97: (REVISED:

brain. You're saying consciousness does not reside in the CHRIS

because ... Chris staring.

think that's all there was to you? you~ Your brain is meat. It rots. And disappears. Did_.- - ALBERT

30A SALMON} sn/97: (REVISED:

()

did this? I looks at him. Chris

Congratulations.Nice ctioice. ALBERT / \ throughthe window.POUR he has ever seen.· SOUNDSof naturelancbcape

clazzlirig the mostALIVE,worldcome Annie's is awestruckat Chris TREES.become has becomeWATER. Paint forest has is REAL. Paint lake below World ...the whole

\ ..·. now

to see that collage. Chrislooksthroughthe window theoutside CRASHESon the ground

hand againstthe interiorof the square... his places of a huge·squareWINDOWin the paint. Then, ... with one finger. Draws the outline

and ...

smile, an enigmatic.Smiles wall. solid the to coffee his up. Takes stands ...So Albert

36 - SUNSET Vll.LA - INT -SUMMERLAND36

to see.choose we what we'reseeing one. Like the lake, the bird, seeing see a body, becauseyou'recomfortable You ALBERT

with m...aU it like I brought Looks CHRIS.

legs... his chest, his Chris looks down at

all that happened. That's ALBERT

beautifulsmile. The most

away. falls down. You get out and walk house the When ALBERT

you get it? Don't

your house. m you mean doesn't your house. But that in You're ALBERT

all around... Gestures_,, ) ____ \ (--~ :

31 lllIEE)7/8/97:(REVISED:

I I

... CATCHING the lake, his eye suddenly it flies past towards as color. Chris pivots with the peacock Chris in a vibrant burst of ...A PEACOCK darts from the bushes. The bird flies towards

and... leaves, behind on, but suddenly, a slight movement continue thick bushes. The footprints Chris follows the footprints which lead towards Curious,

Don't ask me. You put 'em there. ALBERT

Whose are those? CHRIS

· off into the distance. FOOTPRINTSin the sand trailing down and sees edge. Chris glances Chris, Albert and Katie stroll by the water's

37 - EXT. LAKESIDE- SUNSETSUMMERLAND37

They sip their coffee. Like friends anywhere.

... connection of silent They smile at each other. And in that moment

luck. Don't push your ALBERT

Needs cream. CHRIS

And, without thinking, Chris does.

* Now drink the coffee. * ALBERT

* for them. They gaze at each other. A nice moment

* hear. You think?

why we don't down that he loves us. Wondering there, somewhere. Shouting just.;.up Maybe he's

* (sighs)

* We don't know much more about that than you do. * ALBERT

* friend. As if the cowboy has the answer. Albert smiles gently...h~s And turns to

* ~?

he live here Where does God fit in all of this? Does

* CHRIS

* from Annie's painting... he has created WORLD he stares down at the incredible As

huh? is the illusion. Ironic,physical real, isThou~ht ALBERT · / \ ; I ,-----..__,

32 GREEN} (REVISED:6/10/97:

A* 32

l)

thrilled, mesmerized... As he watched, her. briefest ghmpse, but he knows it's DIVE into the lake. Only the naked, DARTING from bushes·to gracefully ANNIEr ... / \_ ~\

A* 32 GREEN} fJ/10/97: (REVISED:

the heart ... from And

us. know You don't Man. CHRIS

whisper ... No wind at all. And just above a A sudden SILENCE. glares at his friend. Chris

so will she. &d You'll feel differently. ALBERT

The sound of what's pent-up inside. Silence. The breeze becoming a wind we can HEAR.

* less.

And wherever it is, it won't make me need Annie any wristwatch anymore, is it? Time disappeared on me. hellwith time! Time's not that thing on myTo CHRIS

That'll change in ti..• (softly)ALBERT.

Staring at each other. A tough moment:

need her bad. I need. And I There's just one thing (hard) CHRIS

... Are not what you need right n Fantasies. ALBERT

all. at nothing than mirage is better a even And CHRIS

The anger sets Albert back.

The point is, that's all I've got! CHRIS

... point t just making yourself feel worse, there's no re You' ALBERT

In such despair. lost. so is He

ANNIE! CHRIS

imagined her dive. Concentric circles spread out in ripples from the place he ...the fantasy is GONE.

... to see if Albert sees her too, but when he turns back GLIDES beneath its rippling surface, sensual, exquisite, free. He glances up body ...her/ \. () I

33 fIIilQ sn/97: (RJ;VISED:

AL-BERT!! CHRIS

SHOUTING ...He WHIRLS, vanish.•••

••• round a bend, and And he RUNS, fast this time, RACING along the shore after the footprints, which finally

toys, a STUFFED TIGER. A tiger we've seen. In a child's Cloth~ things. children's•••

... by the waters edge, a pile of there And These lead along the shoreline, stretching into the distance. once more. ~.FOOTPRINTS.

... Can't accept it. Looking around in frustration, he sees it. hears ...Chris

38 - EXT.LAKESIDE- SUNSETSUMMERLAND38

••? Do you hear that.

Forget it. different planet. it's like you're a different species on a poin~ At this ALBERT

And darkly,Chris does. Remember?

For her. And it was hell. ALBERT

And a finger comes up. To remind.

enough to just barely connect ... You were still close room, yeh. her That time in ALBERT

Like the voice, the anguish, of God. and off the mountains. lake That ECHOED across the

EXIST'! STllL 'I WROTEIT DOWN. SHEHEARDME! SHE CHRIS

... No matter what y You can't reach her. ALBERT

understand? he make him can How

did. Wish I ALBERT ,,____._n .

3S

How can I see what was drawn. After I died? CHRIS

He looks back to his friend.\..,__,,,/

I Look how huge it is. It's incredible. CHRIS (admiring)

re sure. You' ALBERT

· here. This is completely new. The canvas was blank, CHRIS

· had left her in the cemetery. Chris Annie had begun after sketch of the new tree it as a finished reco~ize ...a gigantic SKETCH of a TREE. We

•• at. catches up, Chris is staring upward rising to the heavens. As Albert COLUMNS grainy, charcoalthick,· WHITE, and some

Albert through the grass, into... past Stare at each other. Chris moves stop. They

bend in the path, and suddenly... above. They tum a a thick canopy of foliage Strolling now through leafy green woods,

-EXT.FOREST-SUNSET39

and they follow. And walks out of frame. Chris staring after him. Katie WOOFS,

when you do. You will.••. ALBERT

chil... Look, what are you implying? I want to see my CHRIS

if he knows something. As tone to that. Strange

seen them. Is it. private universe. But that's not why you haven't for everyone to have a is big enough 'here' Well, ALBERT

here? kids my Are Is she here? CHRIS

· · · of its fur... plush worn the it from him with great tenderness. Strokesta.lees stuffed tiger. Chris the...

him. behind inches appeared somehow has Straight INTO the FACE of Albert, who

in distant forest. That brings a silence. in the air, to disappear ...FLJN:GSit a M1LE

her painting, it's .. u through other, eachreachini I mean, you're actually ALBERT ·, ,,,.---

••. and snowball, is now filled with a clump of soft charcoal. He starts to pack it, angrily, like a black .it.•

romantic stuff....pretty ALBERT

Pulling back. Chris looks at his hand...

Apparently. Even in death. ALBERT

up. To the magical tree. looks And

to each other.•. they're almost one. Sort of ...twin souls. Tuned in ...it means two people who are so much alike, ALBERT

,Leans his hand against the charcoal trunk. Chris blinks.

soul mates, it's extremely rare, but it exists..•• ALBERT

Are?

Because you are. ALBERT

words. But Chris rather likes them. strange More

...soul mates. ALBERT

• felt like... No. Actuallv. From the first...almost, moment. It CHRIS

Strange Question. So off the point.

courtship? You and Annie. A long ALBERT

Chris. A little sideways. at Albert sure does. He looks

expei:t. You look pretty surprised. For an CHRIS

Realizes... _/ ... \ (';

t\____j I I

* 40 40

* CUfTO:

_,,,, .

37 (REVISED: 10/6/97:TAN)

u

on top of a nearby hill she has painted... the huge tree. Reds, golds, orange. Leaves are falling gently. Piled on the ground.And COLORSonto FALL brilliant painted n6w We see she has easeL She rises, goes to her

Nothingto it.

Ginger's fur. Studies the page. through Runs her hand back

some wine. And then, it'll be dark. drink slow... return, well, a few... cook our supper, nice and calls to I've still got the pharmacy, the grocery, Christy. lt's already nearly one-thirty,and Sweet writing) .Q.,ANNIE (V

journal in her-lap... Ginger. Writing on the up, leaning back against of her studio, with her knees drawn Annie sits on the floor

43 ANNIE'S STUDIO- DAY INT.43

/ ... '-- (~;,

38 (REVISED: 10/6/97: TAN)

I brought you some. They had sandwiches there. ANNIE

up at him, with the most wonderful smile. She looks.

· the natives... Planted my little flag, sold beads to· Columbus. Like rANNIE

And napkins, and cups. Out, is coming a red cloth.

I did, and I claimed it for.Missouri. ANNIE

She begins to unpack.

Did you find Switzerland? CHRIS

spreading out her blanket ... Settles on the bank, She likes him. She doesn't mind that he's trying a little hard. Good.

That's the one exception. CHRIS

say please? How about ifl ANNIE

..• that only I could u all this land, with the express restriction purchased Unknown ancestors of mine had Uh, actually, no. CHRIS

She carries a picnic basket and a blanket. and smile. Tums to see the younger Annie in her shorts and halter from his reverie. He STARTLES

I sit here? Can ANNIE (O.S.)

Maybe searching for a sailboat. ... looking out across the water.

The younger Chris reclines on his elbows ..• Lugano, white and miniature in the distance. Mountain peaks, villages dotting the shoreline. azure lake we've seen before....the

44 FLASHBACK - DAY/ MAqGIORE EXT. LAKE 44

Which BECOMES ... At the foot of the mountain. the lake. ...

... And our VIEW PANS up to finger. Still wet. her Annie touches the paint with

lamentation. in bowed Her bead figure of a WOMAN. tiny ...the

there ... ···-·· •. With a SLIT in the ground beside it. And KNEELING EARTII. ...a small mound of

Beyond, in far distance, is a ring of mountains . stretches up the side of a gentle hill. An endless SHEER DROP to a vast POPPY FIELD, which ..•we stand atop a CLIFF.

Let me show you something. ALBERT

Chris out of his reverie •.. talce ,Albertwants tolalce. He looks down the hillside to the

She brought me sandwiches, y'know. CHRIS

gone. Albert and Katie are there, slightly concerned. Annie, the same view of the lake. Chris turns easily. The dream of to ... and we MATCH CUT

* 45 SUNSET - HILLSIDE - EXT. SOMMERLAND4S

? You okay ... ALBERT (O.S.)

•. And. just hold the look. They

Switzerland and all. was quite a risk. Escaping from It I didn't. ANNIE

did you know I'd be here again? How CHRIS

forever, without speaking. if she could just sit there As in his awkward silence. so comfortable seems She Almost.

Or almost anyone. Vasco da Gama to Columbus. And I always preferred uh, I'm Chris Nielsen. .•• CHRIS

all the papers. It's in ... sure, the one who discovered Switzerland. CHRIS

her hand. talces He's staring so hard, it's a beat before he

I'm Ann Collins. ANN1E

smile, a slender hand extended ... Once more, the dark eyes, the brilliant easy row. And out they come. Lay them neatly in a

the Road Runner, ZOOMING up the ... REAPPEAR in far distance. out-Roadrunnering

48 - SUNSET ·EXT.MOUNTAINSIDE SUMMERLAND48

DISAPPEAR over the hilltop, and... OVERSHOOTINGthe mark to by, drastically WHIZZES he as him BLINDING which PLASTERS itself across his face and body, blanke4 ...INTO the flapping

• straight... the hillside, up BLASTS take flight again, he to occasionally trying unsuccessfully blanket at WARP SPEED, ... HIT the ground RUNNING, TEARING across the poppy field toward.the flapping

his guts out, he picks a ROCK, flapping his arms uselessly, SCREAMING like ...DROP

only to... body arched like a mighty superhero, cliff, And DIVES OFF the

••. this handle I'll CHRIS

Annie. Blanket FLAPPING in the wind. to Chris looks back

like the Road Runner. fast.n:aL real. You're not superman. Just think of running ~: keepingit you're more comfortable think I Well. ALBERT

right ? want, if I Can CHRIS

look. a Chris cuts him

so. don't think JUh•• ALBERT

fly. I'llOkay, CHRIS

OUT their picnic basket. the poppy field. She is SHAKING APPEARS on the hilltop across And a vision of Annie

* If I give myself some incentive.

l.J Albert smiles back. No words are needed. In the silence ... He looks to his friend.

...I think Annie does it better. CHRIS

Arid softly, almost to himself ...

tree. a can makeGoi:i My mom said. Only CHRIS

by its majesty._awed g;u;es down,

Chris AUTUMN TREE, a real tree now, with leaves as bright as those Annie had painted.

Suddenly, Albert and Katie appear beside him. Staring along with Chris at the huge

The tree. She's painted it. CHRIS (quietly)

Something that was never there before. It is bright with the colors of autumn.

so SUMMERLAND - EXT. MOUNTAINTOP - SUNSETso

... on a hilltop below him s~es And then he turns. And

* And POOF, the most exquisite fluorescent rainbow. Chris marking it. Got it.

* I'll send a flare! You're a camper! * ALBERT (O.S., distant)

* Then ... Bigger echo.

GETUP HERE! CHRIS

We're looking around. A little scared.

You overshot, goofball! (O.S., clear, but miles away) ALBERT

... Followed by Huge, resounding, world-record ECHO.

AL-BERRRR'ITIT! CHRIS

...staring down from the top of the world.

Where did she go? (softly) CHRIS

...stop. At the summit.- Slowly, he peels off the blanket to GULP at the sight. . ,. ,/ __,,n

42 (REVISED: 6/24/97: GOLDENROD}

\__) \ /

from the table, and... a can of SOLVENT she can't explain, she LIFTS reason glaze. For some by its hard beneath,protected which does not smear the branchWAY,it A WET. Wipes that it is still testing a leaf, touches TREE. SheAUTL"MNThe magnificent

before our painting. Hugs herself. a nightshirt. Haunted eyes. She stands basketballjersey as an oversized ... the silent studio. Annie walks into frame, still wearing

Darkness. A light FLICKERS on, revealing...

51 OMII'IED51

additionto the assumedthe pose that Annie's own lamentingfigure bore in her final ...Chris SINKS to his knees beside the grave. As he bows his head, he has unknowingly

FOREVER. And... AND HUSBAND. ...his own GRAVE. The headstone. BELOVEDFATHER

... rendering of it. Annie's The slit in the earth beside ...a small mound of dirt we hadn't noticed.

near by. Onto... flight of the last leaf, as it flutters to the ground~he Despondent,follows

to live. I ruined her tree. I don't deserve · CHRIS

separation. at their Overcomeby the intensity of his longingfor Annie. His despair of stark, barren branches. Chris is struck by this. ...the tree is BARE. A SKELETON

Some of the leaves blow toward us, SWIRL around us, and now... of confetti. thril1ingburst ...all the leaves from the tree, they SCATTERin a dazzling,

And with that, a WIND COMES, and blows...

So beautiful. CHRIS

slowly. down looks back down at Annie's tree. A single LEAF drops, floats Chris

* n

43 GREEN} (REVISED: 6/10/97:

Charmed, but uncomprehending. He blinks _/ _ \ ( of the North. And I'll be Glenda, the Witch. So, you be Dorothy. LEONA

his hand ... takes She of grace. smile ultra-femininedazzling,· A smiles. And now she

I would, but travel makes me nauseous. CHRIS,

Something else. And not because she's lovely. His look lingers.

Perhaps a city? to see others? Would you care He said. you've been quite isolated.

... Such a pretty na Leona. CHRIS

something.

recall to He stares at it, and her, as if trying breast, a metal tag that says LEONA. Above her She glides forward in her sarong. He smiles, afraid his mood offended her.

that be all right? Will LEONA

concerned she's been too forward. Perhaps Dark, serious eyes.

you. with be to Albert has to work, he asked me LEONA

delicate, her hair black and shining like Annie's. young Asian WOMAN, perhaps Thai, early 20's. Lovely and a to see up looks He

Excuse me ••• (O.S.J LEONA

* what is wrong, but he doesn't know Something pacing, agitated.

TERRACE,overlooking a large serene POND. Chris is MARBLE a Nearby, we see a more elaborate version of Annie's garden. is which Chris, in a HANGING GARDEN,

And I don't know why. I've ruined your tree. (V.0.) ANNIE

trees in both worlds identical once more. And staring·at what she's done, bewildered ..• left with after the wind.· Thewas of branches that Chris SKELETON ...the same STARK

the tree. As the solvent RUNS DOWN, it of ...SQUEEZES a line of liquid over the top... \ / \_ (':

(j I like that. h~h? So there is...work.to do, CHRIS

to descend the stairs... girl. Katie taps along as they continue way. More like a little innocent.nonsexual hand, but in a completely his She keeps hold of

...If computers could dream. LEONA

Smiles at the thought.

could dream of. we can figure outthings no computer everyone, in numbers. When we tap into There's strength LEONA

get along... Nice to think people can be together, CHRIS

· silhouettes of moving figures in the sky.

architecture. Tiny gardens. Striking,imaginative among precipices and enormous a glitteringCITY is built WATERWAY,where a lovely across She points into distance,

vision. we have to have a common live together, When we wor;ld. your own You've been painting LEONA

* That they do. And lots of it. As they walk down the stairs, he is looking everywhere...

* Well, we have company. * CHRIS

* He looks up into her friendly smile. Grins, gestures at the others...

* Mister. You clean up real nice, * LEONA

* · tranformation... * a little stunned by the wardrobe are clean, fresh and handsome. He looks down at himself, * strolling, Chris and Leona appear, dressed as before, except that now Chris' face, hands,

People are sitting and talking, STAIRCASE. Open to find we are on an enormous

I didn't mean forever. LEONA (O.S.)

He does. Our screen BLACK. In an instant... - That means. You can close your eyes. LEONA

45 SALMON} 8p197: (REVISED:

- ·1:-;.,-.,,·_:-,:-·.• ' J .:~:.,;,_.. .,.::::.-t- ' :,,,: ··. "·.-:-

45A

_,,/ l}

that?talcing over. How is he She glances

here. ...well, can't get can't Hardly. They're the ones who LEONA (laughs)

me? Like CHRIS

of a missionary. Saving for example,is sort Albert, LEONA ,~/ ..... '· n

* 45A SALMON) sn/97: (REVISED:

looks over, Leona DOGS. When a group of other OFF to play with RACING ~atie sends

of her hand, Leona motion gather. With a single where people there are areas the way, DISAPPEARinto fog. Along us that the stairs Back to Chris and Leona. See far below

* 51 AFTERNOON STAIRCASE- LATE - EXT. SUMMBRLAND57

•. shows, I should have walked out. importantthan a thousand more Double-D, This was ANNIE (V.0.)

her face. As this flickers behindher eyes. Watch

anniversary... our precious how I missed night... arid last thought... of your I lbegan to lose it. .•: ANNIE (V.O.)

bowls, vegetables·choppedand waiting,pots simmering. meal in progress. Mixingela~orate She turns away now and we see the preparationof an

• coming home... to you. But our eveningmeal. Writing of making only Business. Thinkingafternoon. People,· endless I was so proud of how I held together through this... (V.O.) ANNIE

rests on her kitchencounter. BACK to see Annie,jotting in thejournal which PULLd

unraveled on me... I don't know how this day Dearest Christy. (V.0.) ANNIE.

in a book. grave. But she is not kneeling. She is writing Chris used at the that in the same posture something bending over ...Annie's head bowed,

• A. 57 INT. ANNIE'S KITCHEN - EVENING A. 57

Katie's an old friend. LEONA

position. in a perfect 'heel' at Leona's side, is walking a WOOF. They look down. Katie Hear

them. and her FIVE flyingPUPS pass over They look up to see a FLYING femaleBULLDOG

the other hand, is with animals... In a way. Maybe not what you think. My work, on LEONA

hell? mean they're in You CHRIS ) \ f\.

And his voice trails off.

instincts her protective she'd been driving the kids, It was the trucker's fault. But my wife believed... if CHRIS

breath•••

a all of this. He draws it is NOT Marie, after all. Leona watchinghis profile, through

••. face,.and

the Chris to gasp, the first girl's hair no longer obscures takes time.it In theMARIE. ...

revealed, as••• who SUDDENLY,is partially mostly obscuring the face of a girlfriend, in the breeze, group of LITTLE GIRLS playing. One has her back to us, her long red hair flying a to ,.,

Leona's eyes now... than sympathy. He follows understand now. Nods, more with comprehension Leona Ah. ' my daughter. Had asked her to drive. Well, CHRIS

? ... wife your And LEONA

••• survived was driving, it wasn't her fault, she barely Our nanny collision.terrible a in killed They were CHRIS

if it is surprising,and very interesting. As about that. thinks Leona

worried about my wife. They died years ago. That's one of the reasons I'm CHRIS

He turns. On the way that sounded.

... and your children? LEONA

to losing my wife, yeh. .•• CHRIS (quietly)

... adjusting to ·difficulty have up. You Albert says to cheer you LEONA

· She says only... thing is disturbinghim. if some unknownas she finds Chris is now distracted, agitated, ,/ "·-. I \ (~

*- himself in the boat. steadies he as Chris, washes over sound thean_d mesmerizing, is

from the shores, singing in DIFFERENTLANGUAGES. The effect coming somewhere We hear a CHOIR, her; He doesn't answer. So lost in thought, he seems not to hear

* you all right? Are

pushes them OFF into the river, as... are swimming. Leona ushers Chris onto a flat boat Talcesa long pole and Children at the water's edge. People float by playfully. Back to Chris and Leona. They have arrived

* 58 SUMMERLAND-EXT. WATERWAY-SUNSET58

buy a bike. Enough to make a person (V.O.) ANNIE

Tries a bittersweethalf-smile.

... crashes car in lost family whole A (V.O.) ANNIE

She lifts a fork. It remains poised in the air.

* favor.

me a have never been in that tunnel. Doing would walked out that night, for our Double-D. You 4 If I' (V.0.) ANNIE

flame. supper. Staring at a with her untouched sits alone for a romantic meal. Annie into a setting has been darkened, turned Two candles light a table. Set for one. See now that the kitchen

• A. 58 NIGHT - INT. KITCHEN A. 58

herself for the kids. blaming Can't imagine why she would. She's pretty busy CHRIS

of that at her. Odd, he never thought He glances

you think? death? Do for your Does your wife blame herself LEONA

much. Your wife. Must have loved her children. Very LEONA

She studies him.

just thinking. About someone. I was CHRIS p' ... Oh. Well \ . been wandering all afternoon. mind's Your LEONA

Hmmmm? CHRIS

now? you,just Where were LEONA

young woman. But Chris seems ever more distracted, concerned.

tenderly by the her ears stroked As Chris and Leona drift, Katie sits at Leona's feet, having

59 TWILIGHr - EXT.RIVER-SUMMERI.AND

* 59 A. OMl'l'IEJ 59 A.

49 TAN) 10/6/'77: (REVISED:

5ff

'-/ / ( know dreams ... That's a dream, a beautiful one. But you No, baby. CHRIS

He laughs.

Is this where we go when we die? MARIE

Points to the angels and clouds, Mom's vision of heaven ... full attention. When she glances up, she has his The logic of an eight-year-old. Which was her point.

anyway. You weren't looking What's the difference? MARIE (matter-of-fact)

That's someone else's art. Hey. soft) (0.S., CHRIS

half-flying fish figure ... half-map, WS a flowing mustache on a ... ORA

* and ... PENCIL,

waves, past Annie's painted backdrop, a fanciful creature-filled rendition. Marie lifts a As Chris ponders his next move, Marie begins moving a flat boat across the cardboard

cardboard waves lap at the edge of the proscenium. circles the stage. Angelic marionettes obscure the painted clouds and touch down where WATERWAY that a a hand-painted mural of a maze-like CITY rising like a bridge above stage and disappears into painted clouds. On either side of the stage is center rises up from

· cardboard, hand-painted by Annie with 19th century backdrops. A large STAIRCASE

STAGE on her night table. Beautifully designed out of MARIONETTE ... she turns to the•

move ...

next which Chris, sitting at the foot of the bed, studies intently. As he concentrates on his chessboard, a Eight-year-old Marie, propped up by pillows in her sick bed. By her side is

Hold the look.

daughter. Say, with your Tell me a memory of your own. LEONA

different languages. always in a striking blend of now, More VOICES are singing She stares in his eyes.

love your kids. But you don't have to break in half to Very much. CHRIS

He looks up to her eyes. Out of the blue. Said lightly.

50 GOLDENROD)6124197: (REVISED:

His smi\e has an inner light. Becausemaybehe is startingto realize.

to me. and it meantthe world night, every later. We played She died three months CHRIS

walls. on Marie's in the sky perfectlymatch those clouds The stage. side of Marie's puppet bridgeand city Annie painted on each is the same over the river. This a bridge city forming

an enormous reveal to sky we pull back the night large arched mass. As the boat pulls into

the boat as we emerge from a over passes night now. A shadow from the moon fully It is

I want to play. Until you win. CHRIS

find oddly familiar. She's reading his eyes in a way we now

to stop. want Unless you MARIE

six. Bishop He moves his Rook. To Queen's

do. I just want to play until I MARIE

Still staring at the board.

cheating, and when I win, I'll really win. won. It means you're not that I haven'tlike. ... no, I MARIE

* Well, it's your first time pl...

chessboard. to the She looks from the stage

It's past midnight. CHRIS

· at his watch. the Sumrnerlandshore. He looks on Exactly. She hugs her stuffed tiger. The one we saw

... aren't real. MARIE

·!, \_1 her throat. for her to finish. She clears Waiting (\

51 (REVISED: 6/24/97: GOLDENROD}

* TO ... CROSS-FADE

· the water, surrounding their boat, shimmering as each chord is struck. off bouncing HIGH ANGLE ... the city from above, an immense and intricate web of light,

So tight. him. Holds

... she slides her arms around her daddy's neck.

... Slowly, now Brings it to his lips. He wraps his fingers around her hand.

For my partner. I think I waited.

* MARIE(LEONA)

* . Asian .face his daughter now uses...

...the face of 8-year old MARIE, as she looked on Earth. It fades. And from the beautiful

* ... And as she does, another IMAGE appears She shakes her head.

Do you still play chess? CHRIS

Tears on her face now. For some reason, that makes him very happy.

... to be that. ... I want to grow upwas ,'J And what I thought It was just something he said. LEONA

onl. .. mean He didn't CHRIS

graceful. And inteHigent. He told me, Asian women are so lovely. And so• LEONA

his eyes now. Everywhere, the sound of the CHOIR ... in Tears stand

wore this name tag. Leona. And at the flight attendant. Who looked like this. once. And my daddy smiled Singapore We flew to LEONA

No, I didn't. Shakes her head.

You know. In the body. I didn't look like this. LEONA

Leona clears her throat.

She never won. CHRIS

52 YELLOW} (REVISED: 5/30/97:

her attention. Everything has Studies it, too. Everything looks new tonight. She picks up a hairbrush.

· myself.· I owe this to myself, Christy. Even if I can't forgive (V.0.) ANNIE

looking at it for the first time. really Studies her face. As if She sits at the mirror.

'safety.' For my own me. commit Another week, he might Mine is suspicious. (V.0.) ANNIE

happiest we've seen her, except in dreams.

The In her prettiest nightgown. Her face scrubbed clean, actually shining. See her now.

·there. legislation, done before your shrink commits you. Thoughtful it They sort of push you into it, so that you can get (V.0.) ANNIE

· Some crumbled bits of pill remain. Our ANGLE ROTATES to see inside the bowl. A mashed-up pastel-streaked PASTE.

that California is the strangest_place. !swear (V.0.) ANNIE

A metal bowl. sour cream.

A carton of multi-colored cascade of PILLS. a Strewn across the table, Keep PANNING.

* IS LOST... DARK FOREST, FOR THE STRAIGHTWAY * A IN' MYSELF written: IN THE MIDDLE OF THE COURSE OF MY LIFE,I FIND she had once a page where to PAN across· it to her diary. Opened Annie's dressing table.

66 OMII'I'ED66

· INTO his troubled eyes...

We PUSH Night stars twinkle in the water. the pond. the marble terrace. overlooking ...

· onto... The premonition that has been growing through the day. He steps flood through him. Chris back in the hanging garden, alone among vines and flowers, lost in the feelings that

,/ \, (''

53 (REVISED: 9/3/97: CHERRY)

_.,,_._ ..

A* 53

d

anything as arbitrary as life. dare expectfrom . Two spectacular children. Blessings no one would I had the husband and the love I was meant to have. (V.0.) ANNIE

A* 53 GREEN\6(1_0/97: (REVISED:

'\_) Touch the words. Kiss her fingertips. .i

ANNIE (V.0.)

tears. Which make her stop. How foolish. Actual

... Across whatever distance there is (V.O.) ANNIE

For the first time. Sadness.

to say good-bye, but I'll tell you what... get I don't ANNIE (V.0.)

... cracker into the mix. Begins to write a Scoops Oh, well.

* God, the smell alone could kill you.

blew that. You're dead, and I I don't get to say good-bye. ANNIE' (V.0.)

her pen ...

lifts lap, in her ittaJces She Talces it to her bed. A box of flat crackers. Her open journal.

planning. Poor It's a bitch being last. ANNIE (V.O.)

Gathers up the bowl. Stands.

· But not you. And not me.

- ... for the last time.

A truth that embarrasses psychiatrists, religionists ANNIE (V.0.)

face ... She does look quite beautiful. Not that she would ever be satisfied. Stares at this There.

...to ravel up. one ...loose ...end And the truth. Is simply. That it's over. Just this ANNIE (V.O., brushing)

hair. Hard. To make it shine ... black She tosses her head fearlessly. Begins to brush the

54 YELLOW} (REVISED: 5/30/97:

ss

..• '\Vhispers her eyes. Closes ~/ Never give up : ( ANNIE

Never. Give up. ANNIE

And softer•••

Oh yeah. It was.•. never give up. ANNIE

inch away ... yawns. And snuggles nearer. Puts her nose against his, looks in his eyes, from an She

I forget. ANNIE

'! Which is.•• CHRIS

silence prompts an expectant... Her at him. stares she And

remembering. You taught me the one thing. The only thing. Worth ANNIE

How come I got so lucky? CHRIS

wraps his arms around her. And his legs. She is safe now in his cocoon. lie

life. into your Well, that's my role. To bring adventure (softly) ANNIE

never been anyplace like it. rve CHRIS

the images. by He seems transfixed him. at back She looks

be somewhere incredible? it Shouldn't Double-0. it's our first But expensive, yeh. little A ANNIE

at a travel folder. Bora Bora, lush and primal and exotic. gazing are him. Theyagainst sits, leans back the hanging vines and blossoms. A couple The floodlit greenhouse,

* 68 - NIGHT - FLASHBACK INT. GARDEN/GREENHOUSE68

Stopped by the look in Chris' eyes. Better come out with it. u

in ••. now. And I'm with you, okay? You're not alone going to go through a very hard thing, rightWe're ALBERT

Chris does, eyes on the cowboy's all the way. Hesitantlr, c·ome sit beside me. ever heard.. Albert motions, has words Chris ~y as ominous As of that. The gentleness

Especially now. (looks up)

sends her love. she wishes she could be here. She fine, Marie's ALBERT

... She's all right, isn't sh CHRIS

A sudden flash of panic ... Albert's eyes go down. Oh.

... for finding Marie. CHRIS

me? Thank

There's no words to thank you. CHRIS

One Chris can't interpret. Intense look.

got called back. I was working. I Far away. ALBERT

Where you been? CHRIS I

empty a moment on the stone railing, which had been sitting Chris startles to see him

Hey. softly) (O.S., ALBERT

A vision of perfect heavens.

Breathtaking_ up, to see the canopy. looks the stars. He all Stars are reflected in the water,

Chris blinks, from his reverie. He stands at the terrace railing, looking down at the pond.

• 69 GARDENS- NIGHT SUMMERLAND• EXT. VILLA69

never. ... ANNIE ..____\..

The way things work. ... reality. )__\__ ALBERT \ (

hard. so is This

... There's only equals. all no judges here, we're Chris. There's no crimes and It's not punishment, ALBERT

Rage that is outrage.

For~? her? You're punishing CHRIS

She's a suicide .. She goes to another place. ALBERT

Stops. everything. And

you never see her. Chris, Never. , ALBERT

Albert looks in his eyes.

see her? I did. When do I ...she won't cling like CHRIS e don't underst ... You \ ALBERT

okay now, it's over. She's CHRIS

frightened. Chris puts a hand on his ann. even But Albert is just staring. Eyes hollow,

not much without the other? Is that an occupational hazard of soul mates? One's CHRIS

Albert's pain.seems as great as his own.

You don't know us. Well, like I said. CHRIS (so quietly)

I ever expected. thing not a It's ALBERT

must have gone through.

she What Chris. And the wave of pain floats over stunned moment of non-reaction. A

... she killed herself. She Chris, Annie's dead. ALBERT. C

Annie's violated that. And she won't face it. ALBERT (_)

He swirls his fingers in the water ...

order. To our journey. Each of us has an instinct. .. that there is a natural ALBERT

He looks from Chris' eyes into the still fountain. The reflection of all those stars.

reason. For a very different immoral or selfish, or anything like that. They go. Suicides don't go someplace else because they were ALBERT

? ... How to explain this Different.

Suicides are different. ...no. ALBERT

.. apply t. ?oesn't But Annie's not like that, so it CHRIS

themselves. won't let go of the world they've built around because they were too self-absorbed in life. They ... They can't realize what's happened to them ALBERT

Albert figured that. At least he has his attention. A non-compute.

they're dead. What you call 'hell' ... is for those who don't know ALBERT

Talk. Now.

You just can't change it. You can hide from this. Or you can understand it. ALBERT

I? Should Well.

something? Should I get us some knives, or You want to fight? ALBERT (calmly)

... YING, WHIRLS back, to He WHEELS away, white gravel FL

* judgment~! goddamn

No to~? And reality is what? Suicides go

58 filiKl Sn/97: (REVISED:

Silence.

she's dead. That Annie can't realize the same? suicide's everyk.ru:ll1t If there's no rules, how do you CHRIS

No answer. Because he was.

me, weren't you? to that came throughsuzprised tree, you were pretty How about that autumn.•You say there's no rules CHRIS

Steps up to the cowboy. In his face.

up. It's not about understanding. It's about not giv_ing CHRIS

You don't understand how this w... · ALBERT

light. unbearable with brilliant, SUNS, flooding the garden HOT as a thousand FLASH WHITE And suddenly, the stars

I'm her soul mate. I can find her. CHRIS

silver of a thousand moons. the garden with the glow BRIGHTER,bathing and the stars sky hand to the his He raises

eyes come up. They are not to be fucked with. his Chris looks down. When

this one. In denial. That's a big place, Chris, as infinite as AIBERT

Where is she? CHRIS

· gone wrong. life your is real hellThe fire and pain. all it's not Everyone's hell is different, AIBERT

in hell. she's You're still saying CHRIS

she'll spend eternity playing that out Won't accept, won't realize, what she's· done. So ALBERT

sky as well. up. The stars are gone now, from the He.glances DISAPPEAR. reflections starry And the\-,-,·- _./ '-' ~:

This the guy who doesn't give up? TRACKER

No smile. Chris through the gun-metal glasses._ to the TRACKER. So Chris does the same. The man peers down at UP And FLOATS

Hey. (softly) ALBERT

· page yet. And he hasn't turned a reads only one book, through round gun-metal rimmed spectacles. angular and leathery, with small ice blue eyes. Maybe this guy was Sheriff in Dodge. He

His face is The man is well past fifty, with a long, hard body, salt and pepper brush cut.

figure. his target and both men begin to LEVITATE up into the stacks of books towards a lone Albert and Chris are in a small SAILBOAT moving along the shallow water. Albert spots

Most readers are reading as fast as they can tum pages. An odd, mesmerizing sight. FIGURES not tied by gravity FLOAT idly in the air, casually searching through the stacks. a single READINGroom, but with narrow niches of books all the way up the walls. Small coats the floor. The entire space is of.WATER A thin layer the size of St. Peter's Basilica. of translucent marble. Like the Heinecke Museum at Yale, but walls Cathedral ceiling with

What are we waiting for? CHRIS

breeze. A smile ... cooling And searing day is NIGHT once more. A

Gotta find us a tracker. ALBERT

~· •·~·-··,··.'·-:;...,~-/~ rnμnnured ...A. on~'.. A long look. A longer

Cause you ain't seen nothing yet. CHRIS

One finger up. Right at Albert's eyes.

Then, stick around, sonny. CHRIS

* back.

Has ever seen. A suicide brought And nobody. ALBERT

And ...

and others, have seen. Is what we, All any of us here know. I don't know. ALBERT (quietly)

(REVISED: 5/30/97: YELLOW}

You can't outsmart it, you can't beat it. TRACKER

doe_s. Chris

· me? follow it, do you ~ around and everything Denial twists stronger than her love, in fact reinforced by her love. recognize you. Nothing will break her denial, it is Nothing will make her When you find her. TRACKER

Anything.

One thing. TRACKER

This man is now a god he would follow anywhere. Tears stand in Chris' eyes.

We'll find her. TRACKER

conviction ... And reading that He nods, yeh. Very strong. Just the words choke Chris up to the top.

Your wife love you strong? TRACKER

No, I don't guess you will. The Tracker nods, a little slowly.

I won't. CHRIS

Don't let it screw you up. usually right It's You'll hear a lot of smart stuff around here. TRACKER

Now he smiles, just a little.

my imagination. My eyes being a figment of and don't need glasses. I also hear I read too slow, I hear the same thing. TRACKER

But the Tracker keeps looking only at Chris.

Constantly. (points to Albert) CHRIS

.. kinda stupid? Anyone ever tell you too much persistence can get TRACKER

It is. Chris nods, once.

61 YELLOW} (REVISED: 5/30/97:

his profile. studying eyes Chris intent on Albert,doesn't see the Tracker's laser (__)

He is that. TRACKER

a sweet kid. He's CHRIS (watchingAlbert) .

Snoring lightly. ..asleep on Albert CLOSE

limitlessshelves rising above us. books. of inside the library. Aoating down a tunnel

still wateiway boat, navigatinga claustrophobic Tracker are in a small and the Albert Chris.

• 71 LIBRARYEXITWATERWAYPASSAGE- DAY INT.71

OPEN onto ...

Thoughtyou were in a rush. TRACKER (O.S.)

a second.•. CK. In scarcely Bif One last look. And Chris does. Our screen

your eyes. Close TRACKER (quietly)

we start soon? Can CHRIS

seem surprised. look happy with that. But he doesn't doesn't Tracker The

I'll decide what's enough. CHRIS

as the Tracker's own. Hold the look. Strong

Get me there. CHRIS

up. And that has to be enough. you gn, satisfy yourself. That you didn't give And TRACKER

thinking. About what that might be like. WatchesChris

it. Includinggood-bye. Even if she can't understand say. you long to But you can say everything TRACKER

understand I CHRIS -- ...... '-n

Juice is strong. It connects. TRACKER

No smile at all. smile. No

It's juice. TRACKER (simply)

Chris still irritated. More than irritated.

a sore point. They can be helpful. like I TRACKER

look holds. The

course. Of I said. CHRIS (quietly)

Chris doesn't back down an inch. beat. A

some thought behind it? . put easy bullshit answer. You wanna an that's Well, TRACKER

Of course. CHRIS.

Were you proud of your own kids? TRACKER 0 \ ... Stares in Chris' eyes. And from out of the blue

that's work to be proud of, don't you think? Two, that I've seen, but only from the border. Still, TRACKER

he really saved souls? I mean, from hell. Has CHRIS

The boat begins to ROCK a little. The water starting to get a bit faster.

I wouldn't say kid. He's quite a missionary. TRACKER (quietly)

now he's a kid. age-wise. He's still my mentor, but role-reversal. I guess because I never knew him young. Sort of a CHRIS

Glances up to the Tracker's gaze.

In a way I never found him in life. charming. He's CHRIS

time? ·last In the body? You mean, the TRACKER

What did you do in life? CHRIS

Calm gaze. Behind the gun-metal glasses.

Yours. landscape. What did you think I tracked? It's a mental TRACKER

the ice-blue eyes. To Which makes Chris glance over.

I'm watching you TRACKER

How do you do this? Track her. CHRIS

knows that. shudders slightly. We're heading someplace ominous, he Chris disappearing into mist. through the heavens, half-glimpsed, plummets GHASTLY FALLING FIGURE, ...a

· up into the dark skies, which seem to grow angrier, and...

HANGS ON, he looks As Chris really MOVING now. current ahead. The boat ROCKS, VAST riverway. Heavens are black, nothing but darkness a The boat EMERGES onto

• A. 72 - DUSK RIVER EXT. A. 72

like it around. you may get it clearest. Where there's nothing So TRACKER

Follow?

Your wife's signal is loving..• signal is stronger where there's no interference. Any TRACKER

Small smile ofirony.

know the territory. You're the receiver. I read your reaction and you. She's sort of the transmitter, sending thoughts of TRACKER

For ... Receiver. CHRIS

For Annie. receive~. sharp, a better alert, Makes you TRACKER

Connects. \.

6S

the risk that they co-opt your sense ofal)Vays there's

u TRACKER

You want to expl... CHRIS

the rim, faster, FASTER... to CLOSER

human FIGURES begin APPEARING...surface,' from BENEATH the Suddenly,

mind. .•.losing your TRACKER

Smiles. With nothing amused behind it.

· mean, of course... danger in Hell. Which wouldmm ...no, there's TRACKER

cut to him. eyes Chris'

you? kill it do, could be illusory, anyway. What danger? That would you expecting physical were... TRACKER

calm. Laughs.

seems on for dear life. Only the Tracker awake, the three men hanging is JOLTED Albertd

My God. CHRIS

moving toward us. giganticTIDAL WAVE in far distance, a rocks, and Chris turns to glimpse The boat

yoursel... Fairly observant. You might could do this work TRACKER .

out. So does the Tracker's easy chuckle. That popped straight

shrink. a You were CHRIS

here. to. Last trip, I was in the same line of work I do Yep, we do it again, sometimes. Only if we choose lRACKER

Rebinh. Oh, yeh. CHRIS (softly)

Chris blinks. Remembers...

..w; the one he studies as much as you do, I'm at~ I talk to him Look, CHRIS )___\_ \ (

* of beer. Outsidethe window it is POURINGRAIN. bottle

edge of their bed, with a cold on the now, lined with art. He's sitting SEE the bedroom

that's why!drownioi:- Because he's ANNIE (O.S.)

bedroomdesk. The words CASH sits on Annie's which monitor, on a computer CLOSE

he'd said more. Wishing And he stands alone.

heads. of their back faces, then the The van PULLS AWAY. He can see their

children. he saw his in his driveway. The last moment Standing

going to... ...PLUNGINGDOWN in the roiling water, Chris TUMBLINGnow, deep, his mind

down on us, and we go... CRASillNG VEhuge WA ...the

to sec... Chris' POV, as we rise back up, breaking the surface•.•

UNDER the surface, and we CUT TO...•••

* 72 EXT.UNDERWATER-DUSK72

go ••.

as theyFREE and the others Chris ...PULLING our boat suddenly OVER, FLINGING

That becomes your world. Forever. TRACKER

· railings, and...

up to the reaching convergingon our boat, Puts them back on, carefully. The figures

instant. There's real\y no way back. for an you lose your consciousness. Even Once TRACKER

there are fifty. perhaps

now, bandana. Wipes his glasses with it. More figuresare surfacing calico Pulls out a

world is real. do, that their they what reaJity. Make you believe... \, (r--'\

The frustration has her at the edge of tears. Shakes her head.

he's letting himself down. He's into you so deep, he thinks It's a lot worse. ANNIE

* looms above her.

Her arms folded across her chest. This whole thing is tearing her apart. The vision of Hell

he won't let me down? So He'.s going through all this. And you're saying. CHRIS

He feels attacked, and he's angry. Silence.

· one time. lip service to respecting that, and actually notice it, a different person, Christy, stop paying He's him. School, and it's not Mm it, and it took you through ... and then you live your life. That's how XQY did ANNIE

... . responsibilities, and then y You meet your prepare in advance for tests. You do your labs, you turn in your math, you CHRIS

Which are what, exactly? ANNIE

* creatures. crawling or Bleak, surreal, with hybrid flying wild, disturbing, imaginative vision of hell. The other, a One of paradise. Behind her, we see two panels. She has stopped pacing.

Priorities. To learn. He needs. CHRIS

once in awh ... actually~ read a book he the~. vege-out at he loves, ~ his sports, ~ friends, he needs to with hishim& He is 13 years old, he needs to ANNIE

manage his time, make the commitment ... ~rganize, He needs to new school, a harder school. It'sa CHRIS

Coke that it sloshes from the can and onto her hardwood floor. Gesturing so hard with her Diet She is pacing, bouncing off walls, her work forgotten.

him! me crazier than it does positive, just like you are with Ian, I swear it makes Great! Be rational with me, be constructive, be ANNIE

(REVISED: 6/24/97: GOLDENROD}

the boy. a sob escapes from that is almost A sigh

Well, do you? CHRIS j__ (

in myself... me to dig in, believe taught But that doesn't mean give up. I mean, you always IAN

nods his head, unblinking. Okay. Chris

scared. Real IAN

you go to the bed at night? do you feel? When How do you, and so what? I don't have a clue, and neither CHRIS

it, if I dig in? I can make think Don't you IAN

his hands. The rain. ·

at down looks now than ever. The father distant silence. In a way, they seem more · Only

· . to know that. want I want you in or out of any school, I More than CHRIS

The voice is honest. But there is no tendernessin it.

How do you feel? CHRIS

th....au life, you always mx it's just take me out of my school, can you How IAN

in the boy's eyes. and betrayal is pouring,like a waterfall. The disbelief Rain tree. the huge and his father. Beneath Ian

75 OMI'l'IED75

Now, how sick is that? ANNIE

A whisper...

thinks he's shit. he can't he him he can do it. And when te!l You ANNIE \•:•,-· /·--·· ~)

80 OMtl'IED80

another man rd want with me. not And if I were going through hell. There's CHRIS

him smile again. makes He chokes a little on the feeling of that. Which

You are the best guy. CHRIS

And he smiles. Because that's true.

believe in you. I know. I But CHRIS

I don't. No.

work you'll do, or who you'll marry, or... I don't know what school you belong in, or what CHRIS

Chris sits back. Absorbs that shot. And then...

It's not your fault I suck. IAN

believe. In yourself. job, huh? Helpingyou So I did a pretty great CHRIS

s. The father reaches out. Puts his hand over his son

not as good. As anybody else.rm IAN

not to. late He has to say it. It's.too

every day, I see... how... for. So I'm like killing myself to hang in there, but studied I don't get the grades I And ... it just goes. IAN

He won't cry. But it isn't easy.

.. do... and when I come to the test... it just. These other kids, they don't have to put in the time I IAN

Closer, to see through the gash ... of throats, a terrifying cacophany. THOUSANDS within begin to RISE, sounds of anger, bitter QUARRELS, savage, vindictive, fromj__ \

Voices Approaching now a GASH in what must have been the massive cargo HOLD.I

My God, these poor people ... CHRIS

where people are trying to get onto the deck of the ship, which TOWERS above us. ATOR PLATFORMS, along the endless hull are DRAWBRIDGES and massive ELEVAl~

to our view. expose,d that were once staterooms, now fleeting IMAGES of tormented FIGURES in cubicles s~e and as we pass alongside, we They come to a gigantic AIRCRAFT CARRIER. Part of its hull has been stripped away,

The bow of a cruise ship is thrust through the volcanic floor.... toppled on one side, rusted out from the crusted earth. Cargo ships lie JUT visible through the fog, now gutted out, They are approaching the eerie SHIP GRAVEYARD where ocean liners with their sides

walk on in silence. glances back to the Tracker, who simply turns away. Chris lets go of Albert's hand. They

Chris Albert puts his hand out for Chris' and begins to lead him. Chris is confused.

CHRIS .

Chris considers this.

Actually. Not a ripple. (quietly) TRACKER

Tracker's face is dark and cold. The

?... Getting any signals How are we doin'? CHRIS

... a feeling about this place that he doesn't like. Looks to Tracker Chris is clearly worried now, just Just the faint sound of a bell tolling slowly. ...SHIPS.

* 81 DUSK - EXT. SHIP GRAVEYARD81

...as if growing out of the earth itself, the fog-shrouded skeletons of...

... small hill, and see a three climb the brow of he seems displeased. The reason, inexplicable some For ...The Tracker watching them.

... goes to help the young man to his feet, and as he does, he catches a glimpse of Chris Looking back to the surf, he now sees Albert being washed up nearby. on his feet.

bodies lie along the water's edge. As Chris picks himself up, he sees the Tracker already

Stiij as he WASHES up on the forbidding fog-covered SHORELINE. Chris CLOSE on

TO ..

CUT AERIAL VIEW of white-capped water POUNDING onto black volcanic terrain.

* A. 81 DUSK - EXT. SHORE A. 81

70 GOLDENROD} (REVISED: 6/24/97:

Women want to be around. And he's a guy. CHRIS

Won't do that to Annie. He won't cry. Shakes his head again. Can't.

can't fake that. .. And you He has character. integrity, you know. Because he has He's a guy men want to be around. CHRIS

Boy, he sure can. Shakes his head.

* 25. I can see him clear ...

He's a good-looking, clear-eyed young felJa, maybe CHRIS

Waits. So that he won't cry. He swallows.

He was growing up to be. The man. CHRIS

Tell them that. nods. she Yes, ' to know. There's a man Ian nevergot CHRIS

She's waiting, too. So he looks to the only person who matters. ... everyone is waiting.

... When he looks up looks down first, to gather himself.

He hushes, and it is silence that escorts him up the carpeted steps. To the small podium.

A ripple of murmurs, a wave of Then he rises. ... Chris leans to kiss Annie's face.

' And in the front pew... not happen. the mourners, tearful, confused, no way to cope with the meaning of something that could children among hundfed A The bank of flowers across twin caskets. Brilliant sunshine.

... And horror. this plunge into to Chris watches the young man, prepared

Come on, she could be in there ... ALBERT

...They begin to tum on us, eyes glinting, fingers stabbing out, SHRIEKING at us now,

babble ... caricatures, bloated or hollow, shaped by the venom that POURS into their unbearable ...Their clothing hangs from their bodies, their faces are distorted, distended with rage into

Closer now ... another, always without physical contact, but often from a distance of barely inches. hysterical tones. No one could follow a word of this, and still they SCREAM at one ...SHAPES in restless, constant movement, SHOUTING at each other in SCREECHING C

Don't do it, son. CHRIS

... Albert struggling in Chris' grasp, turning to face him, eyes wild, as

Don't. .. 'CHRIS

throat, pulling him backwards with all his strength ... ... FLIES across the distance, THROWS an arm OVER Albert's shoulder, AROUND his

them, and on reflex, Chris ... is only a few feet from the opening, from the SNARLING, BELLOWING mass of AJbert AY. When Chris looks back, Chris glances back to the Tracker, who simply turns AW

... Let's do it ALBERT

... Back at the hell of the maddened mob in the ship's hold. Albert urging us on

bless his soul. This is quite a guy. Ian never got to meet. God CHRIS

Can you all see that?

the start he needs. ... the child knows he's wonderful... and that's then And And sees how he is wonderful.· ... sees him. CHRIS

Because this is the part he most needs to say. one last time. For a new reason. Stops

... daddy sees him in his kid's eyes ... and the child knows that his Because he looks See, that's where he really shines. CHRIS

... This is where he loses it. Right here, but he keeps going

And a father ... CHRIS

* The very best ...

... See, he's the best husband this guy to. respect and loyalty and courage that women respond Because there's a tenderness in him. And the kind of CHRIS

Oh yes, they do.

7 2 YELLOW) (REVISED: 5/30/97:

* 73

not leaving. I'm IAN (ALBERT) (_)

Ian seems to have anticipated this, but is defiant... Chris is stunned.

Wish us luck. So long. TRACKER

Ian ... The Tracker turns to CLIMBING onto the platform. PEOPLE are coming from aU over.

* Elevator to hell. Going up.

* The words he had never said. The ones his son needed to hear.

* I ever wanted. all That's * CHRIS

* From his heart ... The feeling floods through his father.

* be?

to want I be who I Can you handle me this way? Can

* IAN (ALBERT)

eyes ... Looks into his Into one. Holds him tight enough to crush the two of them. before him. cowboy slides his arms around his dad. As his sister did t~e Ian Kisses his son's face.

To lose you. So I can't afford. CHRIS

Chris leaning close enough to whisper ... Which makes his son laugh through his tears.

... There's not another man I'd go through hell with CHRIS

the 13-year-old we knew on Earth. And across the face of our black cowboy FLICKERS another image. The face of Ian as

Except to hold him strong by the shoulders, and tell him ... Nothing makes sense. They are alone in the insanity of this place. Chris watches as tears well in his son's eyes.

* Your mother's not in there. We don't have to.

* 3 7 (REVISED: 5/30/97: YELLOW)

A* 73

(_)

sees there is rebellion. Tums to Chris... gonnatell him? Apparentlynot. All the Tracker stays with Ian's eyes. You The Tracker

...what are you saying? CHRIS

you a choi... l'in not really giving TRACKER

is this? Leaving? Chris' double-take. What

A* 73 (REVISED: 5/30/97: YELLOW)

mom. \__,/ X2YJ: She'stqgether. him, we do it wilhout We do it ( CHRIS (to Ian)

ifhe never sees her? Never says good-bye...? And TRACKER

my~! him, he's can't~ I IAN(ALBERn

fierce and pleading at once... Ian glares at the Tracker,

family._ not us. He's even~ guy, he doesn't this Ian,~ CHRIS

shot. You want him clear? Im bis .. .last shot, TRACKER

SCREECHES. It RISES, two feet off the sand, horribly full, ready to go... mdal

the GRIND, of the elevator's machinery his breath. The GEARS scores. Ian holds That

/ one than two. watching of have you. I've got a better chance .neither•• TRACKER

th..• never been anywhere like He's IAN(ALBERn

kid. the from breath sharp Short,

shot. we're going down to the bottom, this is his last .... TRACKER (to Ian)

••• arou dearly love to shove everybody shrinks lknow you CHRIS

decisive distraction. a your boy's And chops. All you' re good for, is your wife loves you. and no You don't know how. You're all mouth TRACKER

harder. concentrate11 f CHRIS

son, you've lost all signal from your wife. since you began to suspect 'Albert' was your Ever ... ,..... · TRACKER·

86 OMil"l'.ED86

85 OMil'IED85

he is alone. And

WE DIED! WllEN.•. IAN (ALBERT)

deck many storeys above us. Albert SCREAMS after them... of them SAILING UP toward the alJ And the elevator LIFI'S OFF, Chris, the Tracker,

SHOUTING above it.•• increases. Machinery RATCHETING, the platform TREMBLES, the GRINDING

Listen to me now. Think about Mom. IAN (ALBERT)

the truth of this hits. As HOLD on Chris.

listen to me.never the only guy I ever saw you'Iisten to. You He's

{, IAN (ALBERT)

I,~· hacfn't. struck by this. Because he is And Chris\ '

Did you stop to think why I chose to be Albert? IAN (ALBERT)

stares at his son, only inches away. Chris holding him strong, as ...PULLS Chris ONTO the platform. They sit on the edge, legs dangling, the Tracker

Tracker~·· a man believe in himself. Ian lets go, and the make Could almost Jesus.

I believe in you. (ALBERT) IAN

eye Stares in his fathers

it! ~o You get her, you get her out. You can (ALBERT) IAN

Don't listen to him. Hugs Chris tight.

listen to him... t don, When you get there, (ALBERT) IAN

... Murmurs close Looks from one to the other. ·Then THROWS his arms around his father. helpless. Ian

I r

some psycho who tried to kill herself? why do you want to be saddled with Well, ...yeh, ANNIE

Doesn't know how to do this. We can hardly hear ... She stares in those eyes.

You got my attention. You said "divorce." (softly) CHRIS

..

It beats imitating statues. (O.S.) CHRIS

She seems not to notice. Gently. hers. The man's hand strokes

call it an affinnation of life!the doctors Aild ANNIE (laughs)

hospital SOLARIUM, sunny, patients and their visitors. a man's cupped hand. In the B.G., a aided'J,y SEE her now as she lights the cigarette,

I'm teaching myself to smoke. (O.S.) ANNIE

life. Slash SCARS on her wrist. She STRIKES a match to CLOSE on a slender: shaky hand.

89.* EXT. HOSPITAL SOLARIUM - DAY - FLASHBACK89

... We PUSH INTO his blank, staring eyes as we keep RISING we see Chris oblivious to it al), thinking only of his son's words. Aild

their rage and anguish, their screams silent because their faces have NO MOUTHS ... ...four MEN, each SCREAMING soundlessly, their bodies STRAINING to give vent to

her hysterical WAILING ... CONTINUING looking around, with sly paranoid eyes to see if anyone is watching her outburst, then SOBBING piteously, then STOPPING abruptly, alone, another WOMAN sitting ...

· searching through dozens of pairs of children's SHOES... a WOMAN dressed in black, a tiny child's COFFIN strapped to her back, endJessly..:

to our view ... GLIMPSES of tormented FIGURES in cubicles that once were staterooms, now exposed they RISE, we catch brief As surrounding them, the horrific CLANGING noise. the Tracker, the damned to Oblivious the edge·of the platfonn. on Chris perched

89 A. ELEVATOR-NIGHT EXT.PLATFORM A. 89

87 ('.

OMil'IED87

76 (REVISED: 6/24/97: GOLDENROD)

A* 76

her. kills Sees how much she's hurting him. Which Draws on her smoke.

together. To be different. too.,. I think maybe ... we're ANNIE

He really loves her. She can see that. Makes things.harder.

exercise it. I've got bad taste. It's my Constitutional right to CHRIS ',,_,. \ n

A* 76 (REVISED: ,6/10/97: GREEN}

platform, ONTO ... They are stopped at the vast MAIN DECK of the gigantic ship. He pulls Chris OFF the

It's our private deck. C'mon. TRACKER

shoulder ... ...CLANGS to a stop, and we are JOLTED with its force. A familiar hand on Chris'

as suddenlystare," SOARING up, the horrific SOUNDS, his blank Chris on his platform,

... Stubs OUT her cigarette, on a SMASH CUT TO In her hospital gown. Gets to her feet.

When you win, you lose. Sometimes. . ANNIE

Murmurs ... ~ompassion. She looks at him with real He nods, I guess.

And you chose life. ANNIE

either ... go on, or not. And life has to And they're gone. I loved them. CHRIS

Ah. She takes another puff

Just on general principles. For us. For me. CHRIS

For me. ANNIE

to be strong. was s'posed I thought. I CHRIS

And wary. She lets him, but her eyes stay shaky. He takes her hand.

* I remember the silence. I remember.

... wh You mean, CHRIS

Why aren't you in here? For one thing. ANNIE ~---/ 0)

77 GREEN} (REVISED: 6/10/97:

* the light... And bending down, catching

* Dad? * CHRIS (squinting)

* Son.· * FACE

* Dad. * CHRIS

* ... moment. Chris chokes up, overwhelmed A heart stopping

* Son ... * FACE (proud)

* Dad...? Dad??? Omigod,

Welcome! Son! FACE

lot. of their and accepting basicallybored moaning. Most of them

some from what once were stones. Packed together like sardines. Some laughing, protruding up to see an OCEANof human faces has a heart attack. He looks Chris nearly

you? Excuse \ FACE

shoe. Chris' the sole of FACE. Which peers up at him from beneath ...living HUMAN

but a... on a cobblestoneat aJI, glances down to see that he is not standing

and UNEVEN. He hears a strange muffled GRUNT, his feet becomes beneath deck ...the

No problem... CHRIS

it easy! Take out) TRACKER (0.S. calling

to cross them at a brisk pace...starts the deck are what seem like COBBLESTONESin the dimness. Chris Stretchingout across

Must be the place. CHRIS

sign says HELL.weather.;.beatensmaJl A We are alone.

AWAY.· UP, carrying everyone else DECK, as the elevator SOARS ...the lip of the massive

78 {REVISED: 5/30/97: YELLOW)

_;_(

95 OMl'l'IED95

94 OMil'IED94

* he FALLS ... as

REACHING, SCREAMING OUT, as they break free, Chris joining in the SHRIEKING the surface crush FALL WITH him, everyone by ...FALLING, bodies once trapped

* ...BREAKS THROUGH the surface, as the deck GIVES WAY, and he is suddenly ...

...BECOMES instead the face of a laughing CREATURE, but Chris' hurtling

...Chris LUNGES toward Annie's face, which suddenly ...

Chris, DON'T! TRACKER

.... as And BOLTS toward her, the Tracker in pursuit,

ANNNIEEEEE! CHRIS

God! blinks. My Chris. ...ANNIE'S FACE nearby, among the others.

· suddenly SEEING... gentle, be to ...HOPSCOTCHING across the sea of faces, Chris APOLOGIZING to everyone, trying

Don't worry. It's only a matter of time... FACE (O.S., calling after)

* Chris begins...

The Tracker has caught up now. Tugging on Chris' arm, let's go. And as they head off,

It's all right. They never are.

... No sir, I'm terribly sor Uh. CHRIS

Oh.

* Benjy, am't you? Youn

FACE

* iny... like look ...you don't ...you * CHRIS

79 YELLOW) (REVISED: 5/30/97:

She's in there. TRACKER

To the nearly-hidden house. And points up the densely overgrown driveway.

That jolt of fear for her. It connected. TRACKER

* Chris still struggling to catch his breath.

* Impressive.

down beside the Tracker to see that they are beside ... ...the Tracker on dry land. Chris PULLS himself from the water. Exhausted, he sinks

... Chris SUCKS in a lungful of air, BLINKING against the light, to see And a FLARE of LIGHT breaks through the blackness, illuminating the mist and ash.

You've found her. She's here. calm) TRACKER (O.S.,

... air from inside a plastic bag, completely panicked, until Still in darkness, he can't breathe, GASPING as if trying to suck ...BREAKS the surface.

.... frightened, his mouth OPEN, he Strange SOUNDS now, SHAPES in the dark, Chris WHIRLING this way and that,

van is GONE in blackness ... ...the VAN, his children INSIDE, as he last saw them, he LUNGES toward them,.but the

... him, wreathed in bubbles, closer, we see it is As he churns, an OBJECT floats near ...Chris FLAILING underwater in near-backness.

* B. 96 EXT. UNDERWATER 96 B.

CUT TO ... ...BODIES which tumble, and disappear like snowflakes before they reach the ground.

below ... rotting creeper vines, and FALLING through the space between us and the water and ash a great OVERTURNED CATHEDRAL, fragments of walls and spires overgrown with AERIEL VIEW from HIGH above looking down through the partially-destroyed RUIN of

CUT TO ... CLOSE on Chris PLUNGING INTO water from a great height, disappearing, and we

* A. 96 ,/----~- :

If\

80 YELLOW} (REVISED: 5/30/97:

A* 80

C

th~t. Chris can't believe he heard What??

Two minutes, three, tops. TRACKER

beat. A

... and then go. (softly)

You want to see her, tell her what's in your heart ... TRACKER

Because it can happen.

You don't want to push her that way ... (quietly) TRACKER

Has to say this.

themselves. punishing •.• to Suicides can get pretty tortured. Pretty committed TRACKER

That doesn't get any easier. A long stare.

happen, can it? Not to her. can't ... that CHRIS

on that ship. get sucked into it... you can wind up like the folks You It's an illusion, the whole place, her illusion. TRACKER

Strong enough to bring Chris' eyes over.

, Don't even think that. (quick) TRACKER

our home in Woodsi ... like It looks CHRIS

* at the place, disbelieving ... up squints\._

Hardly able to absorb the words. Fighting a11of his exhaustion, ChrisblinJ(s.Chris

80 A* YELLOW) (REVISED: 5/30/97:

... anoth \_.,I The package doesn't count? One's as good as• I CHRIS ""'-\ . I

Chris is wonderingjust that.

... Me, the children Do you know why we chose to look so different? TRACKER .

Tracker leans close..• eyes grow wide. Albert the s lap. And Chris' protege' He puts the spectacles in his

· And the rest of me. Used to be black. (beat)

to be rimless. used But these... ... psychiatry. And he was always a slow reader. (helpful) TRACKER

And stops. Cold.

CHRIS

pediatrics? to he turned before practiced. you recall what he Do TRACKER

all. at talking isn't Now Chris

he? His words were gold? wasn't mind, Brilliant TRACKER

father. The first doctor I ever practiced under. He was like a CHRIS

Who was that?Albert.You called your son 11 II TRACKER

him. Tilts his head. Tracker studies The

How would you know the first thing about me? CHRIS

guy? this ii stares. Who just Chris

... with a big ego I knew you could get us here. You're a competitor TRACKER

* ... As he walks, he begins to murmur absently to himself, as if not knowing why

without maintenance for fifty years. Trash barrels overflowing. in suburbia now, except that the house itself seems to have stood be from view. We could like a rotting jungle, forming a canopy that completely shields the cathedral walls and crater Tangled, overgrown vegetation has surrounded this place, Chris coming up the driveway.

Three minutes. (whispers) TRAC~R

need you. they And But you've got your children back now. TRACKER

... And waits, with perfect timing, until Chris' smile begins

look ... You're stubborn, you're an asshole, I know that TRACKER

Puts his hand on Chris' shoulder. Shakes his head.

on. I'd say, go for it, kid. And I'd be there cheering you ... could possibly save her. swallowed by hell itself If losing yourself, and your soul... if being TRACKER

None at all. You know this.

defense· against Annie. This isn't like the rest of hell, son, you've got no TRACKER

All his heart in this. A father's wisdom.

And I'm watching out for you now. out for you. I've been waiting for years. For the chance to watch TRACKER

And Chris is watching that smile. The love behind it.

To each other. (smiles)

Of who we really are. Gets in the way. Who's the teacher, who's the father? authority. The old baggage, old roles of ...even more. TRACKER· 0

82 GREEN) (REVISED: 6/10/97:

82 A

He stares into the dingy, unlit hallway. ...it drifts OPEN.

... .. and when he knocks He goes to the door. Stares at it for a beat.

* lost ... * ..for the straight way is myself in a dark forest. * find .! ...in the middle of the course of my life..

- CHRIS

82 A (REVISED: 9/3/97: CHERRY)

j.

·::.:,i~.1· -~: ~-••• • I'~"-•I

I never heard they sold their house. ANNIE

moved in. just I bought the German's place two months ago, I CHRIS

mw?? My She squints.

I'm your neighbor. ' CHRIS

· finds a smile. From somewhere, he shock of her suspicion and fear and, above all else, non-recognition. · ·He has to shake off the disbelief at actually being with her. His longing to run to her. The

Who are you? ANNIE ,

... Sorry, I sure didn't mean to scare y CHRIS (light)

But she is still Annie. haunted. Her hair hangs untended, her face hollow, on her knees, gasping, startled. WlilRL ..•

... causes her to \..__j But even this gentle sound Quietly, slides open the glass door. ... he crosses the room.--...:

•.. And at last blossoms. bed of dying flower her as she tends a He can only see her from behind. Watch Staring. now. frozen He is

A figure kneeling by roses.

garden. glass door, we seethe

the yellowed Through cobweb of refracting fragments. fine mantelpiece is shattered in a above the mirror the rugs are stained, the furniture hideously chipped and grimy, the ..;

CRACKS run the length of the walls. Into the Jiving room ..• He waJks in. The hardwood floor is blistered and buckled, large frightening Silence.

Your door is open. Hello? CHRIS (louder)

No sound. No answer.

~? .. Hello CHRIS (calls out)

98 ANNIE'S HALLWAY-DAY HELL-INT.98

84 ·

only one? the and you're out, it's odd that all your services are think Don't you l_) CHRIS

She blinks. A non-compute.

are everyone else's. So are working. utilities my All CHRIS

because I can't find any ... candles ... bed at nightfall, Everything is cold, and I have to go to telephone. And the gas. And the The electricity is out, too. ANNIE

I could bring some water over. CHRIS

As if he has spoken in a language she can't quite make out. She looks up at him.

is at my house.there ... CHRIS

... in the neighb pressurewater But now ... there's no so handsome. were They ANNIE

Glances down at them. Hp. And Annie bites her ' ••• your roses. CHRIS

... It breaks his heart just to see the condition of Looks to the flower bed.

admires your ... Mrs. Gorman CHRIS

know these things? this~ How can Her wariness is childlike, exaggerated.

right? museum,a... for A talented artist, work You're a widow. Let's see. CHRIS

Against every emotion. His smile gets wanner, calmer.

What did they say? ... like, lrlmt? ANNIE

y ..• about all me You're Annie Nielsen, yes? They told CHRIS

crossing her chest. instinctively tools. anns garden her hands clutch Her

has fallen. And on this. Her eyes go blank. A curtain\.____,./' \ ( might return...?_ they. Because... CHRIS .

That's why I never leave. . me of my husband. And my children. Remind ANNIE

in his eyes. He stays quiet. The slightest questioning

* me.

Most of my precious ones. The ones that... remind ANNIE

... mis very welcome. You say your paintingsare You're CHRIS

She still looks frightened. He nods, gently.

you. Thank ANNIE

; she looks to his eyes.. when trowel, which she can't bring herself to touch. But

hand back the · to down near her now, not too close. Reaches eases. He crouchespanic trees across the yard. Hc;r in the dense through space, to disappear He flings the tarantulad ' m! now! Everyevezywhere They're ANNIE

from her hand, and interceptsthe path of the lumberingspider. trowel the gardentakes CONTINUES.he goes to her, toward her over a nearby rock. As her scream crawling TARANTULA from her soul. He sees a huge shriek Annie SCREAMS,a blood-stopping

... whask,. Could I CHRIS

if a small detail. As Said simply.

I don't leave the house. ANNIE

the others. all company. And call the phone we'll You can come to my place, CHRIS

* my favorite paintings, the ones I have to work on...

and the books I want to read. Worst of all, some of clothes, too. All my clean missing, are Other things ANNIE

firm. Very definite. ... still quiet. But very l_) leaving. ... I thought you were ANNIE

But not... day I saw my wife. It was our anniversary. The last CHRIS

But he doesn't move. Instead...

All right. CHRIS (softly)

... I do. ANNIE

met ... I like it here, with you. But I'll leave, if you want CHRIS

up. She still hasn't looked

have to leave? you Don't ANNIE

with ••• like anger. Very quiet looks She draws a sharp breath. Her delicatejaw sets in what

that's sad?thin!c Don't you CHRIS

closer. He leans ever so slightly

She was... the loveliest person. CHRIS

No response. No movement. He can't see her face.

committedsuicide. After my childrendied. wife My CHRIS

down. At the hands in her lap. with hers. And so she looks His eyes trying so to connect

disappear. It's not, you know. Once you're dead, you ANNIE

Suddenly ... him anymore. at even looking not She's He waits.

I hope that's true. With all my heart. CHRIS

whispers ... She watches his slow smile. The one that competes with the tears pooling in his eyes. He

That would be two D's, wouldn't it? ANNIE

Her lips part ... Oh.

About divorce. CHRIS (quietly) • And her eyes come up to his. Questioning.

D for decision, I guess. CHRIS

And slowly, her eyes go to the ticket. Read it.

... is kind of... D-Day. So this killing me. My hanging around isn't helping you. And it's CHRIS

He opens the envelope. He puts the ticket in her lap. Her eyes do not leave the tulips.

me. ticket. One-way. For one person. For air This is an CHRIS

·e;· .. a slim envelope ... She doesn't seem to hear him. He takes from his pocket. Just as well.

back. talk to you today. But you don't have to talk I need to CHRIS

... He speaks very quietly recognizes him. man approaches now. Kneels beside her. She doesn't look up, but we know she In her hospital gown. Staring blankly at the flowers. A on the grass. ·sits ..• a woman

tulips ... Some pushed in wheelchairs. The sunlight is warm. And over by a bed of attendants. Landscaped grounds of Annie's hospital. We see patients, strolling shakily with family or

knows. That no one else kind of day. ... a different It was ... not a wedding anniversary. CHRIS

Silence. She is still looking down, but her anger is evident.

another spider ... I just thought. .. in case there was In a minute. CHRIS

87 ·

So I Ieft you alone. I didn't join you. because ... CHRIS

It's ... No, it's not that. head slowly. his He shakes

... just because I remind you Not problem. th~ I'm part of That's how I realized. CHRIS

object she'd never quite noticed before.an Like She looks at him with curiosity.

or not. th~t people know true. Whether other ~ What's true in our minds CHRIS

To him. Slowly. Annie turns.

And sl)e hung up. dumb. I told her she was She told me you were crazy. (low) CHRIS

He's watching that. .. Some spark of something. Something flickers across Annie's eyes.

children. your ... betraying wrong, and would be meanthat you weren't sorry, and you weren't And that going back would ..• driving that day. CHRIS

he even finish the sentence? Can

was what kept you from ..• meetings.:. I told her that the museum ... one of those CHRIS

· · to the tulips.

She looks back this conversation has vanished. in Whatever interest Annie may have had

When you're better. you. All the artists, curators, they'll wait to meet with waiting for you. She said everything's Cindy called. CHRIS

Hates himself for that. He doesn't know what to say. now. other Staring at each

a month. you only say one thing in When See what happens? CHRIS

His tear falls, and Showing no expression of her own. face. his Her eyes moving over

- I stand corrected. CHRIS

- to hide. just his place up... that was Being strong, not giving C CHRIS

up. come such completeconviction. Her eyes Said with

idiot. an Well, he's CHRIS

Her husband didn't think so. ANNIE.

with that. wrong Nothing ·cHR.Is

In the end. She gave up. ANNIE

a point. She looks down at her gardeningtools. Begins to lay them out, if she's made As

But she still killed herself. ANNIE

in his eyes. Looking

romantic. very that's you reconciled, So ANNIE. v· I\ '. unmoved. completely flat, her private Hell. By her dying roses. Her eyes in kneeling Annie

* 102 · - EXT. ANNIE'SGARDEN - DAY HELL 102

Okay. (whispers) ANNIE

deep into him as she can see.. As up. AGAIN. She looks and she tears it again, and again, and catches, .••TEARS it savagelyin two. His breath

... releases his hand. Lifts the ticket from her lap, and...

she... And and his heart breaks inside him. good bye he never expected, a ... kisses his fingers. It is

her lips... to wrist. Slowly, slowly, she brings his hand her hand STABS out. CLUTCHESat his When he starts to stand, holds. The looks

Don't give up. Okay? CHRIS

But he stops. To look in her eyes. And whisper...

now. He slides back a little, he's leaving throat. to say. He clears his That's what he came

Christy. seeto- I want ANNIE

want t... (__j dead again. In dreams. If you really the can see You CHRIS

He nods. They are.

You said your children were dead. ANNIE

bear. one thing. In the end. Youjust can't the And that's CHRIS

sound strangled... words Now his eyes fiU. Just when he didn't want them to. The

..• a distance. CHRIS

is what he came to confess. this He looks up at her. For

... left himself. Of what he was supposed to be. And that of... else had come first. Some vision Something CHRIS

this. He tries to draw a breath. The air is like razor blades in his lungs. And she's watching

hadn't grieved them like their mother... he he saw his children again, they knew And when CHRIS

to him. He can't reach her. He looks down at his hands in despair. Strangely,this brings her eyes

lose. you Sometimes. When you win, CHRIS (softly)

She SNAPS off the blossom. What's left of it.

' Forever. That's his crime. And he's gonna pay for it. CHRIS

She reaches to one. Touches a petal, which falls.

the·most. himself. From the person he loved he disconnected hard... so away pain the He pushed CHRIS

She considers this. And looks away. To the roses.

We can feel her heart pounding.u

missed you so. I've ANNIE.

She reaches to touch his face. ey~s. Tears stand in her

dreams. be marrying? In your y9u And who else. Would CHRIS

eyes move over her face. His

? Christy ... ANNIE

Whispers his name ... He wears a morning coat. She blinks in wonder at the sight of him. her., ... steps beside

... dumbstruck at the flawless detail of this "dream." As another figure white. Annie's black hair shines beneath its veil. She is beautiful, looking everywhere, Perfect wedding dress of pure semi-darkness. in A lone figure stands ... the antechamber. •✓ ... the open doors at the rear of the hall, to through we PAN up the red carpet of the center aisle, expectant,restless. are All them weU. resplendent with flowers, pews filled with everyone in their Sunday best, here to wish BURST of sunlight through brilliant stained glass, the organ playing, the church

* 103 DAY CHURCH- INT. HELL- 103

Openyour eyes. (O.S., whisper) CHRIS

Silence.

· you remember. Where you were married? Do (O.S.) CHRIS

Our screen BLACK. closed. ... her eyes flutter But her desire overcomes, and slowly fear. We see her mistrust, her

If you close your eyes. like.•. painting a picture. We can do it together.It's CHRIS

first time. for the I can. Her eyes alight

how. you I can show hard. It's not CHRIS

hopes from rising. his He can't keep strong: So

Munnurs ... She's waiting, eyes shining. He takes his breath. now. His tum

Forever. But I will hold this precious dream. In my heart.)__\,, ANNIE ·--~\ /,,,-·

· Tells him. .. Shakes her head.

dream ..• a only ...it's I know I don't know how this is happening. ANNIE

tight. she takes a breath. Holds on So

... They have their own vows. Ann MINISTER

The couple holds each other's hands. Stares into each other's eyes.

Nothing ... can tear apart. together. Christopher and Ann. What God has joined MINISTER

of this chamber. hush Into the ... he smiles.

... when they reach him And their children's funeral.

who spoke at them. The MINISTER is waiting, the same slender, scholarly figuresee to

everyone's breath stops just as time, at a off they go. Down the center aisle. One step And

foot, first.Left CHRIS

tight through his. He murmurs close... arm She folds her Her heart seems about to burst.

Comes the Bride." her eyes flutter closed, he kisses them. The organ plays "Here asand to her,Jeans He

Sounds like good advice. - CHRIS

" "close your eyes ..• our garden. And he said, In There was this man. ANNIE

... And when it ends Her eyes close, and she gives all her heart to this kiss. He kisses her mouth. So tenderly.

I'm no more dead than you are. See.•.? CHRIS

She can't say the word.

... How can this be, you're ANNIE

J

I

can. still I JefL While ... a few moments only And there's ,/__'-._ Sorry, babe. There's some things I have to say.\ ( CHRIS

own.

her with pain that matches sigh, joke. He can only He can't even smile at his own insane

here? you at a bad time, I catching Am CHRIS

... climbs up, behind her trembling back. Inches away. So softly...

do. Quietly now, respectfully, he goes to her bed...

to ... the doorway. He stands, staring at the misery he has caused. He knows what he has

... PAN TO pain she has ever known. cope with the most intense toher eyes struggle -sobbingsoftly,Annie curled in a fetal.baU.

* 105 INT. ANNIE'SBEDROOM - DAY - HELL 105

HOLD on him. Hold. Hold.

we ... into the house, as A low MOAN of disgust and anguish, and she WHIRLS,RUNNING

me? You could take him from think. you Did ANNIE

and then another... backwards, step A stumbling

..• whatever... you are... Whoever you are ANNIE

in wonder and horror... up in revulsion. Looking

them free PULLS betrayal. He is so frozen that he still holds her hands. realizingthis, she

the dying echo of her shriek. Her shock, her torment at this face, to her MATCHCUT

Of purest agony ... an echoing SCREAM.

sudden comprehension. Her lips part in..._With Her eyes widen.

..• it's me. CHRIS

... Her eyes have only an instant to flicker in puzzlement,-before

the garden... real. That man in all is Don't you see, Annie? This CHRIS

Leans, close to her ear.u

· ones. some great ...books and naps and kisses and... fights, we had CHRIS

her. to near So now. him, to Back

things to miss... of Lots CHRIS ,(O.S.)

· cottage. Embracing. the together,just below small FIGURES we hadn't noticed before. They are huddled...four

heaven, see?our was That CHRIS (O.S.)

we CLOSE on it, we see... As oil. weeping discolored, warped, and cracked degraded versionof Annie's painting of the lake. Now a It is

going to be right there. Forever. were we S~ CHRIS

He points now. To a painting on the wall.

for us. that end. I wanted the at apart. Together fall our bodies with each other while laughing ducks, to be... old, together. Just .. two old. us I wanted CHRIS

so much to touch her. Knows he can't.wa11ts He

you smile. make never I'll (softly) CHRIS

Staring at her. ) ... well, that's the big one. CHRIS

sad. For some reason. This seems inexpressibly

sauce. sub. With extra I'll never buy you another meatball CHRIS

Yeah. Let's start with that.

you. never.give I'll the things. all For sony.rm CHRIS

to gather his thoughts. Tries He looks down on her.

the trace of a smile ... a quiet. .. uncharacteristically anxious. Which, against every emotion shooting through Chris, brings the dying grass, a lone figure. He looks on And there, sitting aways down the hill,

... STRIDING down the hallway, fast, strong, THROW open the front door

Especially this one. CHRIS

... heading for the door Off the bed now,

I apologize for every time I failed you. CHRIS

.. The distant, vacant eyes He looks down at her frozen profile.

God, you were my life. CHRIS

Whispers to himself ... He closes his eyes.

touch you. how you always looked, how I always wanted to For Thank you for your guts and your sweetness. CHRIS

Shakes his head at that. Reliving for a moment.

saw them. For the first time I Thank you. For our children. CHRIS

* Yeah. That one, especially.

to be with. Thank you. For being someone I was always proud CHRIS

So many, dizzying. Wow.

For every kindness. Thank you. CHRIS

One tortured impossible breath. He stares down.

It's silly, being sad. CHRIS

Her haunted eyes so far away. Her hand in a small fist pressed to her mouth.

Thanks for those. -·--' \ CHRIS .n

95 (REVISED: 5/30/97: YELLOW)

I love them... Go home, Al. Tell my children CHRIS (softly) u

freezes. To stone. The Tracker

you think. way Just not. The CHRIS

And in the instant the Tracker relaxes...

...up you fm givingteJJ To CHRIS

danger. anticipates instinct some across the Tracker'seyes, because of apprehension A flicker

... come out now I had to why I pushed it straight to the edge. That's CHRIS

But somehow, very calm.

..• oh, yeah. CHRIS (softly)

His eyes so sad above the smile.

up my hold on the "real?" Giving it? •••to losing\ ~i.. CHRIS

? Did you come close... TRACKER

clears his throat. Tracker The nods once more. He knows that now. Chris

was always just for you. Nothing you can do could ever help her. This trip TRACKER

The Tracker adjusts his gun-metal glasses. He's not happy to be right. Not happy at all.

Took a while to realize. You were right CHRIS

And Chris nods. Guess I was.

You were in there a while. TRACKER

features. yet on the Jean smile No legs. Tracker stretches his long the Albert

Thought I wouldn't make it out. huh? CHRIS

But we'll be together. CHRIS

But. ..

In one minute, I won't know you. Any better than

\.

doesn't mind.

But be He reaches so gently, his fmgertips brush her arm, and she RECOILS, fearfully.

? ... Where are we beaded, babe (softly) CHRIS

· · · But they are watching him.

her terrified eyes. to face so close His He crosses the floor. Kneels down beside her bed.

I'm good for something. See. CHRIS

•..trembling on the bed. •. her setting it down on the grass, shutting the door FIRMLY. Safe, now. Tums to

••. and SHRIEKS, of the first one, slowly feeling his way toward her across the sheets. She shrieks and size She cringes at the edge of her bed. Horrified eyes watch another TARANTULA, twice the

... Into the doorway steps. sure Strong, Down the hall.

· · this, too. With anything.

It continues, and he holds his ground, takes a breath. He'll deal with ... the SCREAM.

•.. Until it.

I'Udeal with Chris stands looking around at the filth, the cracks, the melting paint. Okay,

HOLD on the Tracker. What has he done?

Forever. door closes STRONG. The ... he's gone.

... And then For everything. His eyes say, thanks, Al. ·

And I won't leave their mom. , CHRIS

I do.

? Christy ... ANNIE C

wondering ... ... a eyes The light dawning behind her dark his VIEW of her face. So close.

in his eyes, we SNAP TO ... And with the non-recognition ... her.

... And then, his gaze falls on His,anns hug himself against that.

... is it so Why place? this to Christ, what happened CHRIS

around ... He blinks, pulls back, looks words, a light goes out behind his eyes. those And with

... just to hang around you. CHRIS

whisper ... a So the last words can be Leans close.

over heaven ... A guy would choose hell For being so wonderful. CHRIS

Nah, not for any of that. his head. shakes He

My sweet husband? For what? Killing my children? ANNIE

Her lips part. Her eyes flicker.

But I can forgive you. CHRIS

She is staring back. Transfixed.

can't. I know I Hell, (whispers) CHRIS

Staring in her eyes.,

forgive themselves. Because they can't Good people end up in Hell. CHRIS

She tries weakly to pull it free, but he won't let her. hand over hers. bi's He folds

Where we belong. CHRIS

He hadn't expected that. The tears pool in his eyes.

99 ·

know us. That's because he doesn't CHRIS

softly. He laughs

miracle. a It was thing. close says it was a very Albert ANNIE

And when she does, she stays close. stop for a while. No hurry now. She doesn't sw~t. .• her mouth finds his. Slow and.,

his face... She comes to him. Her hands on his chest,

Sometimes. When you lose, you win. ANNIE (whispers)

spring to his eyes. smile, tears incredible He WHEELS around. She is THERE. He blinks. Is it an illusion?But when he sees her

Rememberme? Hey. ANNIE (gently)

comes... until a voice to its beauty, oblivious lost,in the garden. Wandering, alone Chris

* 110 - DAY GARDEN EXT. 110

loveliest garden.the...

just below him•.. And The Jakehe knows, ringed with forest. hillside....the

see through the window...

to her. He SPRINGSout of bed lost there. He has are no longer hpuse Annie and herthat

in a room. Confused,devastated Chris waking. He looks around, startled. He is alone,

Still BLACK. then, our eyes OPEN to see...

* 109 INT.ROOM -DAY 109

Silence. In the darkness.

BLACK SCREEN. And

Christyf Don't give up... ANNIE

to us, blindly... out Reaches

Oh, God, HELP ME...! ANNIE

blind panic... on one elbow, pure for an instant. She is up now, the screen BLACKENING blink, We /_.,/'-~ \ ~)

? Mommy ... MARIE

instant ... and even so, the child can't quite believe ... same Two hearts explode in the Annie's dark eyes. Caramel hair. girl. ... an eight-year-old

beside him appears ... And from nowhere,

The surprise. That's not. TRACKER

Can it really be Katie? Annie's eyes flash bright with astonishment. slips past him in the doorway. the Dalmatian

Before We hear the WOOF. Then nods to the Tracker, expectantly. She looks to Chris.

Ready for that surprise I promised? TRACKER

It looks rather nice. happy before. him seennever them. We've The Tracker fills the doorway of the house on the glentle slope, just above They turn.

me, lady ... 'Scuse (O.S.) TRACKER

that. Was ever Nothing about her. CHRIS

They're having the best time.

This girl was easy, huh? ANNIE e I . brought her back to my room.\ I And met a girl by a lake. I was young. I When CHRIS

* The most beautiful view in heaven.

High above the world they have created for each other. joy. by Overwhelmed On Annie.

* real. it is completely

Only now, for the first time, painting. course, Annie's of It is CUT TO ...WIDE ANGLE.

Like the view ... ?

* CHRIS

Become something of a believer herself. She nods at that.

They haven't seen before. Is just stuff. CHRIS

His eyes moving over her face.

What some people call impossible ... CHRIS

close at all. Maybe it wasn't Maybe that's right. her own tears. Swallowing She has to-smile back.

100 (REVISED: 5/30/97: YELLOW)

strangers. could change back. So you're not with We (LEONA) MARIE

face smiles a lovely smile... Asian young woman with the The . adults. She startles, a little. when she looks back, her armsare around two young And

Take a chance. rush. You had your CHRIS

get it. Looks bac;kto her husband. quite She still doesn't

us the way we met Dad? seeWanna IAN

doesn't understand. She

costume? let these kids get outta ·gonna youAnnie, TRACKER

· eyes.

to wipe at his all look around. For the moment, he is. Has to take off the spectacles They

I the only one cryin'? am Hey, TRACKER

Never had a Christmas like this. ANNIE

And aJljust right. much. all too each of her babies now. It's around ann licks her face egregiously. Annie has one Katie

ANNIE

trots over. Her turn for some loving. ·-

it brings a silence that no one kisses him so fiercely, neck. just grabs him around the She

the next time this kid asks you to drive... Now, IAN

with.•• smiling, close. Can't keep from real lock to his mom's. He SLIDES down the hill, comes to her side, crouches down, eyes boy. Rugged, rangy, a jock. Beautiful sleepy eyes. The13-year-oJd A doorway. the Io

I always knew you liked her best. (0.S.) IAN

kissing and holding onto each other for dear life. Until... mom's arms, CRASHING into Annie, sending them both SPRAWLINGand laughing and and her baby SLIDES down the slope, RUNS to her out.arms Annie THROWS her\ j ___t'--.. ' f\I

going to do this. D2t worry, Christy, I'm Don't ANNIE

And seeing his shock. .•

About mom choosing to go back. about rebirth. It's IAN (ALBERT)

What ii this? Chris looking from his wife, to his daughter, to his son.

We don't need an interpreter. our father. He's IAN (ALBERT)

Silent. Everything. The Tracker falls silent.

do this, all right? ImLet {cuts him off, sharpJy) (ALBERT) IAN

.. to, she nm t. she~ But 1RACKER

No sir, nowhere at all. ANNIE

her hand around his. Her smile luminous once more, she wraps her head. shaking Annie

somewh ... am back? What does that. •.are you Get CHRIS

loving smile fades to bittersweet Annie's look holds. 1bc

back. When you get And she'll be waiting, right here. (LEONA) MARIE

gently. so Her daughter smiles

Now I've got a girlfriend. God. My ANNIE

face in her hands. Marie'stakes...Annie

And whenChris pulls back ... wall. tiny figures in the painting on Annie's

like the four world the alJ forJoo.Icing Our huddJed family They embrace. steps in. Chris

Know you guys anywhere. ANNIE

The softest whisper ... and back. cowboy, She looks from her, to the black up this angel she never thought she'd see. give make her

Nothing could eyes. dark Staring· so deep into those But Annie is just shaking her head.

Because I used sleeping pills t... ANNIE (staring at Chris)

sleep deprivation. In her teens, She'd contract an illness that causes MARIE(LEONA)

At first. CHRIS (never looking from Annie's eyes)

at first. healthy girl, She'd be born to a family in Sri Lanka. She'd be a MARIE(LEONA)

And as they stare in each other's eyes...

That's not what I asked. CHRIS (real soft)

He licks his lips. His throat dry.

* I'm not going to leave you, Christy.

... silence. Chris looks to Annie a And those words. Break through. They leave

Is a long time. To feel wrong. And forever. IAN (ALBERT)

... Then, she'll be with you forev to all eternity. Chris, this time will pass like a heartbeat, compared TRACKER

feel right. we'll~ Or debt. responsibility for what we've done. To pay our We know, inside. When we need to take MARIE(LEONA)

So young, and suddenly so wise. Staring in his baby's eyes.

amends... making...km:ma religion in the world talks about atonement. or m that She killed herself. There's a reason MARIE (LEONA)

103 GREEN) (REVISED: 6/10/97:

I had a hunch. Soul mates. IAN (ALBERT)

How does he know? All eyes tum.

You bet you can. IAN (ALBERT)

Can we be togeth ... we'? Can Mane) (to

do this together. count, we screwed up on Earth. Let's Hell doesn't CHRIS

· you just... Christy, ANNIE

* to pay.

To go crazy. Got my own bills wife alone. my I left CHRIS

We? That hits Annie like a ton of bricks.

Will we be in? So what village. CHRIS

Locked to his wife's eyes. Smiling. He's nodding.

of every event on Earth the consequence Enough to predict than any computer. It's stronger (LEONA) MARIE

Chris tries to imagine this.

the juice from every brain that ever lived.aU It's like I told you about tapping into everyone all at once. (LEONA) MARIE .

How do you know this? CHRIS

He stares at his wife with such love and pain. In her thirties.

In her thirties. She will die. (LEONA) MARIE

And the illness? (so quiet) CHRIS

mother an artist ... in local government, Father would be loving and intelligent. Her parents (LEONA) MARIE .

104 GREEN} (REVISED: 6/10/97:

l) Hey. Nothing's perfect. CHRIS

All eyes on him.

But you'll be alone, mourning her. For forty years. IAN (ALBERT)·.

For a change. CHRIS

... You'll be with her·at her death IAN (ALBERT) .

That hadn't occured to Chris. Of course.

* live to be old.

There's more. This doctor you're going to be. He'll (ALBERT)' IAN

That quiets the room.

stranded on different journeys ... not, you're If both the babies are born alive. If TRACKER

Well, it is. MARIE(LEONA)

Not so sure. The Tracker grunts.

It is so romantic. MARIE(LEONA)

arms. you play your cards right, she dies in your ...if IAN (ALBERT)

I say? can What more

... and devotion sustains her through her illness, marry a young woman. Your and in love with twenties, you're working in Sri Lanka, you fall Late IAN (ALBERT)

son. and Eyes locked to each other, father

You follow in their footsteps ... parents doctors. So I found one. Born in Philadelphia, a boy, both IAN (ALBERT)

The cowboy smile. Just for his dad.

105 (REVISED: 6/24/97: GOLDENROD}

u ... WIDE AERIAL VIEW of flooded plains, villages

on the run, this one's a problem ... Blur of motion, WOMAN on gurney being rushed through sliding doors, doctors and staff

111 - DAY INT. DELIVERY ROOM, PHILADELPHIA111

SMASH CUT TO ...

... Only time for her eyes to close, her mouth to part, and as they kiss

I like a lakeside view. CHRIS

When she turns back to Chris, he is leaning closer ...

Nods, yeh, maybe I should. She looks back at the columns.

Maybe lose the columns? (soft grin) - ·

have it waiting here for me? Will you finish our home. Paint all the art. And CHRIS

the world. in He leans closer, as if they are alone

That's your role. To bring adventure into my life. (murmurs) CHRIS

From his heart ... I will.

make you smile. I'll CHRIS

... You can't do th ANNIE

In two languages, even. songs. sing you dumb love I'll When you can't sleep, CHRIS

Her head is shaking, her eyes filling ...

· · Kiss your palms, your fingers ... face. Could be nice. When you have a fever, I' II dry your CHRIS

Don't do this. w~isper) (a ANNIE / ' J \ ,r\

YELLOW} (REVISED: 5/30/97:

ROLL END CREDITS. TO BLACK. CUT

Two mothers clutch their babies. FREEZE FRAME.

breathes, SCREAMS. GASPS, ...

across the infant's back, and the child ... ... STRIKES a blow mother sits BOLT upright, GRABS her child from the mid-wife and ... the brown baby girl is motionless, lifeless, a frozen doll. A lifetime instant. The Hindu

... howls with rage and life. But on the right hand side of the screen two babies, side by side, pulled out into the world. The boy is white, but now bright red,

119 SPLIT SCREEN ... 119

... a blur of bodies, movement, hands, the women SHRIEKING, just alike, until...

118 ... between the two INTERCOT FASTER 118

... bulging, she is SCREAMING now, unable to control the suddenly excruciating pain

...the older mid-wife has replaced the girl, all business now. the patient's eyes are

117 ... JAFFRA 117

between the writhing patient's legs••

her position talces to his wife's side, clutches her hand. The woman is the senior doctor,

...a man and woman in mask and gown BURST into the room. He is the husband, rushes 'g

116 PHILADELPHIA ...116I

midwife reaching under the cloth, between her legs, and... stops. Her face freezing ...! the woman smiling, bearing down, bravely not crying, her face bathed in sweat, the youngI i

115 JAFFRA ...115

hard, in agony and really scared ... ...gurney WHEELED into place, nurses hooking up monitors, the woman is breathing •

114 - INT. PHILADELPHIA114ii

RAPID INTERCUT now, between ...

... teenager, attend a young Hindu woman in calm, but painful, labor A simple room, clean, but without visible high-tech support. Two mid-wives, one barely a

113 NIGHT INT. HOSPITAL ROOM, JAFFRA, SRI LANKA- 113

107 YELLOW) (REVISED: 5/30/97:

~i

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