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by David K. Womba (eazeclipz@hotmail.com)

Rated:

Genre: Science Fiction/Fantasy User Review:

It's an eye opening and emotional tale. A man's dead lover wouldn't rest but take him along in revenge to her untimely death.

"DREAM ON"

FADE IN:

INT. HOTEL/A SKYSCRAPER/90TH FLOOR - NIGHT

An extravagant ballroom hosts a banquet. Respectable men and
women, looking lively. All men in tux. All women in cocktail
dresses. Waiters serving glasses of champagne and the finest
food.

CEILING/LIGHTING -

Beautiful gold Chandeliers gives room a warm color.

A STAGE IN THE BACKGROUND ---

Band plays soothing romantic song.

MAIN ENTRANCE/DOORWAY ---

JONATHAN MORSE enters with a female companion. An American,
white. Blond. Thirties. His companion, KARINE MONROE, white,
Brunette. Twenties.

John wears superfine wool, single breasted notch collar tux.
Pants with satin stripe. Karine wears white beaded
Charmeuse, Chiffon dress, with bow tied in the back.

MOVING ALONG/A TABLE IN CORNER OF ROOM ---

A waiter walks away from-chinese male, forties, and his
chinese wife.

FOCUS ON ---

Karine greeting people with a lively smile. John seem lost.
The strangers love Karine's aqquaintance. Until they reach-

SERVICE STAND ---

A Brit male stands upright. Making a direct eye contact.

            KARINE:
      (to waiter)
Mr. and Mrs. Morse. Please.
      (to John, smiling)
I love that we are being
identified as a couple.

JOHN:
Honey. I feel funny. It's freezing
in here. And I'm wearing a coat.
And it's seventy five degrees
outside.

John begin to tremble. Those passersby shows no concern.
Karine puts both hands on John's shoulders. Looks in his
face.

MICHELLE:
Relax. Will be fun. Afraid to
catch up on the old times? You
won't. Nothing you been missing.

The man goes through the roster with his index. And...

JOHN:
(to karine)
It's not that. But are you okay
with this? I mean. You know what
happened.

KARINE:
It's okay. I'm fine with this.
Sometimes we have to let things
go. And i'm sure Michelle already
did. Don't worry.

            WAITER:
      (Articulating)
You're most welcomed, Mr. and Mrs.
Morse. My pleasure to escort you.
      (gesturing)
Please, follow me right this way.

The man leads Karine and John into...

MINI TABLE - MINUTES LATER

Karine is drunk. Michelle and John sober. From Karine's
point of view, things in the room are swiftly spinning.
Rotating. Like Tonardo. She feels sick. Holds stomache.
Sucks on her breath. Karine falls on her kness.Lean on
Michelle.

KARINE:
(whispering)
Excuse me for just a minute,
Michelle. I need to use the
ladies-room.

MICHELLE:
What's the matter? Are you okay?

John reaches out for Karine. Karine refuses. Karine kiss
John on the neck. She exits. John stands. Watching Karine.
He turns to Michelle. Michelle smiles---Proud---Dignified.

JOHN:
When i received that invitation, I
knew you were up to something
mysterious. You phony piece of
shit!

John draws all attention with a whoosh.....Freeze.

MICHELLE:
(softly)
Don't pretend as if you don't know
what's going on. Think I'll offer
Karine an expensive Italian dish
because I like her? This was only
meant to get both of us together.

Michelle sighs. She gets closer to John's face. As if to
kiss him....She reaches to his ears.....looking in face.

MICHELLE:
Our son misses the sight of his
father, John. Are you coming home?

John hurls back. Disbelieving. Looking around...Looking at
Michelle...Looking towards the ladies room...Very Shocked.

LADIES ROOM - FIRST STALL ---

Generally well-furnished. A skinny lady, seventies, sits
left corner.She's the Restroom waitress.
A stall......Sound of someone vomitting.

It's Karine, squatted, bending heads over toilet. Helpless.
Lots of blood dripping from her lips. Teeth discolored.
Vomitting stomache tissues in bits of white skin cells. Tiny
raptiles. Some on the floor. Some crawling out of her mouth.
She pulls them out. Some around her feet. She falls, head in
toilet.

SECOND STALL---

A lady unrinates, humming Celine Dion's, "you're my angel"
when she spots the moving raptiles. Quickly wears clothes.

BACK TO - MINI-TABLE ---

Michelle is looking John directly in the eye.

MICHELLE:
...by then I was a month pregnant
when Karine set me up, intending
to have my son fatherless for the
rest of his life.

Michelle suddenly stands. With vigor. A sudden breeze. The
other guests in the room Freezes. They are blown in bits and
pieces by the violent breeze that soon ript down the walls.
Michelle extends her arms to John. Her eyes becomes that of
a serpant. She's suddenly dressed down dread in black. A
hissing tongue. Blue salava and an eye shadow too gravelike.

MICHELLE:
(sounding evil)
Come on. And hold my hands. Follow
me. Let me show you. Cause I will
not rest till you do John.Come on.

John backs up. Looking toward the ladies room. He tries to
run. He's suddenly skipped back twice every step he takes.
Until...

EXT. HOTEL/A SKYSCRAPER/ROOF TOP - NIGHT

A dry roof surrounded by city lights. A violent wind from-A
white helipcopter that suddenly arrives. Blowing dusts. It
lands. Doesn't stop propelling. Two men in dark tuxes make
an exit.

Behind the men is the most beautiful female in the world.
Michelle Wishart. Late twenties. Silky red hair, with dark
highlights. Her dress is red and black. Necklace. Lipstick
all matching with her dark eye shadow.

The men lead her into the building. All attentive;Swift.
Through a door on the roof. And down a narrow staircase.

INT. BACK TO SCENE/90TH FLOOR - NIGHT

A PRIVATE AREA ---

Dimmer lights and aromas of rich Italian dishes. Many
sitting around seperate tables. Living the sweet life.

Karine and John are relaxed. Another couple, they don't
know, sit next to them. Early thirties. All having fun.
John sipping on a glass of white wine and looking around.

A female waiter comes and serve the others. They begin
drinking.

MAIN BALL ROOM ---

Michelle enters. The Brit male at the service stand bows in
respect. She doesn't respond. The men in tux remain at the
door.

PRIVATE AREA ---

Michelle enters. Karine stands and hug Michelle-Much love.
Michelle smile at John. John frowns and leans back. Angry.

MICHELLE:
(to the couple)
Can you excuse us, Dave? I see my
guests are enjoying well. Please,
Venessa? Thanks for keeping their
company.

DAVE:
(firmly)
Anything four you, Mrs. Wishart.

Dave tips his hat and bows. Respect. Holds his wife's
hand...Takes two steps backwards. Then they walk away.

John stares behind David and Venessa and begin to smile.
They suddenly turn to him. Looking John dead in the eyes.
Demonic, with a dozen hissing serpant heads sticking off
their shoulder. They Vanish. John spits out his drink...

A DIFFERENT REALM ---

John hops off his seat. Grabs Karine by the upper arm, and
pulls her away from Michelle. Michelle is only staring at
him.

John puts Karine behind him. Karine is like a doll, confused
and looking around. Michelle walks up to John's face. He
tries to backup but is stuck. Michelle begins massaging her
hands up and down John's face. Then she wags her tongue and
growls like a DOG. Her eyes become sulfuric red. Her face
Pale.

BACK TO REALITY ---

John looks to see if he sees Dave and Venessa. They are
exiting. It was just a nightmare. John presses his face.

John wakes up. He takes a deep breath. Stares at Michelle.

JOHN:
(Angry)
I can't do this, karine. I just
can't. This is sick. Meet me
outside or I'm leaving without
you.

Karine wakes up and tries to calm John. He begin walking
away. Karine runs after him. Grabs his hand. John stops.

KARINE:
Honey. Can you do this for me?
Please honey. This is our lives.

MICHELLE:
It's the least you can do for me
John. And it's for your beloved
Karine.

John looks in Karine's eyes. Then at Michelle. John returns
to his seat. Michelle sits up. Karine smile. John's annoyed.

MICHELLE:
So. Five million dollars. A week.
One million a day. We have deal?

Karine sits up. John looks at her. Michelle's eye twitches.

KARINE:
Does he come home everday?

MICHELLE:
Unless he doesn't want to.

There is a silence. John pulls his chair back and bows his
head.

MICHELLE:
Just give me a minute. Right away.
I have to get my wonderful guests
something refreshing.

KARINE:
Oh, no. Don't bother. We had
something already.

MICHELLE:
(very calm-slow)
I said something refreshing,
Karine.

KARINE:
I will then get something none
alcholic. Why not the waiter?

MICHELLE:
Oh. I wouldn't mind getting it
myself.

Michelle exit. Karine leans to John. He looks at her deeply.
She smile. John doesn't smile. Karine rubs the back of her
hand on John's jaws.

MINI BAR ---

The shelf aligns the finest wines and champagnes.

After serving a man and his wife, the waiter turns to
Michelle. Shocked, he knocks over a glass. Excited.

WAITER:
(captioned)
Mio carino signora.

Michelle leans over the counter, speaking to him with a
sense of domination over his enterprise as he jots down
notes.

MICHELLE:
One Brut Cuv�e. A White Zinfandel.
(beat)
What's the fastest reacting most
alcoholic containment on the menu?

WAITER:
(close up)
Casa Lapostolle Clos Apalta. From
Chile, sub region, Rapel Valley.

MICHELLE:
Expertise. Make me a delivery of
those three. A choice of one of
your favorite dishes asusual. Be
most exquisite.

WAITER:
Dedicato interamente a te, Mrs
Wishart. Give me just a minute.

The waiter wags his cobra's tongue at Michelle. Winks.
Terrifying. Slurps. His eyes glow and sparkle. Shines.

MICHELLE:
Give my last order a boost shot.

PRIVATE ROOM ---

The waiter arrives with Michelle offers on a tray he carries
on wheels, delivers them with care and deligence, then lifts
his head.

WAITER:
(to Karine)
Please allow me to say that you
you look quite marvelous in the
dress.

KARINE:
(blushing)
Oh. Thanks.

Michelle looks at the waiter in anguish. He shies away.

MINUTES LATER ---

KARINE:
Excuse me for just a minute,
Michelle. I need to use the
ladies-room.

MICHELLE:
(pretense)
What is the matter? Are you okay?

John reaches for Karine. Karine refuses. Karine kiss John on
the neck. She exits. John stands. Watching Karine. He turns
to Michelle. Michelle smiles---Proud---Dignified.

MICHELLE:
(clapping lightly)
Bravo John. You are a great actor.

JOHN:
(angry)
When i received that invitation, I
should have known you were up to
something. You phony piece of -!

The words remain bewteen John's teeth when Michelle Shhhs
him with her index finger over her lips.

All attention in the room is drawn with a sudden WHooSH.
Everyone FREEZES>

MICHELLE:
You don't know what's going on
here, John? How would you. How
would Karine? She is too busy
after the world. This was only
meant to bring us together John.

Michelle sighs. She gets closer to John's face. As if to
kiss him....She reaches to his ears.....looking in face.

INT. FLASHBACK - URI - DORM ROOM - NIGHT

Wild college girls dorm. Cut and pasted faces of little Kim,
Eminem, Maroon Five and several professional athletes zigged
zagged on the wall.

It's a simple room, with walls cheerily splashed in a dull
beige and a floor that's plush white carpet. It is silvery
and moonlit, though rather humble.

SWIFT ENTRANCE/UNREALISTIC ---

A sudden appearance of...John and Michelle, walking on
clouds. A steam coming off John who is freezing cold. He
shivers like an Antartic nomad. Michelle is but calm.

REALISTIC ---

Karine, in pink pajamas, sits on the upper level on a narrow
bunk bed. She is flipping through a magazine. Then hops down
quickly as...

Michelle enters. In Blue nightgown and white cotton sweater.
Serious. She sits on the lower bed. Rubs her stomache, looks
at Karine.

KARINE:
Where's the meter?

Michelle hands karine a pregnancy test reader.

10.

Karine stares at it. Flicks it, frowns and sits next to
Mitchelle.

            KARINE:
      (disappointed)
Positive. It's positive.
      (beat-manipulative)
Do you realize how best of friends
we are, Michelle?

            MICHELLE:
      (smiling)
There's no reason for asking that,
karine. You've always been there.
      (rubbing stomache)
John is going to be a father. God,
guess who'll soon be a mommy?

KARINE:
Yeah. That'll bring lots of
changes. You don't want that.

MICHELLE:
What do you mean?

KARINE:
What will happen if the committee
found out? All scholarships are
off. Think about it. You've worked
too much to let this hold you
down.

Michelle pushes away from Karine...Hate.

MICHELLE:
(sadly)
Geeze, thought you'll be happy for
me. I guess not. What's the matter
with you?

KARINE:
Never wanted to say a word before
I realized how much I care about
you. Just want to see you happy.
That's all.

MICHELLE:
(amused-laughing)
I don't understand. I'm two months
pregnant and you, want me, to have
an abortion? Are you kidding me?

11.

KARINE:
I said nothing about an abortion.

Karine nears Michelle. Tapping on her shoulders and gently
massaging.

KARINE: (continuous)
(softly)
But if that's what you want. It'll
be the best thing to do, Michelle.

Michelle is down, wondering...

KARINE:
Easy. Very simple. I've done it
before. Look at the look in your
eyes. You want to do this. It's
only a couple of pills and that's
it.

Michelle is speechless. Staring into Karine's eyes. Tear
drops. She sniffles. Wipes her face with back of her hands.

KARINE:
What're you doing? Don't have to
do this. It's your own decision.

MICHELLE:
John doesn't know. He wants this
badly. We've tried and tried, and-

Karine puts her arm around Michelle's shoulders.

KARINE:
You can do better. Way better. As
much as i hate to, I must tell
you, and believe me, John isn't
there for you. You'll never doubt
me, will you? Come on. I'll show
you how to live. Get some sleep,
will you?

Michelle hugs Karine tightly.

KARINE:
What was that about?

MICHELLE:
Thanks for looking out for me.
(beat)
But I can't do it. Goodnight.

12.

INT. FLASHBACK - PROVIDENCE - NIGHTCLUB - NIGHT

A wild party...College students celebrating. Some dancing,
some standing by watching others speak aloud to be heard.
Some walking inbetween the crowd, from one place to the
other.

STAGE ---

An African American DJ, DIRK DAMON, nineteen, spinning
records and making scratches. Constantly switching Disks
with a headphone barely caught between the neck and cheek.

ROTATING DISCO LIGHTS ABOVE --- FLASHY ---

BACK IN CROWD ---

John squeezes through the crowd. He is wet. looking around.
Holding a bouquet of roses. Sneaking beneath sweaty arms.

Dirk's announcement on the microphoe fades into...

BACK ROOM TABLE ---

Michelle is drunk, sitting opposite JEREMY TAYLOR, a rich
and handsome fella of twenty...Drinking beer and grinning.

Karine sits arms folded. CARL THOMAS, fat twenty one year
old A-American, another rich fella, friends with Jeremy,
nibbles on Karine's ears. At the same time, plucking out
grapes with teeth.

CARL:
(Karine-whispering)
I wish I could plant a field of
you. Harvest a grain of you. Eat a
whole of you. To make you a part
of me.

Karine bursts into laughter. Jeremy joins in. Michelle
follows.

KARINE:
(to carl)
That has to be the lamest line I
have ever heard from a despearte
guy.

MICHELLE:
(to Karine)
Why am I so happy? I feel happy.
Oh my gosh, I'm elevated. I love
you.

13.

KARINE:
It's all in the drinks. Have fun.

SHOT FROM EXTERIOR TO ---

John pushes the curtain. He's shocked to see...Michelle is
kissing Jeremy. Silence except for music in the background.

JOHN:
(To Michelle)
This is for you.

Everyone laughs except Michelle who takes it before bursting
into laughter. John wipes a drip down his face.

JOHN:
I hope you will like it.

John turns away and walks out. Michelle wakes up and
follows.

MICHELLE:
(to Jeremy)
I'll be right back.

Karine follows.

CARL:
Be right here waiting on you
cherry. You heard that baby?

EXT. NIGHTCLUB ---

The street lights dully shines above as night bugs joyfully
dance around them, casting their flickering shadows on the
wooden pole.

In the open air, several people ganged, coupling as they
stand close to each other...Some in their vehicles. Some
ontop, drinking beers and smoking...Laughin it up.

John rushes out, followed by Michelle.

MICHELLE:
What do you want John? I can't
leave with you if that's what you
want.

14.

JOHN:
Don't bother. It's no problem. Go
ahead. Party. Do whatever the heck
you think you can possibly do,
Michelle. And see if I will ever
give a fuck anymore, Michelle.

MICHELLE:
This is not like you.

JOHN:
And it's like you tonight? All I
wanted us to do was like every
year, March six, remember? That's
today.

John takes Michelle's palms in his.

JOHN:
It doesn't always have to be a
sudden fuss between us, Michelle.

Jeremy exits in a hurry.

Michelle violently pulls her arms away from John.

MICHELLE:
(beat)
Let me be sincere with you, John,
this is ridiculous. You're
pathetic. How can I possibly come
to love you? How many times must
you ruin a perfect moment for me?

Michelle, looking at John disgustedly, turns away.

JOHN:
(calling out)
I love you, Michelle...Michelle!

Michelle hurries to Jeremy. He takes her hands, looks at
John and takes her inside.

JOHN:
He doesn't love you, Michelle. No
one will ever love you as much as
I do. Michelle! Are you coming?

John rushes to his vehicle. He slams his palms against the
hood of the car, attracting everyone's attention. John
enters his dilapidated vehicle. Then drives off recklessly.

15.

EXT. HILL TOP - NIGHT

John sits at the front edge of his vehicle, looking across
the city from the top of this hill while throwing pebbles at
his feet. Very Lonely.

MOMENTS LATER ---

KARINE:
Don't be so down,John. Though
something tells me you misses her
so much.

JOHN:
She never seem to care about what
I think, anymore. What's going on?

KARINE:
It's nothing to stress over, John.
That's how the world goes. Thought
you were more philosophical?

Karine gets closer, looking in John's eyes.

KARINE:
You will never understand us
females. Don't even try.
(getting closer)
And the more I notice you and
Michelle in these Romeo and Juliet
episodes I sometimes come to
realize we have lots in common
then both of you.

JOHN:
Making her to like me now is like-

Michelle places her fingers across John's lips.

KARINE:
Like nothing. Stop making it sound
as though she deserves you, John.
It's time you get ahead with your
life. She's been playing you off
for so long...Thought you'll smell
the roses and follow the trails.

Karine looking directly at him, kisses John. He tries to
stop her but can't, he sarcoms. He holds her close, gets
deeply involved.

Michelle is in a rush. She appears from the darkness. Tired,

16.

perplexed. She gets closer from the rear of John's vehicle.
Out of breath. As if been beaten. She's wet, holding her
right shoe and the bottom of her evening dress in one hand.
Her make-up mascarades a black tear. Her hair clings to her
face.

AT A CLOSE UP ---

She sees John and Karine in the back seat. Having sex. She's
weak and almost passing out with her face on the steamy
window. John sees her. She chokes, then leaps away into the
night.

INT. PRESENT-HOLIDAY INN - MINITABLE - BACK TO SCENE - DAY

MICHELLE:
..and when Jeremy rejected me
after he found out the child
wasn't his, knowing there was no
reason fighting over you when I
realized how deeply in love you
were with her, I decided to leave
your alone; and just moved out.

John is speechless, staring at Michelle, who is now getting
closer to him, strecthing out her arms and reaching out for
him.

MICHELLE:
I want you to hold me, John.
Please, say that you love me.

John leans closer, almost touching Michelle as he reaches
out to kiss her, then leaves her face forward as he wakes up
in anger.

JOHN:
You have to think I'm crazy to
believe a word of that nonsense.
Goodnight, Michelle. And thanks
for your offer tonight. Alright?

John takes his coat and walks away from the table.

Michelle sits lonely, staring behind John as he goes to the
ladies-room door. Karine, already exiting, is hand held by
him. Both exits the scene, as other couples follow them.

EXT. TIMES SQUARE - DREAM SCENE - DAY

An Aston Martin is being chased by a tinted Koenisegg as it
weaves inbetween oncoming vehicles. Supersonic speed/light.

17.
PAN INTO ASHTON MARTIN ---

John is wearing dark sunglasses, smears of blood stains across his white shirt. Accelerating recklessly. Looking back and forth.

EXT. SIDEWALKS ---

The everyday New York City life. Most excited as always, some concerned as John and his attacker race passed them.

PAN AT KOENISEGG ---

A futuristic model. Silver. Brand New. Flashy.Extraordinary.

BACK TO FOCUS ON ---

The screeching of the Ashton Martin's front tires skidding across the pavement. Very Loud...Noisy. Swerving off the right lane to the left. John's trying to control the wheel.

SLOW FRAME --- ACTION DETAILED ---

The Ashton Martin crashes into the front left corner of an oncoming 53'x102" trailer truck that has lost its balance and is maintaining some stability.

The frame automatically smooths and FREEZES, until...

John's ghost, eerie and physically transperant, exits the vehicle where the front is partially damaged beyond repair.

There's a warmth. Vast space of quietness. John is confused and begin to stare far through the lifeless atmosphere. One hand above his eyes. Squinting and coughing smoke. He spits.

John walks a short distance. He stops...Holds his hips and looks around. He chokes and gasps for air. Sighs hopelessly.

LOOKING BEYOND ---

The once busy street recedes endlessly with death silence as a massacred city.

It starts becoming breezy. Tiny bits of dirt begin to level above the ground. Then extremely breezy. Piles of dust in a gusty wind of papers and junks sweeping along. A nasty bunch of them flaps across John's face. He whips them off crazy.

FROM A DISTANCE BEHIND JOHN ---

A strange voice calls out in a mixed tone of both male and female.

18.

STRANGE VOICE:
Over here!

John abruptly turns around. He begin advancing towards the
stranger.

MIDDLE OF STREET ---

A beautiful blond female in sight. An angel...in dazzling
white garments. Around her gracious neck is a white-green
scarf. No wings attached. Heightened above the ground.

John extends his arms slowly, almost touching the tip of the
angel's garment. She resists.

ANGEL:
(articulating)
I'll appreciate it greatly if you
will not get any closer, John. For
there is a boundary that separates
you and me.

John halts. Then stubbornly reaches out again. The angel
disappears and he's left falling to the ground. Confused.

The ansgel reappears behind John as he struggles to his
feet.

John tries to touch himself but notices his palm is ghostly
as it passes through his body. He looks up at the angel.

ANGEL:
What does it take to differentiate
all that is real from that which
isn't, John? Don't be deceived by
everything you see.

John levitates off the ground with tremendous speed. In
suspension, he is terrified. He comes speeding down. His
footprint is made in the gorund.

JOHN:
(murmuring)
This isn't happening to me.

Looking around, the nervous John hurls back in fear, as if
to speed off, placing both hands before him and with an
uncertainty wondering what he's become.

ANGEL:
This is your moment between life
and death...

19.

The angel begins gesticulating, motioning her body and
circling John with a sense of superiority.

            ANGEL:
      (nearing john)
It's all happening so fast you
can't understand why because
there's not a soul who foresees
the future...You don't correct the
past, you don't relive it, you
bare consequences for whatever
happened before now. That's why
you're caught amidst a world of
illusions and dream sequences.
      (raising her voice)
Hallucinating missing your missing
soul, John; and It's only sixty
seconds before you return to dust
and ashes. How does that make you
feel? Death John, an everlasting
castigation!

The beautiful angel begin to change in form. Her blue eyes
become red. Her clothes, black. Teeth growing out. Beasty.

DIRECTED TOWARDS --- CATHOLIC CHURCH EDIFICE ---

An enormous clock positioned up on an ancient designed wall
across the street alarms with a BANG. Its second hand starts
moving to john's pounding heartbeat. It echoes through waves
that can be felt.

An old priest stands in the doorway. About eighty years of
age...grayed, pale and wrinkled. Frozen in recitation of a
rosary and staring directly at John.

ASHTON MARTIN ---

John rushes to the vehicle.

Camera reveals two figures stiffly seated infront. John and
a powdered face covered...

Karine, embalmed with white cosmetics covering her face. Her
nose bleeds profusely with thick slimes from her nostrils.

John hurriedly surrounds the vehicle. When he's approaching
Karine's door, he slams his hands against the front of the
car before dashing ahead.

He violently pulls the door; it's creaking. He tries to hold
Karine.

20.

            ANGEL:
You could cause an everlasting
disturbance within life's
existence throughout the universe.
Could send the world into
obliviousness for eternity. You
don't want that to happen, it'll
be catastrophic for unlike you...
      (pointing at
       peaople)
many innocent people.

SKYLINE ---

A fair view of the city's sky limits. From along the streets
and up to the high rises. The sun is shadowed. The dusky sky
is getting dark quickly. The clouds are crowded overhead and
forming a violent storm.

A lightning forms its very bright breaches across the
skyline as a loud thunder accompanies the frightful action.

BACK TO SEE THAT ---

It starts to rain...single drops...then heavier. Unlike the
angel, John is getting soaked. He leaves Karine, clasps his
hands and kneels to the ground. A tear escapes to the ground
and splashes. Another stays on the right, making a line down
John's trembling chin.

ANGEL:
(deeper voice)
The race is over, John. It's time
you received the grand prize.

A second thunder follows in the background. John raises his
head, directly staring at the angel's face.

JOHN:
What have I done to deserve this?
Please, I've suffered too long to
end up this way. Give me a second
chance.

ANGEL:
From the moment the clock started
clicking, everything became
irreversible 'cause life is but a
mere existence in time, John.
(beat)
We have to go...

21.

CATHOLIC CHURCH ---

There's only ten seconds left on the clock.

BACK TO ---

JOHN:
(screaming)
How can you do this to me knowing
there's never been a day in my
life without so much torment. I've
had enough already, and will...

EXT. SKYSCRAPER - ALONG WALLS ---

Before John line is finished, he's falling off a skyscraper,
screaming.

EXT. SKYCRAPER - ROOFTOP ---

The angel stands at the top of the building, vindictively
laughing in the background.

Another bolt of lightning follows in the background, causing
the sky to glow brightly before falling into total darkness.

INT. HOTEL SUITE - ROOM - DAY

John, wearing blue pajamas that clings to his body, with
profuse drips of sweat from his forehead, jumps to the sound
of the telephone on a wooden table beside the twin size bed.
He's breathing heavily; leaning backwards on both arms.

Water can be heard gently pouring offscreen and in the
shower...

KARINE: (OS)
John, would you mind getting that?
It's probably Suzan calling about
the kids.

John idly respond to Karine's request, scratching his head
without budging. He looks at the phone...then away. He lays
the pillow over his head. John suddenly bounces in fear and
falls across the bed.

BATHROOM ---

Karine has on fluffy teddy flip-flaps...wrapped in a large
blue and white bath towel and looking in the mirror. She's
waxing her eyebrows...ouch!

22.

PHONE ---

The Phone rings continuously.

BATHROOM ---

Karine stops waxing, rinses her face, and hurries to the
room.

ROOM ---

Karine hurrying, enters the room. She playfully hops,
landing across John's chest as she taps his jaws while
picking up the phone. Her eyes stays focused on his.

John switches the T.V on. He flips several channels, then...

TELEVISION (WEATHER MAN):
(filtered)
It's 9:00 AM, a new day to begin
with a sunny sky, then a bit
chilly in the afternoon with winds
northeast of the south paci-

Karine hangs up. Pulls closer to John. Falls across his
chest and looking in his face.

KARINE:
That was our wake-up call. I don't
trust the machines they use to do
that.

Karine looks at John inquisitively when he wipes his sweaty
face.

KARINE:
What's wrong, Honey? Are you Okay?

JOHN:
(rubbing his eyes)
I don't know. I Just can't stop
having these nightmares.

KARINE:
Wanna tell me about it this time?

John doesn't respond. He warmly inhales and exhales before
nodding no. He bows his head. Karine laughs and jokingly
squeezes his jaws together.

            KARINE:
      (convincing)
Well, to make you feel any better,
            (MORE)

23.

KARINE: (cont'd)
Honey, dreams aren't real. Most
researches show they're only meant
to entertain a mind at rest.

JOHN:
I doubt mine was entertaining.

KARINE:
Come on, we have to get home
before the kids.

Karine exits to the bathroom.

John pours himself a glass of champagne from a bottle on the
bedside table.

EXT. CITY SQUARE - HOTEL --- FRONT - DAY

Perspective from above the street. Karine and John exit.

Karine takes John's right arm with both of hers. They make
their way down the wide stairs.

EXT. CITY SQUARE - MAIN STREETS - CONTINUOUS

It's rush hours as we notice the hectic traffic situation.
We see stressed Drivers beginning their day by moving bumper
to bumper.

EXT. CITY SQUARE - CHURCH BUILDING FRONT - CONTINUOUS

At the bottom of the stairs we see a blind Rastafarian
Jamaican male who has his hair in long deadlocks. He is
wearing a woolen cap, playing a guitar song as kind
passersby drop pennies into a bamboo basket he has at his
feet. Out of his trousers pocket, John handedly puts in a
dollar bill.

JOHN:
(smiling)
Nice song, Pal. You have an
absolutlely very stunning voice.

MAN:
(smiling)
Thanks, Man. I appreciate it.

A jumble of loud discordant sounds are heard from the main
streets; din of street.

24.

KARINE:
(to the blind man)
He has a very beautiful voice too!

John places his hands over Karine's mouth as they walk away.
She hits them off.

KARINE:
(angry)
What the hell was that for?

JOHN:
Whenever someone should be happy,
don't try to ruin it Karine, it's
very, very wrong.

EXT. CITY SQUARE - SIDEWALKS - CONTINUOUS

On various sidewalks we see many serious faces of mostly
office workers who make their way uptown in a rush.

EXT. CITY SQUARE - MAINSTREET - CONTINUOUS

When John and Karine reach a crossing intersection where a
red light comes on, they and everyone else rushes across. We
notice they're headed towards a boutique.

While they're entering the boutique, our attention is
directed to a chase by three African Americans and two white
teenage boys that are gunning down a white male police
officer.

The officer is shot in the head. The boys quickly strip away
his pistol and take off around a nearby corner.

EXT. CITY SQUARE - MAIN STREETS - MOMENTS LATER

John and karine exit the boutique and stops a cab.

The driver of the cab is a Hispanic male with an accent. He
has an irreverent rap music at a very loud volume as John
and Karine enter the vehicle. John looks upset.

EXT. CITY SQUARE - BACKGROUND - CONTINUOUS

An ambulance waves it's ligthts in the background at the
incident involving the officer.

EXT/INT. CITY SQUARE - CAB - CONTINUOUS

CABBY:
Where to fellas?

25.

The cabby turns to John and Karine. His eyes are red as we
can see the blood veins in them. He looks drunk and his
breath stinks. Karine covers her nose. The cabby winks at
John.

KARINE:
(searching purse)
Riverbank West, 560 West 43rd
Street.

JOHN:
(to driver)
Would you mind turning that music
off?

The cabby refuses to turn off the music. He speedingly takes
off. He quickly weaves through traffic and dodges a vehicle
that makes an abrupt stop for a pedestrian before crossing a
redlight.

John turns, looking in Karine's direction with a suspicion.

JOHN:
I hope the kids are having fun.

KARINE:
It's Suzan, John, relax. They'll
be fine.

They exchanges smiles, then John and Karine leans back,
looking out their windows.

EXT. HELL'S KITCHEN - CLINTON - DAY

In this luxurious community, we get a shot of small fine
restaurants and an assured lifestyle that exceeds our
expectations.

As John and Karine slowly approaches their address, a forty
four stories high-rise building, four-hundred-eighteen units
complex loads the screen from bottom to top. We see people
make exits and entries.

A man sits along the building stairs. He's vaguely reading
through a faded magazine, never caring about those who walks
by him or tramples over the tail of his very dirty coat.

26.
When John and Karine's cab stops in front of the building, the man looks above the paper as if spying on the couple, before hastily waking up. He quickly makes his way down the stairs and through the moving crowd.

John and karine exits the Taxi and pays the cabby who drives off rudely.


INT. RIVERBANK WEST - JOHN'S APARTMENT - EXTERIOR - DAY

John opens the apartment's door from which we hear a squeak. A confused mouse comes rushing out as Karine steps back in fear.

The mouse is being chased by a black and very beautiful kitten who quickly stretches out its long and enormous tongue. It swallows the mouse, stares at Karine, then slowly hops away.


INT. 11: 45 - CENTURY MAGAZINES - JOHN'S OFFICE - DAY

In this sky office, just the word comfortable is defined. A place where John spends long hours making an honest life behind a wooden desk that matches the size of his terrain.

A portable clock sits on the desk. Some folders gives John just little space to stretch his arms across.

He is formally dressed, wearing a well pleated striped sky blue tie, navy blue pants and a long sleeve baby-blue shirt.

John, seated in a rotational high back chair looks very busy. He's constantly sipping a cup of steamy chocolate as he quickly punches an important information into his computer.

He then reaches back and forth, looking through several other folders that are farther away from him.

INT. JOHN'S OFFICE - OUT THE WINDOW - CONTINUOUS

We see attentive co-workers in their cubicles. Some visitors walk about as others busily paces themselves. The sound of writers at their desktops can be heard.

Greeting everyone as she comes along is a happy sixty five year old female who distributes individual mail from a steel cart she pulls alongside.

27.

INT. JOHN'S OFFICE - CONTINUOUS

John burns his lips. He hops back as his chocolate almost
spills on his shirt.

JOHN:
Dammit. I hate when this happen.

He wipes his mouth with a white handkerchief from his top
draw.

At his door, a knocking individual slowly enters the room.

JOHN:
(lifting his head)
Hey...

It's MS. MICHELLE WISHART, John's co-worker. A gorgeous
white middle-age female with an irresistible smile; perhaps
the most beautiful female we've ever seen. She wears a black
mini skirt secretarial tux and clear prescription glasses.

MICHELLE:
How's the files keeping you?

JOHN:
Very busy. You look fabulous. What
could be the occasion?

MICHELLE:
(smiling shyly)
You know, John, this is funny and
actually, a little embarassing. My
secretary made a noon reservation
at Hotel Elysee without even
asking me. So I thought, maybe you
could have lunch with me?

JOHN:
(leaning backwards)
I can't leave till this article
is completed. Tinkler's on my tail
and thinks I'll zoom out on him.

MICHELLE:
If that's the case then why don't
you drop that by my office? I'll
have Phyllis do it in no time.

28.

JOHN:
(jovially)
Thanks, but I'm really not in the
mood of losing my job. Know what I
mean?

John laughs. Michelle cracks a smile of discouragement.

MICHELLE:
(slowly)
Does that mean I'll have to cancel
another wonderful time with you?
Thought we had a terrific lot of
fun the other day?

John pretends not to hear her. After a quick moment before
Michelle repeats herself, he lifts his head while rapidly
but lightly tapping the desk with his fingers as he regains
seriousness.

JOHN:
(resuming work)
I really can't make it, Michelle.

Michelle, putting on a questionable face, looks at John
squarely.

MICHELLE:
Are you avoiding me, John?
Remember you promised we'll do
this sometime during the week?

JOHN:
You'll have to understand that I
can't keep this up, Michelle,
Okay?

MICHELLE:
What's your schedule after work?

JOHN:
Sorry. karine and I have something
planned for this evening.

There's a sudden silence as the two visually communicate
with each other.

Michelle holds back her soft hair, then releases her grip
with a rotation of her head as her hair settles back into
position.

Michelle walks to the window and shuts the blinds..Then
heads back slowly and seductively biting on her red lips.

29.

A concerned look is beheld by John who sits upright with
interest, placing his silver pen between his lips.

MICHELLE:
(smiling)
Since you don't wanna come with
me, how about I treat you in here?

NARATOR: (VO)
That's Michelle Wishart, karine's
best friend from college. Our
relationship goes back in time.

INT. PRESENT - JOHN'S OFFICE - CONTINUOUS - DAY

Michelle, now leaning forward over John's desk, unbuttons
her top as she exposes to John.

MICHELLE:
Pretensions won't get you off the
floor, John. Seem as though you
still have those feelings
lingering deep inside, but every
time I try to make you admit that
fact you tend to withdraw from
me...Why?

JOHN:
(turning away)
I'm afraid there's no part of me
that's still crazy about you,
Michelle. Atleast not in this
life.

MICHELLE:
Well then, allow me to spark your
curiosity to discover what you've
been missing for so long.

Michelle insistently approaches John.

Unseen by him who now has his head focused on the computer,
through a stiff moment of soundless suspense that freezes
and speeds according to the unfolding unawareness of John,
we notice Michelle eyes become that sort of a deceased,
craven in redish yellow; her tongue is rotted as compared to
her body from which she excreets tiny maggots that seem
almost falling off her face. It's demonically ivigorating as
she then transforms into a hissing serpent.

When John lifts his head, She flinches and becomes normal
and as beautiful as she was.

30.

EXT. RIVERBANK WEST APARTMENTS - DAY

A volkswagen quickly approaches John's apartment complex.

In the front seat, we see a nine year old boy. He's DARRIUS
MORSE, John's adopted son, blond haired, short and chubby,
attentively staring outside the window as his arms rest upon
the window frame.

Katie Morse (kate), a beautiful teenage girl, John's adopted
daughter, sits alone in the back seat. She's flipping
through a teen magazine pages.

The driver, karine's best friend, MRS. SUSANNA MORGAN
(SUZAN), is about forty eight. She's white.

SUZAN:
(looking back)
Okay guys, we're here.

INT. JOHN'S APARTMENT - BEDRDOOM - CONTINUOUS

Karine is going through old chests and draws as she organize
personal items; old memories, Pictures, decorations, etc.

When she discovers a note, wrapped up, torn and old, She
sits on the floor to read it.

LETTER:

Karine, just extending my greetings and saying how much I've
missed you since my dad sent me to boarding school. For me,
high school is a nightmare 'cause you're nowhere around.
Boring school is what we call it. I miss you and just can't
wait for the summer vacation. Michelle.

Karine nods her head and smiles. She picks up a photo where
Michelle is kissing her on the jaws. It's Michelle's
thirteenth birthday and from the background we can her happy
family. John is seeing slightly above her shoulders in the
photo.

Karine dashes the photo across the floor, cracking it's
glass covering as she frowns.

EXT. RIVERBANK WEST APARTMENTS - COCNTINUOUS

Darrius and Kate exits the vehicle, both carrying their
backpacks. Suzan sits back in the driver's seat, watching
them.

31.

DARIUS:
(walking away)
Thanks for the ride, Aunt Suzan.

SUZAN:
Darrius, anytime.
(to kate)
Why don't you guys spend your next
vacation with us?

            KATE:
      (excited)
Really?
      (pauses)
Well, we'll love to as long as our
mom and dad agrees.

SUZAN:
'Course they will.

KATE:
Aren't you gonna take us up?

Suzan looks at her watch, squinting her eyes through a pair
of sunglasses.

SUZAN:
Promise your mom won't make me
stay for too long.

KATE:
(lifting palms)
I promise.

Suzan exits the vehicle.

Darrius is already ahead, rushing into the building.

INT. JOHN'S OFFICE - CONTINOUS - DAY

Michelle stands still while staring at John who now wears
the look of a mad man.

MICHELLE:
But I love you, John.

32.

John slowly stands, then leans towards Michelle.

JOHN:
(holding her hands)
Look, Michelle. I guarantee you
can find a better man than I am or
will ever become. He's out there
somewhere waiting to make you
happy.

            MICHELLE:
      (looking into his
       eyes)
It's complicated to put into
simple words, John. There is no
other person I'll rather be with
in this life than you. All I need
is a chance to love you again and
forever.

JOHN:
(nodding)
Bare with me for saying this, but
I love my wife very dearly. Being
with you again is but an
imagination seen only through your
old memories of me, Michelle.

Michelle falls weak, bowing her head as she speaks.

MICHELLE:
(sighs)
I can't believe Karine betrayed
me.

INT. PRESENT - JOHN'S APARTMENT - LIVINGROOM - CONT' - DAY

In a neat home, a comfortable New York life style attracts
our attentions.

Around the room, a green rug covers the floor upon which we
see three bean bags of distinguish colors. A glass table
sits in the middle of the room, serving as a seat for a
blossoming flower bouquet sitting over it in a glass bottle.

The seats around the room are comfortably organized as we
peer outside through the sliding glass door to the balcony.

33.

karine hurries to the sound of the door bell, dropping
pieces of papers and similar items on the floor.

Standing closely, she looks through the key hole, then opens
the door. Darrius jumps and hugs her tightly as the happy
faces exchanges greetings while finding their way around the
welcoming apartment.

KARINE:
(to kids)
How was it at the carnival? I
heard it was going to be a grand
celebration this year.

SUZAN:
(interrupting)
Vincent hated the idea. Said kids
get missing in such places quite
often. I took them to the movies
instead.

DARIUS:
It was great mom. Guess what? Aunt
suzan allowed us stayed up past
our bed time.

SUZAN:
Wasn't anything like it sounds
karine, not all night. I made sure
they were in bed before vincent
and I. Right Katie?

KATE:
Yeah, Mom.

SUZAN:
(to karine)
Oops, I'd forgotten totally. How
was your anniversary?

KARINE:
(happily)
Great, couldn't go any better.

INT. JOHN'S OFFICE - CONTINOUS - DAY

Michelle is angry, embarrassed and walking around as she
buttons her clothes. John sits, staring at her.

34.

MICHELLE:
Would you rather that whore over
me, john?

John stands, hits the desk with his fist, then furiously
starts gesticulating as he speaks.

            JOHN:
      (slowly)
What did you just called Karine?
      (raising his voice)
I want you to leave my office
imediately. No more lunches or
anything else together, anymore.

John points his index finger towards the door. Upon
recognizing it's meaning, Michelle takes hesitating pauses
as she slowly exits the room.

MICHELLE:
You know what, John? I don't blame
you. It's me. But unless I didn't
love you, your life with Karine is
only an eternal misery.

INT. PRESENT - JOHN'S APARTMENT - LIVING ROOM - NIGHT

Watching Television, John, loving the softness of a
lazy-boy, is feasting on late night chinese food.

Vincent, an African-American male, about six foot, enjoys
crunchy potato chips. He's a friend of John, Suzan's
Husband, relaxing across the couch.

INT. JOHN'S APARTMENT - BACKGROUND - CONTINUOUS

Darrius and Kate sits at a study table in the background,
obviously studying as Darrius dozes off to sleep.

INT. JOHN'S APARTMENT - KITCHEN - CONTINUOUS

Karine, wearing an apron and gloves, loads the dishwasher,
moving about as she cleans up.

KARINE:
What's on the news, honey? not
those..

35.

INT. JOHN'S APARTMENT - LIVING ROOM - CONTINUOUS

KARINE: (OS)
(continue)
proposed tax cuts again, is it?

JOHN:
Some teenagers were sentenced to
life for murdering an officer.
Broad daylight, in the heart of
the city.

INT. JOHN'S APARTMENT - BACKGROUND - CONTINUOUS

Darrius dozes off, his head falls, resting above the book
he's reading. Kate looks at him and back to what she's
doing.

INT. JOHN'S APARTMENT - LIVING ROOM - CONTINUOUS

VINCENT:
My nephew would do that. Even his
dad has tried to stay away from
the psycho. All he does is stand
on the corners. Never stays in
school.

KARINE: (OS)
Some people would do anything
nowadays. I'm glad we don't have
to worry 'bout that.

JOHN:
At least not for now. 'Cept our
kids are growing up so fast we
might want to keep close eyes on
them.

Karine exits to the living room, taking off her gloves as
she swings them about. Walking towards the television as she
squarely stares at it.

VINCENT:
Its suicide these kids do, Man.
Taking high risks probably 'cause
they had it in for that dude
months ago.

36.

TELEVISION

On the television, we see identically the three teenagers
from the street in the public scene, where John and Karine
crossed to the boutique. They're being taken out of a
courtroom, in orange jail uniforms when out of a sudden, one
of them shows his middle finger to the camera.

Turning away, Karine sighs as she exits to the Kitchen.

            VINCENT:
      (looking at clock)
Something just popped up. I was to
have picked my folks up at the
Amtrak 'bout thirty minutes ago.
      (calling out)
Karine, see you guys later.

KARINE: (OS)
Tell sue i said hi.

Vincent shakes John hands, then exits as john continues
surfing the channels.

INT. JOHN'S APARTMENT - KITCHEN - CONTINUOUS

Karine bows, looking into the dish washer which she closes
and stands upright looking over the sink upon which a sharp
bladed stainless stell knife is seen rotating slowly, then
spinning faster before aiming directly at karine who quickly
dodges it as she rushes out. The knife sticks into the wall
from which a pour of blood leaks.

When She returns with John, everything is seen normal as she
clings to his shirt in fear.

INT. LUCIFER'S CHAMBER - CONFERENCE ROOM - NIGHT

A gloomy and dark setting, having a mixture of red and black
in its grave shadowy background. A Frightenly Spectacular
scene as the ash of late night dust circles this bewildering
room.

In the middle of the room sits a long glass table around
which surrounds countless guests of males and females alike
with respectable characteristics in their appearances,
having the numbers "666" across their foreheads.

37.

From beneath the table, through its mid-section where
everyone seem to be focused, a glassy silver casket slowly
emerges until it's well positioned to measure exactly the
level of the table's height.

Through its transperant covering, we view the body of a nine
month old male infant. He's not breathing, stiffly concealed
in the icy box as if since a thousand years ago.

INT. JOHN'S APARTMENT - BATHROOM - NIGHT

John is shaving as he hums a song, when out of a sudden he
pauses. Then stares closer as several blinks of lights from
the slightly cracked mirror distorts his vision. Staring
very closely, he notices something.

It's someone standing behind him, Michelle, formed as usual
in grave appearance except her face isn't shown.

John quickly turns around, cutting himself with the blade
over which he places his palms, then notices there is noone
in the room and it's only a sense of imagination.

JOHN:
(smiling-murmuring)
Really need to get some new razors
'fore the end of this week.

INT. JOHN'S APARTMENT - DARIUS ROOM - CONTINUOUS

Darrius is asleep when Karine slowly enters his room. Walks
to his bed and kisses him on the cheeks before fully
covering him with a looney-tone designed comforter.

KARINE:
(softly)
Sweet dreams, Baby.

She then exits leaving the door slightly opened.

INT. JOHN'S APARTMENT - BATHROOM - CONTINUOUS

Again, humming the same song while shaving, John notices his
entire face is covered in blood. Through the mirror's
perspective, as he shaves, his skin begins peeling off.

He's scared and violently pushes away from the mirror,
hitting the wall behind him, dropping the shower curtain as
the clanging noise travels through the house.

KARINE: (OS)
Honey, what's going on in there?

38.

JOHN:
(breathing heavily)
Not...Nothing!...I'm fine!

Regaining composure, wearing a wondering look, John looks
back into the mirror but sees that he appears normal, then
he deeply sighs a relief.

JOHN:
(selfconvincing)
Just a stupid nightmare. Nothing's
happening.

INT. JOHN'S APARTMENT - KATE'S ROOM - CONTINUOUS

Kate's lying awake, looking to the ceiling when Karine stops
at her room door and leans inward.

KARINE:
(smiling-whispers)
Goodnight, Honey.

KATE:
(turning away)
Goodnight, Mom.

Karine wears a concerned look with interest in Kate's
response.

KARINE:
What's the matter, Katie?

KATE:
(uninterested)
Can you shut the lights, Please?

Karine walking towards Kate, stops and folds her lips, then
slowly turns away shutting the light and gently closing the
door behind her.

INT. JOHN'S APARTMENT - HALLWAY - CONTINOUS

Strolling to their bedroom, Karine stops at the bathroom
door. She leans over, trying to peep through it's slightly
opened crack when off a sudden, John burst out, halting back
in fear.

JOHN:
Whoa, couldn't you just come in?

Karine jokingly smiles and hangs upon John's shoulder.

39.

KARINE:
I'm getting a little heavy for
you, aint I? Only if getting a job
around here was as easy, I won't
have to drag around the house all
day doing nothing.

JOHN:
Why're you being hard on yourself?
You think we got married 'cause I
wanted to see you struggle?

KARINE:
Imagine how much better our lives
could be with my contribution.

JOHN:
Don't worry about it, Honey. I'll
take care of everything. It's part
of my duties as a man, isn't it?

John gently kisses Karine as she stares him directly in the
face, then lifts her into his arms and takes her to their
bedroom.

INT. JOHN'S APARTMENT - BEDROOM - CONTINUOUS

John lays Karine on the bed as he tosses himself across.

INT. LUCIFER'S CHAMBER - CONFERENCE ROOM - DAY

We turn to the entrance of a thin man, appearing from
the shadowy backround. His face isn't shown, covered in a
black robe that breezes according to the graciousness of his
presence.

His appearence is unique, capturing the demonic sight of
death, who's fingers we spot boneless and weak but with a
tight grip at a stainless steel drinking glass, from which
bits of sparkling diamonds glares across every inch of it.

INT. LUCIFER'S CHAMBER - SHOT OF - CONTINUOUS

Seen as if carved into the sparkling white powdery romanic
wall, A doomed vocalist, unclothed with torn up bleached
linen around her middle body, extremely beautiful, a goddess
symbolizing christ with thorn striped around her head as she
positions, having endless drips of blood from her scarred
face, is shown creating a dead mood as she sadly voices a
vitalizing opera song.

40.

The man, still having his face hidden, strolls across the
room, greeting everyone by pronouncing Alphabetically...

MAN:
Abban, Alpha, Agata, Anastazja,
Blair..Berinhard..Chen...

...As he proceeds towards a red fur cushion which presides
over his obedient worshippers.

INT. LUCIFER'S CHAMBER - SHOT OF - CONTINUOUS

When he's seated, the camera speeds to a female. Michelle,
kneeling in pleads at the other end of the long table as she
weeps.

EXT. PARK - DAY

In the open air, through magnificent views, we see kids and
adults of all walks having fun in this lively surrounding.

Some older people are seen coupling. Some walking their
dogs. As others only sit on the park benches watching the
sunny day dissolve.

EXT. PARK - SHOT OF - CONTINUOUS

From the distance, we notice John and Karine laughing at
each others jokes as they stroll through the park, walking
away from a lemonade stand.

On the other end, we see Darrius, Kate and Suzan three kids.
Two girls and a boy, all the same age range as Darrius and
Kate, throwing frisbees, football and having fun in the sun.

Walking from the same lemonade stand as John and Karine, We
see suzan and Vincent also strolling through the park,
behind John and Karine until they're all beneath a tree.

EXT. PARK - BENEATH THE TREE - CONTINUOUS

Under this shady umbrella, everyone reaches in one
accordance, happily looking at each other as they interact.

JOHN:
This is one heck of an afternoon.
(to suzan)
Sure those kids are having more
than us?

41.

SUZAN:
They better not, 'cause it's now a
competition between all of us. No
one wants to be regarded as older
nowadays.

Everyone stares at Suzan, then bursts into laughter as she
looks at the kids then at them before recognizing she's the
center of attention.

SUZAN:
What? It's the truth.

KARINE:
Age is facial, Sue. Not in your
attitude.

VINCENT:
(about the kids)
Well, I'm glad they're having a
good one. Then they can stay out
of trouble.

KARINE:
You're absolutely right.

Karine and Suzan leaves, walking towards the playing kids.
When they're a fair distance without speaking, we hear.

SUZAN:
You're one lucky chic, Karine.
Know that?

KARINE:
What do you mean?

SUZAN:
John. He's the best that could
ever happen to you. Aren't you
guys the most perfect couple in
New York City.

            STRANGE VOICE:
      (sadly-turning
       away)
Yeah, I'm sure we're perfectly
matched up, alright.

Karine becomes quiet, causing a concern for Suzan as she
nears Karine.

42.

SUZAN:
Hey, what's the matter with you?
Having little trouble with John?

STRANGE VOICE:
(reluctanly)
No. Just that-I don't know. You
just might not understand either.

SUZAN:
What is it? You can trust me.

Suzan gets concern, now looking directly at Karine.

KARINE:
Since John and I got married
there've never been a day in my
life when I've sat in complete
peace and harmony.
(beat)
I have this constant feeling that
someone's after me.

STRANGE VOICE:
(disbelieving)
Why will someone be after you?
You're up to moral perfection,
Karine. Thinking of it I can say
you're my parenting role model.

            STRANGE VOICE:
      (sarcastically)
Good. You keep making this easy on
me.
      (beat)
I mean, I'm barren. What kind of
life can I lead when i'm barren,
Suzan? It's all a lie to myself.

Karine becomes very depressed. Camera angles at her face. We
see her tear roll down her cheeks.

SUZAN:
Being barren is nobody's fault.
That's life. Why let it be a
bother when John accepts the way
you are?
(beat)
The kids know they're adopted?

43.

KARINE:
I have the feeling Kate does and
doesn't want to talk about it.

Karine stops walking, Suzan also, as they begin with slower
steps now approaching the kids.

KARINE:
Everything about me is becoming
extremely phenomenal. I'm missing
a certain sense of protection.

SUZAN:
Stop making a big deal of this,
Karine. We're best friends.
Remember I'll always be there for
you, no matter the circumstances.

Karine stops, then painfully hugs Suzan.

KARINE:
What a sense of relief.

They stroll a little distance until they're almost reaching
the kids.

SUZAN:
Enough for today, you guys. C'mon!

INT. JOHN'S APARTMENT - NIGHT

Karine, John, Kate and Darrius are seated around the tabzle
for dinner. All except Karine who sits unhappy, are with
happy faces, reaching across for plates and extras as she
sits barely eating.

From her appearances and reluctance to having her meal, we
can see how gradually Karine's illness is increasingly
haunting her. She wears a wondrous look of imprisonment,
dipping her fork in and out of her plate that contains
nothing more than a mere vegetable salad as the others stops
and focuses at her.

JOHN:
What's the matter, Honey? Are you
okay?

KARINE:
(slowly)
Yeah, I'm fine...Why?

44.

JOHN:
Nothing. Just a little concerned
you haven't touch your meal for
about ten minutes.

Karine ignores John, turning towards Darius and Kate as she
looks across the table.

KARINE:
Don't forget to eat your
vegetables, Darius.
(beat - to Kate)
Didn't include it for dinner
'cause you said you didn't want
any. I felt we should respect your
wishes.

The table is silent, everyone except Kate is staring at
Karine when she's done speaking. UNTIL.

KARINE:
Kate? Did you hear what i just
said? Why're you ignoring me?

Kate reluctantly lifts her head, staring at Karine with
scornful eyes as she wakes up and exits to the kitchen.

A few seconds passes, Then Karine exits to the livingroom,
passing Kate who's returning to the table holding a fruity
basket.

Karine returns, holding a white invitational card, made to
attract anyone's attention with its flowery covering.

KARINE:
(to john)
Guess what I found in our mail?

JOHN:
(curius)
I don't know. What is it?

KARINE:
(giving invitation)
It's an invitation from an old
friend of ours. Inviting us at the
Holiday Inn as a reunion.

Camera zooms in, covering the note until we're at the
inviter's name. It reads Michelle Wishart, shocking John who
with nervousness spits out the water he's sipping.

45.

JOHN:
(loudly-angry)
Michelle? Michelle Wishart? How
did she know our address? I mean,
how did she know our address?

KARINE:
I asked myself the same question.
But you know there's the yellow
pages, don't you? She won't stop
at anything to meet us at anytime.

John sighs, then leans back into his chair with perplexity
in his weightless mind as he speaks uninterestedly at Karine
who can't bare but reach out to him.

Zooming in at her face, we realize how much her illness is
rotting her body from within.

JOHN:
After so many years she finally
wants to see you once again, huh?

KARINE:
You mean us. There's Mr. and Mrs.
Morse on the invitation. She just
moved over here with a new company
she worked for in Rhode Island.

            JOHN:
      (positively nods)
Great.
      (beat-standing)
I know how much you want to see
her, but there's no way we can.

KARINE:
What? What do you mean, John?

JOHN:
'Cause of your-

John suddenly pauses, looking at Kate who especially has her
attention focused on them as he weakly holds his gesturing
index finger. He then gets up, pushing his chair away from
the table as he slowly approaches Karine, before turning to
Darius and Kate.

JOHN:
Kate, would you guys give us just
a minute?

46.

KARINE:
(interrupts)
But John, I don't see what's the
big-

JOHN:
(to Kate)
Only a minute, would you?

Kate and Darius exits to the livingroom where now in the
background, Darius turns on the television as Kate turns
around angrily staring at her parents before going to her
room.

John reaches out and gently holds Karine's hand. With deep
concern, she looks up at him in the eye as if to predict his
outcoming words.

JOHN:
'Cause of your health, karine.
Think you know your due date for
your surgery's a few days from
now.

KARINE:
Yeah. But what does that have to
do with anything, Honey?

JOHN:
Don't you think it'll be clever to
stay away from something like
this?...Partying, more like it?

KARINE:
How can you say that? Michelle's
my best friend. I'll be damned to
disappoint her.

INT/EXT/INT. JOHN'S APARTMENT-BALCONY-APARTMENT-CONTINUOUS

John sighs, then bows his head as he exits to the Balcony.
Karine curriously follows him with a sense of inquisition.

KARINE:
What is it you're not telling me,
John? Don't you think it'll be
great meeting Michelle? It's just
one night.

He stands, resting his arms above the railing, then leaves
it and holds Karine hands as he stares at her in the face.

47.

JOHN:
Karine. You have to remember
something. Forgot in college when
all Michelle did was tried to keep
us apart?
(beat)
She's unhappy about our Marriage
and I want you to trust me on this
one. She can't possibly like you.

KARINE:
That was long time ago. No matter
what, she's still the best friend
I can ever have.

JOHN:
(leaving her hands)
How can you say that? What's about
Suzan?

KARINE:
What's about her?

JOHN:
She's always been there for you.
(beat)
Can't say you want to get Michelle
back into our lives only 'cause
you need someone to whom you can
relate...Can you?

KARINE:
Suzan's not half the fun. We're
going, John. No matter how sick I
am.

Karine exits into the aprtment, leaving John in shock and
disbelieve as he looks across the city's skyline from which
the darkness outlines its far reaching extentions. The
lights from opposite buildings shines like the tail of light
bugs as we see them go off one after the other until they're
totally faded out.

INT. JOHN'S APARTMENT - NIGHT

In an almost total darkness as we can see John and Karine
making love, She suddenly turns the lights on causing a
concern for him who immediately sits up, holding her back.

JOHN:
What is it? Is it me? What did I
do? Did I do something wrong?

48.

KARINE:
No, John. It's something I have to
tell you about...Tonight.

JOHN:
Tell me about what?

Karine sits up, resting her back against the head of the bed
as she curls her legs while looking directly at John.

KARINE:
For the past six months I've been
seeing my doctor, who happened to
call me in for an emergency this
afternoon while you were at work.

JOHN:
Wait a minute. When you say you've
been seeing your doctor, you mean-

KARINE:
I have cervical cancer.
(beat)
Since the miscarriage.

John leans forward to Karine with slow eagerness to absurb
the rest of her story.

KARINE:
It'll cost us a fortune to cure,
and for an ovary transplant in my
arm just in case there is a second
chance of having a baby.

John gets up, holding his hips and walking about as he
angrily speaks without raising his voice.

JOHN:
Why will you do this? Don't you
trust to let me know what's going
on around me? Especially with you?

KARINE:
I'm sorry, Honey. It's something
common. Thought I had it under
control 'til the doctor said my
life could depend on it.

Karine bows her head and begin sobbing. John, imagining her
pain, rushes towards and holds her close in his arms.

49.

JOHN:
Don't cry, Honey. There's nothing
to worry 'bout. We can get through
this together.
(beat)
I've been saving up lately. That
might do the trick.

Karine looks at and kisses JOhn.

KARINE:
And the ovary transplant?

JOHN:
Everything included. All you need
now is a lot of rest.

KARINE:
(beat)
I know just how much having a kid
of your own means to you, John.

JOHN:
Not if you don't want to. Hope you
feel comfortable going through
with it. Do you?

KARINE:
I'll do anything to make you
happy.

Both returns to their affair as the screen fades out...

EXT. RIVERBANK WEST APARTMENTS - NEXT MORNING - DAY

Camera travels from John's apartment window towards a yellow
schoolbus we view nearing the sidewalk.

Around and from across the street, we see school kids of
seven to fifteen rushing towards the bus, some of which are
being tightly handheld by their parents.

INT. JOHN'S APARTMENT - WINDOW - CONTINUOUS - DAY

Karine stands close to the window, fixedly staring outside
wearing a pinkish silk nightgown and having her arms folded.

50.

INT. JOHN'S APARTMENT - DINING TABLE - CONTINUOUS

Darrius and kate finishes their breakfasts and are readied
for school. Unlike Darius, Kate isn't happy. She's frowning,
moving slow but seem at peace with everyone else.

John, holding onto a black briefcase, exiting their bedroom,
comes along with an early morning smile across his face.

JOHN:
(stops - to karine)
What in god's name out there
you're staring at this morning?

When she only turns to him and gives no response, he walks
towards the window, kisses her on the cheeks and looks out.

KARINE:
(to kids)
Guys, your bus is waiting. Maybe I
should take you downstairs.

JOHN:
(walking away)
Don't bother, I'm headed out. Just
make sure not to work yourelf up
until, you know...I did the dishes
and everything.

KARINE:
I love you...Thanks.

Kate passing by John and walking out, notices he's just
about to have breakfast as he heads for the table.

            KATE:
      (turning to John)
We're going to be late, Dad.
      (turning to Karine)
Bye, Mom.

KARINE:
Come here, Honey. You're not gonna
give me that goodbye kiss?

Darrius, first rushes and kisses Karine goodbye. Then Kate
unwillingly does the same. Both exits as JOhn hurries off
the table and Towards the Door as Karine holds him by the
collar, then fixes his necktie.

51.

KARINE:
(painfully)
Kate hates me.

JOHN:
It's all a part of growing up. You
don't expect to see her pretending
she's some little girl anymore.

KARINE:
That's different, John. Whenever
I'm talking to her now, she only
frowns and stares me in the eye.
(beat-slowly)
With a certain sense of anger, and
it makes me feel guilty inside. I
regret not telling them the truth.
You think maybe she found out?

JOHN:
Found out how? Karine, I'm sure
it's nothing. She's fifteen.
That's how most of them behave.

KARINE:
Yeah. Maybe you're right.

John kisses Karine and exits as she returns to the window.

INT/EXT. LOOKING THROUGH THE WINDOW - CONTINUOUS

In the driver's seat of the schoolbus, An obesed huge white
female, early thirties, sits incharge, continuosly honking
the horn as she impatiently awaits the kids who seem to be
dragging along, eventhough trying to hurry.

Darrius and kate are the last ones walking towards the
vehicle as the driver waves them to make haste.

John heads along the opposite sidewalk, to where their
overused green family van parks. He turns to kate who's the
last one entering the schoolbus as she looks back. He speaks
to her, which we can't hear from Karine's perspective but
notices Kate nodding postively. After she enters, the bus
drives away.

John enters the van, then drives off in the opposite
direction, leaving a heap of blinding smoke from his exhaust
pipe.

52.

EXT. SOME PRIVATE BANK - SIDEWALK - DAY

John speedily arrives across the street from a gigantically
built private bank. His face is lightened in little smiles
as he quickly parks.

John exits the vehicle, still smiling, now whistling, he
walks to the parking meter and drops in a few coins until
he's satisfied.

EXT. BANK - SHOT OF - CONTINUOUS

At an adjacent boulevard, we notice there's a parade going
on as many people line up, blocking our view of the scene.

John crosses the street, then walks directly into the huge
building.

INT. SOME PRIVATE BANK - CONTINUOUS - DAY

It's crowded. Around the large room, the sight of diversity
involves us as we see people walking in pairs, standing,
conversing, interacting, etc. as the busy lives of
marketeers escalates during the unfolding bright afternoon.

John delicately makes his way to a line in which he's the
third individual in row four, after rejecting the other
seven because of their lengths and manners of organization.

INT. BANK - COUNTER - CONTINUOUS

After two individuals before him, now with another forming a
line in the rear, the Clerk, a babyfaced beautiful Mulatto
Columbia graduate, about twenty six years of age, calls up
to the line as she looks over the separating glass window.

CLERK:
Next in line, Please.

John's not attentive, looking at someone he's trying to
figure he knows.

CLERK:
Excuse me, how can I help you?

JOHN:
(turning hastily)
Yes, please. Making a withdraw.

53.

CLERK:
An identification is all I'll be
needing, Sir.

John checks his back pocket. He squeezes out a black wallet,
then hands his driver license making a friendly grin on his
face.

CLERK:
Give me just a minute and I'll be
right with you.

INT. BANK - COMPUTER SCREEN - CONTINUOUS

The clerk types in John's informations, but everything seem
to appear with a negative result. She tries for a second
time, again receiving the same signal of uselessness.

INT. BANK - COUNTER - CONTINUOUS

Then for the third time, now trying harder. Looking puzzled,
she looks up at John.

CLERK:
Your account is marked blank, Sir.

JOHN:
(nearing)
What do you mean? Say that again.

CLERK:
It's flagged. The last withdraw
from this account was about six
minutes ago.

JOHN:
Nonsense. I just walked through
that door. Can you repeat the
procedure?

CLERK:
Did already twice. I'm deeply
sorry.

JOHN:
You can't be serious!

CLERK:
Sir, you'll have to exit the line;
And maybe come back some other
time or check with your agency.

54.

John wondrously leaves the line grating his teeth, rubbing
his hair through as he depressively exits.

CLERK: (OS)
Next in line, please.

EXT. SOME PRIVATE BANK - CONTINUOUS - DAY

Against John's van, two lunatics in dingy overcoats and
rusty jeans using a metal pipe are breaking through the
windshield from the driver's seat in broad daylight.

After their operation, laughing maniacally, they enter the
vehicle, dismantles the starter, then connects the loosed
wires several times until the vehicle starts up.

The sight of the grey choking smoke from the engine floats
into the air as passersby cover their noses using the tip of
their coats and the palm of their forzen hands.

EXT. FRONT OF BANK - MID STREET - SIDEWALK - CONTINUOUS

John exits the building. Standing in guesses, he slowly
lifts his head and notices the men, then uncaringly dashes
across the street where he's missed by a speeding taxi cab.

The thiefs drives off, leaving John to whip the smoke off
his face as he becomes very depressed.

He holds his hips, sighs and check his pocket. Then finds
few quarters and five dollar before stopping a cab.

In the cab, John leans his head backwards and dozes off to a
day dream.

EXT. MICHELLE'S MANSION/FRONT GATE - NIGHT

John and Michelle drives approaching her Mansion.

The fence is old and greyish, having stale prints of green
slime across its walls forming visual lines as if been
cracked by porforation into a soaked block with a sharp
sword. Some leaves like, green and vines of ages occupies a
huge part of the weird and formerly beautiful Mansion walls.

EXT. MICHELLE'S MANSION - ASTON MARTIN VANQUISH - CONTINUOUS

There's a look of distress across John's face eventhough he
seem to be okay. Michelle is leaning over to him and rubbing
against his face as her tongur sticks out.

55.

MICHELLE:
I thought I'll never get you to
love me again, John. Thought my
influence was weak, but it seemed
to have worked when I'd already
given up.

John looks at Michelle's face, then looks ahead as he heads
towards the huge fence. Curiously leaning over the
dashboard, John looks ahead as the camera journeys along the
gate which reveals a large sign--ETERNITY! It's graphically
stressed, artistically demonic, made across the unwelcoming
entranceway to capture our attentions.

EXT. MICHELLE'S MANSION - FENCE/GATE - CONTINUOUS

The large metal gate, a simulation of infinity, objecting
the huge fence in which we seem to only breathe the silence
of doomness circling its eerie premise, widely opens,
causing the noise of an unoiled framed door as we enter this
strange world of perpetualty.

EXT. MICHELLE'S MANSION - ASTON MARTIN VANQUISH - CONTINUOUS

John and Michelle drives inside.

EXT/INT. MICHELLE'S MANSION - YARD - CONTINUOUS

The ground in the fence is blanketted with fresh grass,
having an awkward sensation in its greeness developing some
scary mood as that of a mid-western horror film. It is
fearsome, grotesquely engrossing us as they suddenly starts
moving.

The blade like grass, dull of some sort of its flexible
movement, shiny at its edge with its veins of black
crisscrosses, quickly transforms into serpants heighting
above the steamy ground.

This is a mysterious yard of corpses.

The huge castle, a mansion of windows that have withstood
the many smacks of rain and wind against its porforated grey
wall, stands overlooking the shuddering yard with elegance.

EXT. MICHELLE'S MANSION - DRIVEWAY - CONTINUOUS

John and Michelle parks parralled to the wide stairs, then
exits the vehicle. Michelle turns to John, John to Michelle
exchanging looks before heading up the wide stairs.

56.

INT. DREAM SCENE - MICHELLE'S MANSION - LIVINGROOM - DAY

It's a well furnished setting with exquisite designs of
ancient arts upon the walls. The cushions are of the finest
and the only distinquishment from a cathedral is the sense
of a tomb, eventhough circled by beautiful curtains and rugs
that leads everywhere.

From a mini bar in the house, Michelle brings John a glass
of wine. He's walking around the living room, looking at the
arts.

JOHN:
It's a wonderland you have here. I
had no idea you would've turn up
so rich, Michelle.

MICHELLE:
(grinning)
I guess you didn't. Here, have a
glass of wine and feel a lot more
aquainted with the surrounding.

JOHN:
(receiving wine)
You live here all by yourself?

MICHELLE:
I guess that's what happens when
you're dead, isn't it? Shouldn't
be a bother now that we're on the
same page.

Both sits, John's still looking at the wall, then back at
Michelle. It's an awkward moment when John crosses his legs,
then repositions it. He folds his arms, then his entire body
as we see there're goose bumps rapidly covering his face.

JOHN:
(beat)
Why does it feel so cold in here?
I think I'm freezing. Don't you
feel kind of the same, Michelle?

MICHELLE:
(looking away)
I'm use to it, John. This is what
being separated from the world
especially recklessly feels like.

Michelle wakes up and walks over to John. She sits in his
lap, then begin rubbing his chin.

57.

MICHELLE:
(slowly)
It's sad. It's boring sitting here
alone knowing you're doomed for
condemnation, roaming the earth by
day and by night, you have to
return to being an outcast.

John pauses, then looks at Michelle as she predict his
words.

JOHN:
Where is- ?

MICHELLE:
Your son.

Michelle wakes up from John's lap. She leads the way to a
stone wall as she turns back to him with smiles across her
face.

MICHELLE:
Come on, follow me, John.

John wakes up and slowly follows Michelle to the wall.

INT. MICHELLE'S MANSION - WALL - CONTINUOUS

It's spotless, grayish white, almost as if smokey but has
some sense of purity in it's appearence. Michelle stops
before it, then folds her hands as if in prayer.

MICHELLE:
(to john)
Close your eyes.

Like Michelle, John folds his hands and closes his eyes for
about ten seconds. THEN.

MICHELLE:
That's where he is.

Turning to where the wall was, we see a window through which
seem to be an endless pathway of blinding whiteness. Then
there is a calmness, before everything dissolves to normal.

EXT. PATHWAY TO HEAVEN/PARADISE - CONTINUOUS

58.

INT. JOHN'S OFFICE - DAY

John's on the phone when a man, carrying two young blond
french females enters.

The man is MR. JIMMY TINKLER, John's boss. A fifty eight
year old successful white male. Tall in stature. Not very
handsome because of his aging features, but with energetic
and youthful attitudes in every Interaction. Speech a bit
distorted from alcohol abuse. A boyish down to earth snob
who doesn't care about how anyone presents him externally.

The ladies he's carrying, ANGELINE FERRAND and MARIE-HELENE
DURAND are French. Beautifully dressed as office officiates.
Appealing characters in their mid thirties.

JOHN:
(on phone)
OKay, Honey. Goodbye now. I love
you too. I gotta go, but i'll see
you soon.

John hangs up the phone. He turns towards the intruders who
seem to love the atmosphere of his condensed room.

MR.TINKLER:
How would you like to meet my new
assistants, Morse?
(showing them off)
Angeline Ferrand and Marie-H�l�ne
Durand, from paris.

John courteously stand, leaning over as he greets the women
by shaking thier hands and slightly bowing forward.

JOHN:
It's a pleasure meetting you both.
Jonathan Morse, welcome to century
magazines.

ANGELINE:
(to marie-helene)
Les jeunes types am�ricains sont
beaux. Pas comme cet idiot vous
creusez au loin. Penser que je
peux obtenir avec celui-ci?

            MARIE-HELENE:
      (to angeline)
Outre du cours pas. Vous salirez
            (MORE)

59.

MARIE-HELENE: (cont'd)
mes chances vers le haut avec cet
imb�cile. Nous ne pouvons pas
double prise. Comprendre ce que je
signifient, ma seulement soeur de
b�b�?
(to John - smiling)
Nice to meet you Mr. Morse.

MR.TINKLER:
Aren't they wonderful? Can barely
understand a word they say. But I
love it as if I was on a tour in
France.

John gives them a cony stare, figuring out the foreign
language as he's blown away by their appealing accents.

MARIE-HELENE:
(gesturing-smiling)
He's only kidding you. We're adult
entertainers, not assistants.

MR.TINKLER:
(interupts-to John)
Heard you couldn't turn in the
portfolio 'cause of a tough one
yesterday.

JOHN:
I'll be done 'fore noon, Sir.

MR.TINKLER:
Steve's going to need it in about
thirty. Do me a personal favor.
Speed up your work a little bit
more and quit slacking off, Morse.

JOHN:
I suppose it'll be ready on the
clock. Just need a little more of
the subject covered.

INT. JOHN'S OFFICE - DOOR - CONTINUOUS

Michelle opens the door, but halts when she hears Mr.
Tinkler speaking and pauses while she listens attentively.

60.

INT. JOHN'S OFFICE - BACK TO SCENE - CONTINUOUS

MR.TINKLER:
Tomorrow's our big break to cash
in on investors like no other. Ten
Thirty sharp. Tell me you're not
going to be late.

JOHN:
That is not a word found in my
vocabulary, Sir.

MR.TINKLER:
Good. Cause after so much I can
finally confide in you for that
moment on gold.

John pauses, then shyly smiles as the girls do the same,
exchanging glances as they all keep visually contacted.

MR.TINKLER:
And you know what? How 'bout that
promotion I promised? Haven't
forgotten 'bout it yet, Morse.
You're the best around here.
(whispering)
It's a secret between us both.

INT. JOHN'S OFFICE - DOOR - CONTINUOUS

Michelle slowly exits the room, leaving the door slightly
opened.

INT. JOHN'S OFFICE - BACK TO SCENE - CONTINUOUS

Mr. Tinkler exits, taking his girls along as they look back
to John who's left with a smile on his face.

ANGELINE&MARIE-HELENE:
(blowing kisses)
Goodbye...Aurevoir!

John waves to the girls, then picks up a photo positioned
over his desk. It's a framed wedding photo of him and
Karine. He kisses and holds it against his chest.

JOHN:
(murmuring)
Hold in there karine. I won't let
you down.

61.

INT. MICHELLE'S OFFICE - MOMENTS LATER - DAY

An extravagantly designed room. The sight of Elaborate
paintings from around the world beautifies the comfortably
rugged spaced surrounding with a sensation of an easy, well
dignified and rich lifestyle.

Michelle, at her desk with a sense of complete relaxation,
sits having her legs crossed. Neatly dressed in black as she
receives a manicure from a spanish female.

When she sees John, the lady doing the manicure, thin, about
twenty one, wearing a tiresome look, is gestured to exit the
room.

John quickly enters, dropping a yelow work folder at
Michelle's desk.

JOHN:
You're to look them over. Steve
and the third floor guys will do
the rest.

Michelle, cearlessly flipping the pages, skims through the
folder. THEN.

            MICHELLE:
      (sarcastically)
Nice job to get paid so little
for.
      (beat)
Being you I'll rather move to the
countryside and chop firewood for
sale.

Michelle dashes the folder at the edge of her desk. She
stands, relaxing her right palm flat above her wooden desk
as John turns to leave.

MICHELLE:
Rumor has it your beloved wife is
deteriorating. That should be a
lot of pressure on a prince like
yourself. Tough times, isn't it?

JOHN:
(firmly)
No. It's not.

62.

MICHELLE:
I see.
(beat)
Seem as though you've got so much
to depend on. A couple of dollars
wasted on a worthless scum won't
cause you any leakage.

JOHN:
(firmly)
No. It won't.

MICHELLE:
Wow. Didn't know you had that much
money to spend. Let me guess,
finally getting that promotion
from Tinkler. Aren't you?

She slowly escapes to where John speechlessly stands.
Looking directly in his face.

JOHN:
Am I under a sort of Interrogation
in here? My buisness with you is
to get the job done, Michelle. If
you have nothing other than that
maybe I can leave now.

Michelle takes out, wipes and rewears her dark prescription
glasses as the annoyed John only stares without any sign of
relent.

MICHELLE:
There are times in life when some
people like yourself just don't
get it, John. Like I told you
before, without me, you're on an
emotional roller-coaster with
Karine for the rest of your life.

John angrily staring Michelle in the face makes a quick rush
for the door, then slowly turns to her.

JOHN:
You know what? This is going to be
the last time I'll have to speak
with of or ever see you again. And
do you wanna know why? 'Cause i'm
quiting this godamn job!

63.

MICHELLE:
Now you're only talking crazy.
Quiting this job is like signing
Karine's death certificate, John.

John's speechless, angrily staring at Michelle as if to
pound on her face but maintains his posture.

MICHELLE:
Think life is a mere illusion
don't you?
(laughing)
You need to stop and realize that
without me you're living a joke.

A white brunette female co-worker enters, making a way for
the stiff John who violently exits the room.

EXT. SUBWAY TERMINAL - DAY

John's impatiently awaiting the train. He's in a rush,
striding back and forth, peeping at his wrist watch about
thrice every minute as others brushes by him.

EXT. SUBWAY TERMINAL - SHOT OF - CONTINUOUS

A wrinkled old female, with a look of dread, having drooped
chin and is about eighty four years of age, approaches John
from the rear as he makes his routine. She's greyed haired,
Wearing old prescription glasses with huge lenses and dirty
white strings that keeps jabbing her saggy chin.

The odd lady, standing out among everybody lingering passed
by without noticing her strange appearance, is Accompanied
by a nine year old boy who doesn't mind carrying a sac load
of gospel books and bibles in a bag he sags under his right
arm.

They reaches John. The lady gently taps him upon the
shoulders, nearing the hurried John very closely.

OLD LADY:
Excuse me, son.

John flinches. He then hurls back swiftly as if being robbed
or forcefully attacked.

            STRANGE VOICE:
      (unrecognizing)
What the hell is wrong? Sneaking
up on me you old-
            (MORE)

64.

STRANGE VOICE: (cont'd)
(regrets)
arghh forget me. I'm sorry. Look,
I'm broke and really don't have
anything to spare at the moment.

OLD LADY:
Not begging for your money. Just a
minute of your time, Please. Would
you like to receive the word of
God?

JOHN:
Who the hell are you?
(beat-gesturing)
Look, I'm having the worst days of
my life and doesn't expect Jesus
Christ to make it any easier for
me. I'm done with that holy crap.
Alright with you?

EXT. SUBWAY TERMINAL - TRAIN - CONTINUOUS

The train arrives. We see many passengers rushing towards
its doors as others exits it in an even greater force.

JOHN:
Excuse me, I have to leave, so
maybe next time Jesus Christ can
catch me falling off a roof top.

OLD LADY:
(handing book)
I know how you feel. But would you
mind taking this to read over your
spare time.

JOHN:
(smirks)
Sure. I don't see why not.

When the lady turns and walks away in a little distance from
him, with the boy still watching John who doesn't see him as
he rushes towards the impatient train, He trashes the book
into a nearby garbage bin.

JOHN:
(murmuring)
Got too much on my mind to read a
fucking bible.

65.

The boy slowly turns away, following the lady up a narrow
station path that leads up to the main city street. The kid
then looks back at John, nodding his head in pity as we see
both him and the lady dissolving in thin air.

(Before their frightful disappearance, their real faces are
shown and we notice they're John's mother and little brother
whom he visited at the cemetery).

(His father follows imediately after from a corner he stood
watching the scene unfold).

INT. CENTURY MAGAZINES - LOBBY - DAY

This scene revolves around the annoyed Mr. Morse who tries
to squeeze a friendly smile between stiff lips. He bursts
through the main glass panel door, rushing passed co-workers
who makes faces of concern collegues, building up hopes in
their smiles. Mr.Tinkler, usually holding Angeline and
Marie-helene walks down the stairs to meet John dignitarily.

MR.TINKLER:
You were right. Late isn't a word
in your vocabulary. I came down to
meet you specifically myself,
cause I want you to give them a
hundred-ten percent of everything.

The four walks to the elvator. John, in a hurry, is quickly
pacing ahead. He greets a young collegue who stares behind
him.

INT. CENTURY MAGAZINES - ELEVATOR - CONTINUOUS

Angeline walks over to John, who's staring at the elevator's
buttons directly. She takes his arm, looking up and smiling
at him.

ANGELINE:
(captioned)
B�b� mignon. J'aime ces yeux �
vous. Vouloir que nous fassent
quelque chose de sp�cial apr�s
ceci?

            JOHN:
      (rejecting)
No, I'm sorry, I'm married.
      (pauses)
I'm very sorry. I apologize.

66.

ANGELINE:
(angry)
Ah, il comprend le fran�ais tout
le long. B�tard path�tique foutu.
Comprendre cela. Marraige mon Ass.

Embarassed, Angeline turns away from John as he releases his
arm from her gripe. She extends her arms above Mr. Tinkler's
shoulders..Then kisses him while yet angrily staring at him.

MR.TINKLER:
There's no need apologizing. She
only wanted to take your arm,
John. Is anything gone wrong?

JOHN:
Nothing.

MR.TINKLER:
You're not nervous.

JOHN:
Nothing. I'm perfectly okay, Sir.

The elevator stops, door opens and they all exits.

INT. CENTURY MAGAZINES - MICHELLE OFFICE - CONTINUOUS

Michelle is headed out when John meets her at the door. He
gently shoves her inwards, holding her arms and angrily
releasing the rest of her body as she danggles upon
regaining her composures, flipping her blond hair backwards.

MICHELLE:
What the hell is going on?

John shuts the door behind him, furiously turns and walks
towards Michelle until he's very close, looking in her face.

JOHN:
What did you do to her, Michelle?

Michelle starts laughing, then walks away from John. Stops
at the edge of her desk and turns around, then begin walking
back to him with a much serious face than he brought in.

            MICHELLE:
Look at you, John. Fussing over
something we both should be proud
of. I'm glad she'll be out of the
picture by dawn.
      (beat)
But the thing is, you just don't
            (MORE)

67.

MICHELLE: (cont'd)
get it. Rather be with a lazy bum
who feeds off your back with two
kids who aren't yours? Or with me,
someone who can give you a son?

John is speechless, looking at Karine who keeps staring in
his face, having control over his thoughts as he blankly
stare.

MICHELLE:
(softly)
It's laid out for you. All you
need is follow me. You'll live the
richest most powerful life you've
only dreamt up with Karine, Honey.

Michelle tries to kiss John, but he hurls back as if
escaping a trap, but still remains focused at her face.
UNTIL.

He looks up at her forehead. The numbers "666" appeares,
tattooed in bright black and red with an art of a live snake
moving through it. Michelle true face is revealed, rotten
and grave formed - her head begins to transform into a huge
serpent as she slides towards him.

INT. JOHN'S APARTMENT - BATHROOM - DAY

Karine lies in the bathtub. She's in a blood bath, having a
flotation of white intestinal tissues overlaying the water.
She's weeping, still vomiting as she combs her hair. Her
hair is rooting off, sticking in the comb as we see her eyes
are sunken in and deep red. She wakes up and heads to the
mirror.

After looking in the mirror, still weeping she tries to dial
a number on a wireless home phone at the egde of the sink,
but accidentally drops it. She then picks it up, dial the
number as she patiently awaits a respond.

INT. SUZAN'S APARTMENT - DAY

Suzan is in bed, lying next to Vincent who's snoring
heavily. She wakes up to the tone of the phone, stretches
her arm and receives the call.

SUZAN:
The Morgans residence.
(recognizing)
Oh, Karine, it's you.

68.

INT. JOHN'S APARTMENT - BACK TO SCENE - DAY

Karine drops the phone as she falls to the ground in SLOW
MOTION. Her head hits the toilet, sending her face to the
floor. The phone is hanged up by Suzan. All we hear now is a
LOUD dial tone that seem to have been ringing for so long.

INT. MICHELLE'S OFFICE - BACK TO SCENE - DAY

A black briefcase, loaded with stacks of brand new hundred
dollars bills, is slowly opened by Michelle, inviting John,
who eyes are focused at the money, with a hand, gesturing
him to get a glimps of the cash. He's speechless; Astonish.

MICHELLE:
This is plane B, John. This is how
far you've maxde me gone to get
you back. You could have it all.
Called loving your soul at crucial
moments, John. It's all yours now.

John is tempted but doesn't go for the money - Emotionally
depressed. He sits at the edge of the desk, holding his head
in place, hypnotized by the numbers as his eyes keep focused
at the briefcase.

Michelle smiles, then a knock follows at the door as it's
pushed opened by a female co-worker as Michelle quickly
transformed.

FEMALE CO-WORKER:
Mr. Morse, the delegates are in.

The lady exits. When John turns to leave, Michelle holds him
by the shoulders, kisses him while leaving her index to roll
down his lips.

MICHELLE:
Wait...Just a minute.

She walks to a mini fridge in the corner of the room,
selects a bottle of wine, then pours John a half glass.

Looking in the glass, we notice it's blood as John gulps it
down. Then she smiles as she leans over while gently biting
his ears seducingly.

MICHELLE:
It's our big secret now, John.
Will you come with me?

John smiles.

69.

JOHN:
(teasingly-serious)
I'm sorry. You're only still
dreaming, Michelle. Excuse me.

INT. CENTURY MAGAZINES - CONFERENCE ROOM - DAY

An Upstairs room, overlooking the city through a huge glass
panel window. A long wooden table strecthes across, as well
mannered investors and entrepreneurs sits around attentively
and prepared to take notes. John's introduced by Justin, a
tall African American middle aged male as he enters. He's
being followed by Mr.Tinkler, Angeline and Marie-Helene.

JUSTIN:
...and without further ado, i'm
very flattered to present our most
wonderful writer and marketeering
expert, Mr. Jonathan C. Morse.

Michelle enters in the background.

An applause follows Justin's introduction as we see few
Interviewers pushing closer.

From his view, we experience John's getting dizzy. To him,
the guests in tuxedos, are dressed as females in fruity
hats, clowns, and carnival performers. He's imagining
things. Without speaking, John begins laughing uncontrolably
as everyone joins in.

The laughing guests quit when John looses his manners,
trashing everything in the room and standing above the
table.

The room enters a stage of absolute silence as John
performs. A few minutes later, the guests slowly escapes
until they're all gone.

We get a quick shot of Mr. Tinkler, his mouth is left open
gasping unbelievably what he's witnessed.

John stands in silence behind the long conference table, his
head is bowed.

Michelle, unseen by John, walks over to Mr. Tinkler. When he
lifts his head to her, a green ray from her eyes shines
across as the nervous man stands helplessly at her exposure.

70.

MICHELLE:
(to mr. tinkler)
Get rid of him, NOW.

Mr. Tinkler, seemingly but unoticeably hypnotized, walks
over to john.

MR.TINKLER:
(calmly)
You're fired Morse. I want you out
of this building imediately. Never
show your face around here again.

Mr. Tinkler noddingly Walks out of the room.

Michelle, from a corner in the room, moves over to john. He
looks embbarassed.

KARINE: (VO)
(john's thinking)
...my life depends on this
operation...it's going to cost us
another fortune...

Michelle hugs him, kisses him, but John only pushes her away
and starts for the door.

MICHELLE:
You're making a big mistake, John.

John stops, turns and looks at Michelle. A tear escapes his
eyes. He turns away and continues.

MICHELLE:
I know you want me, so do what
your heart desires, John. I'll be
waiting for you to come back.
Okay, John? You know where to find
me!
(sad-discouraged)
Everywhere...

John continues until he's out of the room.

INT. JOHN'S APARTMENT - BATHROOM - DAY

John gets a blue face towel, then exits to the livingroom
while gently massaging his wet face.

INT. JOHN'S APARTMENT - LIVINGROOM - CONTINUOUS

John stops, then quickly switches the lights on.

71.

Karine and suzan sits on the sofa, Looking directly at him.
Karine's in tears, painfully holding her stomache.

JOHN:
(deep voice)
Where're the kids?

SUZAN:
Asleep. Thinking of having them at
my place for a short while 'cause
Karine's doctor warned her illnes
is becoming infectious.

John walks to the window. He's looking outside as the women
stare behind him. THEN.

KARINE:
(softly)
Honey, did you get the money?

John doesn't answer. He Turns around, angrily stares at her,
then returns to lookin out the window.

After a short beat, John walks away from the window, looking
around and sniffing the scent of something that reeks. He
spits on the floor the gum he's chewing.

JOHN:
What's that stench you having me
smelling in here, Karine?

Karine and Suzan exchanges INNOCENT looks, Lifting their
shoulders in DOUBTS.

KARINE:
Think it's a dead mouse lying
around the apartment.

JOHN:
A dead mouse, huh? It's your
freaking odor, Karine! You're
dying, aren't you? You asshole!

SUZAN:
(shocked)
John!

JOHN:
Shut the hell up and leave my
apartment immediately, Suzan.

72.

Suzan decends into calmness and fear as she, picking up her
purse, slowly escapes the apartment.

John slams the bouquet of flower off the table.

JOHN:
You know what Karine? This changes
everything between us.

KARINE:
I'm sorry, John. I should've told
you about this a long time ago.
It's just that, I love and really
wanted to be with you.

John abruptly stops speaking. Holding his head, he slightly
turns away from Karine, then back to her before walking out
to the balcony.

In the background, Karine wakes up. Because of her illness,
she struggles after John.

INT. JOHN'S APARTMENT - BALCONY - CONTINUOUS

John's holding its peak and staring across when Karine
lovingly tries to hug him from behind.

KARINE:
Honey, I didn't mean to-

The annoyed John swiftly swings around, hitting Karine
across her face causing her a nose bleed.

JOHN:
Get off me you idiot! I don't know
what to believe anymore. Maybe
this is all a nightmare. Here i am
busting my ass for your sake only
to discover you've caused me the
best of my life? How could you?

John rudely tries to swing Karine off, but because she seems
persistantly coming towards him, John spits in her face,
then agressively begin hitting her. UNTIL.

When she's on the floor, John takes off his wedding ring,
and dashes it across the floor before Karine's bloody face.

JOHN:
Stay the hell out of my godamn
life or I'll murder you myself.

73.

INT. JOHN'S APARTMENT - BALCONY/DOORWAY - CONTINUOUS

Standing in the doorway are Darrius and Kate. John, slowly
but with aggression, walks towards them. THEN.

DARIUS:
(softly)
Daddy?

John turns around, facing Karine.

JOHN:
(beat)
Do you want to tell these kids I'm
not their father, Karine?

INT. FLASHBACK - BEACH - DAY

On a sunny beach, we see lots of happy faces, strolling,
running, swimming, sea boarding, etc. From a distance,
Karine and John strolls along the coast line. Unlike
everybody else, they don't look very happy. We notice karine
making a point by motioning her hands at john. She draws
away from him as he tries holding onto her arm. John left
arm is behind him, as if hiding something from us.

KARINE:
(insisting)
I don't want to be a burden on you
especially now knowing that i'm
barren, John.

JOHN AND KARINE:
Look, this is the thing. My love
for you is unconditional-

KARINE:
I thought having kids was the most
important thing in your life?

JOHN:
Not 'til I realized what was more
important; being with the woman I
love and want to spent the rest of
my life with, Karine.

John holds karine's hand. Looking up at her, he kneels to
the ground; pulls before him a small blue box, then opens it
as Karine carefully watches. When she sees the surprise,
Karine nervously places both palms across her chest.

74.

JOHN:
Karine, would you make me the
happiest man in the world by
marrying me?

Karine, smilingly remains speechless as she joyfully hugs
John. Standerbys, with smily faces watches the happy affair
unfolds.

INT. JOHN'S APARTMENT - BACK TO SCENE - DAY

KARINE:
No, John. why don't you tell them?
I'm sure they'll be glad to know.

Without any response, John walks away from the bleeding
Karine..Then out of the appartment, slamming the door shut.

A long shot of Karine folows. She's gasping for air, holding
onto her stomache as the slime of blood drips from her sored
lips. Kate rushes over towards the fainting Karine.

KATE:
Mom?..mom..Mom!

INT. HOSPITAL - FIRST CORRIDOR - INTERSECTION - NIGHT

An unpredicted burst through the doubled glass front main
entrance leaves it swinging as medical speacialists rushes
along, attentively carrying with them a figure halfway
covered above a stretcher. It's Karine. From her shown face,
we notice she's momentarily breathing and has her eyes
closed, receiving oxygen from a mask covering her nose.

Suzan hurries along two nurses that are giving directions as
they wave aside other patients and co-workers coming along.

INT. HOSPITAL - FIRST CORRIDOR - CLOSE UP ON BULBS - CON'T

We focuses at a man's face from Karine's perspective as she
tries to recognize what's happenning. All is dull as the
man's voice grows deeper and further away from her when he
speaks.

DOCTOR BREMAN: (VO)
ER-10. Readied...Left wing of the
building.

Dr. Breman, wearing clear prescription glasses that hangs
over his nose. Chubby, professionaly organized and remains
our main attraction. He's Looking over a medical chart.

75.

A custodian mops a soda spill of the five year old who
stands weeping beside his mother while sucking his thumb.

An intersection is approached by the crew--A curve is made.

EXT. NASD BUILDING - ROOF TOP - NIGHT

We're viewing New York City from this high rised building.
It's an illusion, exceedingly breezy but seem almost calm
against our characters.

EXT. NASD BUILDING - SKYLINE/AURROUNDING - CONTINUOUS

Cracked between these late night clouds, we see sparks of
lighning strikes without a sound, scooting about the sky.
Then a loud thunder alarms, except its not raining, only to
create a likelyhood of the end of time.

EXT. NASD BUILDING - ROOF TOP - CONTINUOUS

Michelle is leaning off the very edge of the building,
dressed in an all black silkish night dress, wearing high
stylish boots and has her hair loosely flying about her face
as the wind quivers her beautiful body.

EXT. NASD BUILDING - STREETS BELOW - CONTIONUOUS

There's an absolute quietness below, along the streets,
where we see countless vehicles and individuals about.

EXT. NASD BUILDING - ROOF TOP - CONTINUOUS

John hastily arrives. He's out of breath, looking around,
then turns in Michelle's direction. She's now almost as if
to slip off the edge. John dashes towards her.

JOHN:
...Michelle!
(arriving)
What are you doing? Please, don't
do that.

MICHELLE:
What do you care? Thought you
didn't love me anymore?

JOHN:
Get off Michelle, this isn't
funny, Michelle. It's insane.

John tries to hold Michelle hands, but she gestures that he
stop.

76.

MICHELLE:
I knew you would've come find me,
John.
(smiling)
Admit that you love me.

The breeze increases in speed, shaking Michelle who seem to
be firm on the ledge. They now have to speak up to be heard.

JOHN:
(beat)
Found out you were right about us
all along. Karine doesn't love me,
she separated us.

MICHELLE:
It could not have taken a genius
to crack that. So you're coming
with me now that we're at the same
pace?

Michelle suspends in mid-air, then down as she walks to the
nervous John who seem to only keep staring bleakly at her.

            JOHN:
      (murmuring)
It's really the truth, I do have a
son. I could be rich. And have...
      (raising his voice)
I don't have to go on thinking God
has cursed me all along. Thinking
I can't reproduce because my
family hated the person I was and
didn't want to see a seed from my
spirit!
      (to Michelle)
So it is the truth.

There's a moment of silence. Michelle walks over and gently
touches John's face.

MICHELLE:
There's still one big catch to the
puzzle, John. This is only phase
one, your phase. Mine's in this
metamorphosis is now completed.

JOHN:
(curious)
What do you mean?

77.

MICHELLE:
In order to come with me you must
loose the flesh, and that means
losing your soul, and abnormaly.

John hurls backwards, as if afraid of Michelle who keeps
staring at him. She then walks towards the ledge and looks
over. She walks back to John.

JOHN:
You must be out of your mind.

MICHELLE:
I know it isn't as easy as it
seem, but it's the only way out.
I've been through it. Trust me,
everybody will someday, John.

John starts walking backwards as Michelle walks up to him.
His back faces the ledge.

JOHN:
You mean you're...

MICHELLE:
Dead; and I'm waiting for you.

            JOHN:
      (rubbing his eyes)
This is some mere hallucination,
isn't it? This is one of my supid
dreams playing mind tricks on me,
isn't it!
      (softly)
You mean you're...

INT. HOSPITAL - SECOND CORRIDOR - NIGHT

EXT. QUICK FLASHBACK - MICHELLE'S APARTMENT - DAY

Michelle, six months pregnant, annoyed and sweating all over
her face, rushes into the building. She looks greatly
depressed and dizzy, almost dozzing off as she makes her way
into the room.

78.

INT. MICHELLE'S APARTMENT - CONTINUOUS

She rushes to her drawers, pulls them open and begins
searching. After several strainous searches, she finds a
small Hypodermic Needle syringe, then a bag of Liqua-Tox II.
Michelle dissolves the poisonous dust into a teasppon of
water, then draws it into the syringe as she weeps. She
painfully rubs her stomach, then injects herself.

CLOSEUP ON HER EYES AS SHE FALLS BACKWARDS---LIGHTS OUT

EXT. NASD BUILDING - ROOFTOP - BACK TO SCENE - DAY

MICHELLE:
Too late, Honey...We'll meet on
the other side in time.

John hits the back of his feet against the ledge, sending
himself falling off as he calls back while strecthing his
arms out to Michelle.

JOHN:
Michelle?...Michelle!

INT. HOSPITAL - THIRD CORRIDOR - NIGHT

From a distance ahead, through a long hall, we see an open
door. Through the door, now with a silent mood captivating
our thoughts, the sight of a sparkling white light glows
from witin as a sudden mood of absolute silence evolves
Suzan's attitude. She constantly leans over Karine's face,
pretending to feel her breath with empathy.

They reaches the door which is being held by a middle aged
slim male doctor. Dr. Breman halts and swiftly turns towards
Susan.

DOCTOR BREMAN:
You'll have to stop out here for
now. Wait or do whatever. I'll be
out when time permits me.

The crew enters as Suzan stands alone in the middle of the
long hall. Holding her hips and wonderously staring about.
Both arms are then lifted in inquiries, then down above her
head in absolute depressiveness.

79.
EXT. NASD BUILDING - ROOFTOP/FALLING DOWN - NIGHT

A very quiet shot captures John's fall in a slow motion. It's as if he's being drawned in the middle of a dark lake. John's eyes stares widely into the camera, then away. He closes his eyes, as if sleepy and is dozzing off but wide awake as his hair floats through the breathless air.

EXT. NASD BUILDING - ROOFTOP - CONTINUOUS

Michelle stands watching as she weeps. The lightning breaches along the sky continues to form a more romantic satanic background.

EXT. NASD BUILDING - ROOFTOP/FALLING DOWN - CONTINUOUS

John is drawing very close to the ground as he exits the slow motion. Moving with tremendous speed, he hits the ground in the middle of the street as everything around him seizes into silence and calmness because of his supersonic action.

EXT. NASD BUILDING - SHOT OF GROUND/BACK TO JOHN - CONTINOUS

The ground splits into tiny cracks, folding around him as if being bombarded by an enormous space comet. The pieces of pavement molecules levels in the air, splashing across the street. John is slowly sinking into the hard ground. We see his body and skull dislocating as they grind into tiny bits of pieces that go trashing about.

EXT. NASD BUILDING - ROOFTOP - CONTINUOUS

Michelle dissolves into the breeze.

EXT. NASD BUILDING - SHOT OF GROUND/BACK TO JOHN - CONTINOUS

A police convoy of emergency rushes to the scene. As the camera moves away and far into the distance, we see them put John body into the ambulance and drives off with him.


INT. HOSPITAL - WAITING ROOM - BACK TO SCENE - NIGHT

Susan, head bowed, dressed and looks as though has lasted many hours without a bath, slugishly dragging both feet with a sense of depression as she silently mourns Karine, walks about the room where we see other strange faces, some of patients and visitors alike.

A raquiem plays. The voice of the news relayer upon the wall is overshadowed.

80.

Dr. Breman exits a recovery room above which the #66 is
engraved into a metal layer that ceals the end of the
hardened wood. He looks around, then to his left where suzan
stands now caught watching the television, resting her right
blow below her chin with a folded arm.

DOCTOR BREMAN:
Excuse me, you're that Mrs.
Morgan..with Karine Morse...right?

SUZAN:
How's she doing? Is she okay?

DOCTOR BREMAN:
Not totally. I want you to come
with me to her room.

Suzan hurries into the room, leaving the doctor pacing along
as an oncoming custodian dodges her with a scrub bucket.

INT. HOSPITAL - RECOVERY ROOM - CONTINUOUS - DAY

Karine Lies stiff on the bed. Suzan besides her, rubbing her
hands as she painfully looks into her face which is wrapped
in bandade.

SUZAN:
(to dr. Breman)
Is she going to be okay?

DOCTOR BREMAN:
It's not up to me, Mrs. Morgan.
She's in a coma.

Vincent enters, carrying a foof bag as he slowly heads to
the side of the bed. He stares at karine's face, then hands
Suzan the bag. She places it on the table and turns towards
him.

VINCENT:
(to Suzan)
Honey, can I see you outside for
just a minute?

Suzan and Vincent heads out the door, leaving Dr. Breman in
the room with two other nurses, a male and a female who
enters afterwards.

INT. HOSPITAL - RECOVERY ROOM - HALL WAY - CONTINUOUS

When they're outside, Suzan and Vincent looks confused.

81.

VINCENT:
How long are you going to be here,
Suzan? The kids need you for
godsake. You haven't been home for
the past three days now.
(beat)
What the hell is going on? Haven't
seen John yet?

Suzan nods negatively. Vincent rests the bottom of his right
foot against the wall, rubbing his head, folding his arms,
then back at Suzan who only seem to stare with questions in
her eyes.

VINCENT:
How can a guy be so cruel? What
happened? Can't imagine John doing
this to karine, not in a million
years. I'm shocked.

SUZAN:
I don't know, but we seem to have
an even bigger problem now.
Karine's in a coma and they could
be pulling her plug at any minute.

VINCENT:
What? Isn't there anything we can
do to help?

There's a silence as Vincent stares at Suzan who bows her
head.

VINCENT:
Nothing?

Suzan walks away from Vincent and into the room. Vincent
stands alone in the hall, then follows her.

FADE OUT.

Feedback

From Brian Bara	Date 5/12/2006
An interesting premise, marred by grammatical and spelling errors, which make it very difficult to read. It seems most of the scripts I have read on this site suffer from the same problem - a complete lack of basic writing skills. Tenses change mid-sentence; sentences run on and on; sentences are mispunctauted and spelling is genrally atrocious. No studio script-reader is going to get past the first page of any screenplay that has so many basic errors.

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