“EPIPHANY” - Movie Scripts and Screenplays

“EPIPHANY” - Movie Scripts and Screenplays EPIPHANY BRENT SALTZMAN th5 DRAFT 4-6-05 first draft 2/2/02 second draft 6/14/02 blue third draft 5/16/03 revised third draft 6/21/03 fourth draft 7/29/04 revised fourth draft 9/25/04 fifth draft 4/6/05 1 For Morgan 1992-2000 2 BLACKNESS. That is all we see. Then, suddenly, we hear a MAN LAUGHING, and PEOPLE CHATTING, and glasses pouring, people eating. It is the sound of a FANCY RESTAURANT. FADE IN. INT. FANCY RESTAURANT—NIGHT The lighting is dim. WAITERS scurry about with towels draped over their arms serving PEOPLE dressed in elegantly prepared suits; BUSINESSMEN and such. We focus on a lone table with THREE MEN sitting around it. They are dressed nicely, and all about the same age of late 40 to early 50. There is the extrovert DR. DAVID ROUGERE, a slim man, good-looking man with an outgoing personality and a heavy FRENCH ACCENT. There is a FAT MAN, this is DR. NICHOLAS PETERS, a stubby, quiet man with exposed scalp. Finally, there is DR. GABRIEL WILLIAMSON (PROTAGONIST), who carries a low mood and slight New Zealander accent. ROUGERE is just finishing a joke. ROUGERE So one fish looks over at the other and says, dam! PETERS laughs. GABRIEL cracks a smile. FOCUS ON: 3 We see a VIBRANT WEDDING RING wrapped around GABRIEL?S finger as he clasps a wine glass. FADE TO: BLACK FADE IN. INT. FANCY RESTAURANT—NIGHT ROUGERE is speaking. ROUGERE I tried reading it. I never quite believed in such things as a child, I tell you. PETERS Come on, how else do you explain all the whimsical happenings in the world today? ROUGERE All I?m saying is that if there is a God, then I haven?t met him and I therefore refuse to worship him. Why is it that we continue to put so much emphasis on something that we don?t even know exist? PETERS You?re using your mind too much. ROUGERE (laughs) Using my own research against me. I tell you that as soon as I can find away to separate the consciousness from the mind I will slash all your dreams and hopes, my friend. The two LAUGH. GABRIEL remains suspiciously silent. ROUGERE and PETERS turn to him. ROUGERE Gabriel, you?ve said maybe a word all night. Any two cents to add? GABRIEL (hesitant) 4 I just think that, people should just go with what their heart tells them. ROUGERE The heart? We were thinking about components a little further up, my friend. FADE TO: BLACK FADE IN. INT. FANCY RESTAURANT—NIGHT ROUGERE finishes a long sip of wine. He then TAPS the ring on GABRIEL?S finger and raises his glass. ROUGERE Finally I?d like to make a toast to, my good friend Doctor Gabriel Williamson, and his happy marriage to now Angela Williamson. May there love last a lifetime and more. GABRIEL Thank you, David. The MEN TOAST. SLOW FADE TO: BLACK White, elegant letters: “EPIPHANY” FADE IN TO: EXT. CITY STREET, HIGH RISE BUILDING—RAINING—DAY We see a busy street, the rain pouring down upon people walking about sporting umbrellas and ponchos. ZOOM IN: A puddle, a few inches deep, is quickly filling up. A CAR splashes through the once peaceful puddle. SUPER: “5 YEARS LATER” We hear a VOICE (DR. MANNING) VOICE (V.O.) Do you realize that?s the third time you?ve mentioned her name? INT. THERAPIST?S OFFICE, HIGH RISE BUILDING—DAY 5 We can still hear the rain outside. The mood is quiet and dim. The office consists of a couch, across from which is a large chair. GABRIEL, barely aged, sits on the couch, his eyes dreamy, like they are staring into an endless distance. He looks broken. Across from him, DR. MANNING, a fat, bushy man with glasses and a clipboard, the therapist, sits cross-legged. GABRIEL Every time I close my eyes, she?s there. MANNING Have you done those exercises I assigned to you? GABRIEL Yes. MANNING takes off his glasses as in frustration. There are long beats before each speaker. The rhythm is slow. MANNING Well, then, Mr. Williamson, I?m sorry to say that after four years you haven?t made any progress. GABRIEL I never thought I?d lose her. MANNING I know this may sound harsh, Gabriel, but thousands of people speak those words everyday. You?re not the only person on this planet that it happens to. A beat. GABRIEL It didn?t have to happen. To end. MANNING Everything happens for a reason, Gabriel, that?s the oldest lesson that any man will tell. Every tiny event, every breath you take, can change the shape of the entire world. A boy gets in a car accident, why? Because 6 now he will make his future child be more cautious and therefore possibly save a life. But it goes both ways, you understand. We call Hitler a monster, but what about the taxpayers, who funded his entire organization, doesn?t that make them monsters as well? A beat. A CRACKLE OF THUNDER can be heard outside. MANNING leans forward. MANNING You want to know how to make your emotions go into submission? You have to let the past, be just that, Gabriel. That is the only way one can move into the future. Do you understand? GABRIEL doesn?t speak. He continues his hypnotic stare and SIGHS. INT. GROCERY STORE—RAINING—DAY GABRIEL stands next to the CONVEYER BELT as the YOUNG FEMALE CASHIER scans his items. She finishes. CASHIER 19.21, please. GABRIEL pulls his wallet from his pants pocket and flips it open. As he searches through his credit cards, he finds something that makes him stop and stare. P.O.V. GABRIEL: There is a WALLET-SIZED WEDDING PICTURE of him and his DECEASED WIFE. We have yet to see him this happy. The CASHIER reminds him that he?s in line. CASHIER Sir? 19.21. GABRIEL snaps out his trance. GABRIEL Oh, sorry. INT. GABRIEL?S APARTMENT—RAINING—DAY 7 The apartment is a dim white, well furnished, with windows revealing the rain now coming down in white sheets. We hear a DOOR OPENING, and GABRIEL walks in, soaking wet and clutching a grocery bag of food. He sets his keys on the table and walks over to the couch where he starts looking through his bag. FOCUS ON: On the COUCH-SIDE TABLE, the “NEW MESSAGE” LIGHT is FLASHING on his telephone. CUT TO: EXT. OFFICE BUILDING—GLOOMY DAY Establishing. The building lies nestled in between rows of similar structures. A NASA (NAT?L AERONAUTICS AND SPACE ADMIN) LOGO hangs above the main doors. We hear a voice. A deep, raspy voice (HARRIS). VOICE (V.O.) I want to thank you again for coming on such short notice, Dr. Williamson. INT. CORRIDOR, OFFICE BUILDING—DAY GABRIEL and HARRIS (50?s) walk side-by-side down a gloomy corridor. There are marked doors on each side. It is similar to an asylum. They are both following a GUARD. HARRIS (CON?T) We weren?t sure whether or not to commit him until you talked to him. He?s only been here an hour. GABRIEL Where?d you find him? HARRIS His maid found him lying in bed. She called the police when she realized he wasn?t breathing. They reach a door marked B3A. The GUARD unlocks it and they go in. INT. ROOM, OFFICE BUILDING—DAY 8 The room is set up much like a room in an asylum, with a single bed and no windows. There is a GLASS VASE with flowers on a NIGHTSTAND. NICHOLAS PETERS sits on the edge of the bed, staring out into the distance, seemingly oblivious to the very existence of the world around him. The GUARD closes the door and stands up straight. HARRIS leans over to GABRIEL, who stares at his friend. HARRIS He was legally dead for about an hour. We managed to resuscitate him, and despite how it looks, his brain is functioning just as well as before. GABRIEL steps forward cautiously. He forces a smile and sticks out his hand to shake. GABRIEL Nicholas? Nicholas, how are you? PETERS remains silent. He doesn?t move. GABRIEL withdraws his hand and stands before PETERS. He leans down. GABRIEL Are you alright? Suddenly, PETERS talks, but his eyes never stop staring into nothingness. His breaths are short and his voice is low, very low, and very gloomy. PETERS I may have been wrong, Gabriel. GABRIEL whispers to keep him calm. GABRIEL (whisper) Wrong about what, Nicholas? PETERS About everything. My whole life I have been devoted to a concept that doesn?t even exist. In an attempt to lighten the mood, GABRIEL chuckles. GABRIEL You?re not making any sense. 9 PETERS snaps. His eyes swiftly dash to meet GABRIEL?S. His voice heightens. PETERS It will when you see. GABRIEL See? See what? PETERS When you understand. GABRIEL Understand? Nicholas I think you need to- PETERS jumps from the bed and knocks over the nightstand. The GLASS VASE smashes into thousands of pieces. NICHOLAS rolls to the floor and grips a LARGE, SHARP PIECE OF GLASS. He stops moving and hides the glass under his chest. GABRIEL, the GUARD, and HARRIS move in. They look around cautiously. GABRIEL moves close. GABRIEL Nicholas? SUDDENLY, PETERS jumps from his spot on the floor and lunges at GABRIEL. The GUARD rushes to the scene and grabs PETERS. FOCUS ON: The SHARP GLASS KNIFE slightly RIPS GABRIEL?S jacket. Eventually, the GUARD subdues PETERS, throwing him onto the bed. HARRIS and GABRIEL rush out of the room and into the hall. INT. CORRIDOR, OFFICE BUILDING—DAY The GUARD comes rushing out of the room and slams the door. GABRIEL and HARRIS pant and look at each other. After they catch their breath. HARRIS I have to be honest with you, Dr. Williamson. This wasn?t the only reason we called you. INT. OFFICE, OFFICE BUILDING—DAY 10 The office is small and dark. There are degrees hanging on the wall, and pictures of SPACE CREWS. HARRIS sits behind a LARGE DESK, GABRIEL sits in a chair in front. HARRIS SIGHS. GABRIEL maintains his quiet, mysterious pose. HARRIS Do you have any idea, what happened in there, Dr. Williamson? A beat. GABRIEL shakes his head „no.? GABRIEL No. HARRIS Well, rest assured, we?ll know soon enough. Anyway… He pulls a FILE FOLDER from a desk and begins flipping through it. HARRIS (preoccupied) Gabriel Williamson, physicist; Nicholas Peters, astronomer; and finally David Rougere, neurology expert. The three of you were working on a project several years ago, am I correct? GABRIEL Yes. HARRIS What happened with that? GABRIEL (SIGHS) We had minor changes in direction. A beat. HARRIS puts down the file folder and SIGHS. HARRIS The Global Endeavor Space Station, you aided in its design. GABRIEL 11 Yes. Me and Rougere both worked on it. HARRIS Rougere has a laboratory on it, I understand. GABRIEL nods. HARRIS Twelve hours ago, we lost contact with the Global Endeavor. GABRIEL?S eyes widen with surprise. He sits up and concentrates. HARRIS continues. HARRIS Rougere was on board. So were about eight other astronauts. GABRIEL Lost…contact? HARRIS Everything. We can?t even pick it up on radar. We know it?s there, because we can see it with the telescopes. GABRIEL How? HARRIS We don?t know. But what we do know is that we?ve got nine people who may be dead, and if they aren?t they will be soon, unless we do something for them. GABRIEL Have you sent a rescue team? HARRIS SIGHS and sits back. HARRIS Dr. Rougere was working on something in his lab. For months he?s been refusing to reveal what it is. We think that it may have influenced the sudden loss of contact. Considering that you are undoubtedly Rougere?s closest 12 friend, and knew more about his research than anyone else, we feel it would be vital that you accompany the recovery operation. GABRIEL sits and thinks for a moment. He gulps and looks around at the PICTURES ON THE WALLS. He stares at one picture in particular: FOCUS ON: In one of the many pictures on the wall, there is one of several astronauts that includes (a younger) GABRIEL, and ROUGERE. His trance is broken by HARRIS?S words. HARRIS We?re asking for your help, Dr. Williamson. Lives are at stake. GABRIEL stares off into the distance. INT. BAR—NIGHT All is silent. We see people talking, waiters serving drinks, a football game on a big screen, but we do not hear them. GABRIEL sits along at the bar, his eyes fixated into space. His hand is cupped around a DRINK. FOCUS ON: His WEDDING RING is still tightly wrapped around his finger. As we watch GABRIEL think, we hear HARRIS?S VOICE. HARRIS (V.O.) You?ve been to the Global Endeavor three times, so none of this should be new. We are whisked into a SILENT MONTAGE: INT. ROOM, OFFICE BUILDING—DAY—MONTAGE We see GABRIEL being fitted by several TECHNICIANS for a space suit. They are checking his pulse and various other check-ups. Once again, we hear HARRIS. 13 HARRIS (V.O.) Your mission is simple. You are to find out what happened up there, why did we lose contact, and bring back the crew. We pan over to see a YOUNG MAN (TOMMY) getting prepped with a space suit as well. He appears to be in his late twenties, a look of extrovert arrogance on his face. HARRIS (V.O.) You will be accompanied by two of the finest we could locate with the given timeframe. Thomas Quay; he may be young but he knows more about how to operate a shuttle than any man alive. Pan over again to see a WOMAN (JULIA). She is an attractive woman maybe a few years younger than GABRIEL. HARRIS (V.O.) Julia Harp is one o the most respected medical doctors in the world. This isn?t her first rescue operation. Suddenly, the montage continues… INT. LARGE HANGAR—DAY—MONTAGE The HANGAR is enormous. Like a vertical tower of aluminum. In the center, a SPACE SHUTTLE is pointed skyward. There is a series of ladders and stairways leading to the hatch. TECHNICIANS scurry about like roaches, draped in white lab coats and carrying clipboards. They are messing with dials on nearby computers and welding up patches of the SHUTTLE. Suddenly, the ROOF of the hangar begins to retract, letting the sky seep in. HARRIS (V.O.) We can only hope that, if it is an emergency, the shuttle will be able to carry them all back to Earth safely. INT. COCKPIT, SPACE SHUTTLE—DAY—MONTAGE GABRIEL, JULIA, and TOMMY all sit side by side. GABRIEL and JULIA strap in while TOMMY messes with various switches. HARRIS (V.O.) 14 We don?t know what?s up there or what you?ll find once you?re on board. We can only hope that everyone?s safe. It?s in God?s hands. EXT. HANGAR—DAY—MONTAGE Silence. We see the SPACE SHUTTLE blast off from inside the hangar and shoot up into the cosmos. HARRIS (V.O.) Godspeed. FADE TO: BLACK SMASH CUT TO: EXT. SPACE It is beautiful. A black canvas dotted by trillions of tiny white lights. The SPACE SHUTTLE elegantly glides by. We hear TOMMY?S VOICE. TOMMY (V.O.) Few minutes now. PAN UP. We see the GLOBAL ENDEAVOR SPACE STATION slowly swirling in the distance. It hangs in space delicately. It is shaped like a TOWER, with a ROTATING RING around its center. It truly is a grand sight. INT. COCKPIT, SPACE SHUTTLE—SPACE TOMMY concentrates hard on the controls as he looks out the LARGE WINDSHIELD. P.O.V. TOMMY: The SPACE SHUTTLE is slowly progressing towards an EXTENSION IN THE SPACE STATION, like the TUNNEL at an airport. GABRIEL is staring at the magnificence of the ENDEAVOR. He lets out a SMILE. GABRIEL (whisper, to self) I missed you. A beat. 15 We hear JULIA speak for the first time. JULIA (referring to Endeavor) It doesn?t look broken. TOMMY fumbles through various switches. TOMMY (preoccupied) Well, it looks that way. But according to radar that thing isn?t even there. He TAPS on one of the MONITORS. JULIA looks down at it. P.O.V. JULIA: On the RADAR SCREEN is a blip indicating the SPACE SHUTTLE…and nothing else. EXT. SPACE The SPACE SHUTTLE gently glides alongside the EXTENSION. Then, we hear an audible CLICK. CUT TO: INT. DOCKING CORRIDOR, GLOBAL ENDEAVOR—SPACE There is a SEALED GLASS DOOR separating the DOCKING CORRIDOR from the rest of the Global Endeavor. A CIRCULAR DOOR along the wall of the DOCKING CORRIDOR opens. JULIA, GABRIEL, and TOMMY, all in space suits, slowly climb through the circular door and into the DOCKING CORRIDOR. They are moving slowly, due to the lack of gravity and the weight of the suits. The CIRCULAR DOOR hisses and closes. After a beat, TOMMY walks over to a PANEL on the wall and randomly starts punching buttons. JULIA and GABRIEL look around. JULIA Spooky. We can hear their voices through radios in their HELMETS. GABRIEL It?s not meant to be. TOMMY from the PANEL. TOMMY Got it. 16 On cue, an audible HISSING sound fills the room, like air escaping. After a few seconds, the hissing ceases. The crew strips themselves of their space suits, revealing GRAY NASA JUMPSUITS underneath. They look towards a PANEL ON THE WALL next to the GLASS DOOR. It has a HAND IMPRINT. JULIA and TOMMY look towards GARBIEL. GABRIEL sighs and moves forward. He places his hand into the print. A beat. The GLASS DOOR separates in the middle, opening. INT. RANDOM CORRIDOR, GLOBAL ENDEAVOR—SPACE It is dark. The lights are dim, and an aura of deep blue surrounds every lit area. The CREW walks slowly down the corridor, their eyes busily searching every nook and shadow. ALL Hello? Anybody? They reach a BRANCHING in the corridor. There is a SIGN at the intersection that reads “RIGHT: BRIDGE, LABOARATORIES, LEFT: QUARTERS, CAFETERIA.” TOMMY I?ll check the bridge. TOMMY power-walks down the CORRIDOR TO THE BRIDGE. JULIA and GABRIEL glance at each other, then start to the left. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE Dark and deserted. There is a row of chairs along a COMPUTER CONSOLE that stretches the length of a LARGE GLASS WINDOW. The view out the WINDOW is unimaginable: the perfect view of Earth, a vibrant sphere of blue, looming majestically in nothingness. TOMMY walks in. He walks around, looking for a bit. TOMMY (low shout) Hello? He looks around and sees nothing, hears nothing. 17 He takes a GLANCE at the COMPUTER CONSOLE and sits down in the middle chair. Hastily, he takes to the hundreds of switches and keys. Suddenly, a section of the LARGE GLASS WINDOW right before him turns into a TRANSLUCENT MONITOR. Words and images starts appearing on the glass, and a hint of Earth can be seen through them. After a beats of messing with the controls, he presses a button. FOCUS ON: The button he presses is labeled “COMM.” TOMMY Houston, this is Thomas Quay from the Global Endeavor. He lets go of the button. We hear nothing. He tries again. TOMMY Houston, this is Thomas Quay from the Global Endeavor, do you copy? Once again, silence. He HITS the console in frustration. TOMMY Dammit! INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE The CORRIDOR is riddle with a number of doors on either side. Each one is marked with a different letter/number combination. JULIA and GABRIEL walk this hallway. They pass an OPENED DOOR and look inside. It is neat and tidy, despite a few loose papers on the desk. They stand in the doorframe. GABRIEL stares. GABRIEL This is David?s room. JULIA Rougere? GABRIEL Yes. 18 GABRIEL turns to continue down the hallway. As he does, JULIA gets a glimpse of his hand. FOCUS ON: GABRIEL?S WEDDING RING is still clasped around his finger. JULIA paces to keep up with him. JULIA Your file said you weren?t married. GABRIEL I?m not. JULIA You?re wearing a wedding ring. GABRIEL stops. His face becomes flushed with emotion. He doesn?t look at JULIA. A tear becomes visible, but quickly fades away. JULIA realizes she?s hit a spot. JULIA I?m sorry. A beat. GABRIEL Don?t be. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE TOMMY messes with controls. He looks up at the SCREEN, and to his surprise, there is a large word, electronically typed: “HELLO.” TOMMY casts a look of confusion. TOMMY (to self) Hello? He starts typing, but another word appears: “YOU MAY SPEAK.” TOMMY looks even more confused. TOMMY What is this? 19 He appears to be having a conversation with the words on screen. Another word pops up: “DO YOU SEE?” He sits back. TOMMY See? See what? INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE JULIA and GABRIEL move quietly from door to door, peaking inside. They have seen nothing unusual, despite the absence of other people. JUIA (preoccupied) Nine people gone. This could be one of those mysteries only God could solve. GABRIEL If he was there. JULIA You don?t believe in God? They reach the end of the CORRIDOR. It is marked by a door that reads “MAINTENANCE.” GABRIEL turns around. He locks eyes with JULIA. GABRIEL Throughout one?s entire life, they follow a concept that, despite what they say, is skeptical of. He starts back down the CORRIDOR. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE TOMMY is still in the chair. A word appears on the screen: “WHAT IS YOUR VISION OF UTOPIA?” TOMMY Utopia? “A PERFECT WORLD.” TOMMY shakes his head, not sure. TOMMY I don?t know… (a beat, then sigh) 20 Yankees are banned from the series, pizza isn?t fattening, and Jennie Finch is my personal trainer. There is a pause. TOMMY Why do you care? INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE GABRIEL is walking back down the hall. JULIA follows closely behind. JULIA How can you say that? A second ago, about religion. He continues his pace. GABRIEL (preoccupied) What?s religion proven? It asks for you to believe fantastic fairytales in return for wars and segregation. In the 1940?s six million people, women, children, were killed…no…slaughtered, because of religion. He stops and turns to JULIA. GABRIEL Trust me… (a beat) We?re better off on our own. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE TOMMY sits, looking almost impatient. TOMMY Hello? Come on, buddy, where?d you go? Everything suddenly gets dark. The translucent screen on the window dissipates, and all that is left is an electronic green light ushering from one of the smaller monitors on the console. TOMMY looks down upon it. P.O.V. TOMMY: It is a straight line drawing itself across the screen. Suddenly, it begins to SLOPE UP dramatically. 21 His eyes widen. EXT. SPACE Far off in the distance, we see what looks like a METEOR ripping through space towards the GLOBAL ENDEAVOR. But it is not a meteor: it is simply a ball of sparkling light, moving like one. INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE As JULIA and GABRIEL walk, they stop and look up as the LIGHTS suddenly begin PULSATING. JULIA What is that? GABRIEL breathes deep, his eyes widen. He knows. GABRIEL Oh no. EXT. SPACE Swiftly, the SPHERE OF LIGHT slams into the GLOBAL ENDEAVOR with massive force. It knocks out of place and it slowly begins drifting. INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE The CORRIDOR rocks violently. JULIA screams and falls. GABRIEL leans down to help her, but the station suddenly JOLTS and he slams back against the wall. His eyes close. FADE TO: BLACK. CUT TO: EXT. SPACE The GLOBAL ENDEAVOR, slightly burned, moves slowly through space. It isn?t supposed to be gliding. INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE The only sound is a faint humming coming from the engines and fans. GABRIEL lies unconscious against the wall. His eyes open. Panicky, he gets up and looks around. There is nothing. JULIA is gone. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE 22 GABRIEL storms into the bridge. It is quiet. He walks over to the main console and starts typing. Nothing happens. He takes off down a corridor. INT. LAB CORRIDOR, GLOBAL ENDEAVOR—SPACE The LAB CORRIDOR is just like the QUARTER?S CORRIDOR, with doors on either side. GABRIEL walks up to one of the doors and pulls it open. PULL BACK: GABRIEL snaps up as we see through the doorframe… In the room is a LAB TABLE in the middle with several cabinets and counters surrounding it. And working at the table, looking through notes, is ROUGERE. He doesn?t notice GABRIEL at first. GABRIEL takes a step inside, just a step. INT. ROUGERE?S LAB, GLOBAL ENDEAVOR—SPACE GABRIEL stares, almost like he doesn?t believe that he is alive. ROUGERE hums as he flips through a notebook. GABRIEL David? ROUGERE looks up and smiles. He holds out his arms. ROUGERE Gabriel, my friend! I haven?t seen you in ages. There is a long pause. GABRIEL just stares heavily. ROUGERE smiles. ROUGERE What is wrong? You seem lost. GABRIEL (low) What happened here? ROUGERE looks confused. ROUGERE What? What is it? GABRIEL 23 Haven?t you noticed that you?re the only one here? ROUGERE (confused) Am I? Well I?m afraid I can?t answer you on that one. GABRIEL moves closer. GABRIEL Aren?t you even curious why I?m here? There is a very long beat. ROUGERE sighs. He sits back and CHUCKLES. ROUGERE I was waiting for you to ask that question. GABRIEL Did you know I was coming? ROUGERE laughs again. ROUGERE It seems I know a lot of things these days. He gets up and walks over to the SINK. He turns on the faucet and begins washing his hands. GABRIEL simply follows him with his eyes. ROUGERE Let me guess; you are wondering why I seem so calm that everyone is gone, even your two crewmates, and me and you are having this conversation. A beat. GABRIEL Yes. ROUGERE Well, the answer you?re looking for- 24 He walks back over and lifts himself up onto the LAB TABLE. He sits on the edge. ROUGERE (CON?T) -lies within the innermost layers of everything you?ve ever known. A long beat. GABRIEL What does that mean? ROUGERE sighs. His voice becomes lower, more mysterious. ROUGERE It means, that as soon as you can see, you can see the truth. GABRIEL What is the truth? ROUGERE finally stops smiling. He leans forward and whispers. ROUGERE (whisper) Eventually, we all learn to avoid acceptance, of the reality we are presented with. ROUGERE smiles. GABRIEL suddenly breathes deep, and then… ABRUPTLY, we are WHISKED away from seeing ROUGERE smiling, to GABRIEL, his eyes closed. INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE It was a dream. GABRIEL still lies against the wall, his eyes closed. JULIA is down on her haunches; GABRIEL?S chin rests in her palm. She speaks gently. JULIA Are you alright? He looks around, confused. GABRIEL What happened? 25 Before she can speak, the lights flash back on to full capacity. GABRIEL shields his eyes. They both stand up and look around. JULIA Something hit us. GABRIEL What? JULIA I don?t know. A beat. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE It is deserted. TOMMY is gone. JULIA and GABRIEL rush into the room. They look around. JULIA checks around the outside of the room, GABRIEL goes to the MAIN CONSOLE. After rigorous typing, we see in his face he isn?t satisfied. He HITS the console and grits his teeth. GABRIEL (to self) Damned machine. JULIA approaches him. JULIA I can?t find Tommy. GABRIEL shifts his eyes. INT. DOCKING CORRIDOR, GLOBAL ENDEAVOR—SPACE GABRIEL and JULIA come running around the corner. They stop on a dime when they see TOMMY, staring through the GLASS DOOR at the OPEN CIRCULAR DOOR on the other side. There appears to be nothing but space beyond it. TOMMY?S face is one of lost. A long beat. GABRIEL Thomas? There is another long beat. TOMMY speaks without ever turning around or taking his eyes off the OPEN CIRCULAR DOOR. TOMMY 26 Whatever hit us- (a beat) -knocked the shuttle off its lock. JULIA?S eyes widen with silent panic. GABRIEL doesn?t appear to react, as usual. TOMMY (CON?T) It pushed us out of orbit. A beat. TOMMY (CON?T) We?re slowly moving away from Earth. GABRIEL How slowly? TOMMY Few hundred miles per hour? A thousand? FOCUS ON: JULIA, her eyes growing with despair, clutches GABRIEL?S hand. He notices and looks down. He says nothing. TOMMY (CON?T) Does it matter? It?ll take days for them to send another rescue team- ( beat) -we?ll be gone by then. GABRIEL You don?t know that. TOMMY Tell that to the nine people we came here to save. The words hang in the air like breathe on a moist day. TOMMY lets out a deep sigh. TOMMY I think it was a meteor. GABRIEL The Endeavor?s fragile; a meteor would have ripped the hull and caused an implosion. TOMMY Then what was it then? 27 Long beat. GABRIEL I don?t know. (after a beat) I do know that the only thing science can?t explain is coincidence. A solar flare, possibly. He fumbles through his words. GABRIEL (CON?T) Energy from the sun released in mass rather than in segments, slingshots around Earth and hits us. There is a very long beat. TOMMY chuckles a bit. TOMMY Sounds to me like there are two things science can?t explain. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE TOMMY, JULIA, and GABRIEL enter. TOMMY rushes over to the computer. He messes with dials. GABRIEL and JULIA look down at the ELECTRIC SCREEN. He TAPS it. There appears to be an enormous SPIKE in the middle of a straight line. TOMMY That?s where it hit us. JULIA What?s that spike mean? TOMMY That…is where the Endeavor sucked up energy at about eight times capacity. Which is funny… His voice trickles. JULIA and GABRIEL cast confused looks. TOMMY types vigorously. TOMMY Wait a minute, this doesn?t make sense. JULIA 28 What doesn?t? A beat. TOMMY We used up more energy in that collision than we even have. It doesn?t make sense. GABRIEL, after a brief silence. GABRIEL Solar flares contain billions of amperes of energy, which the ship could?ve converted into electrical energy. TOMMY How? GABRIEL remains silent. He crosses his arms and SIGHS. GABRIEL I don?t know. INT. KITCHEN, GLOBAL ENDEAVOR-SPACE It is set up more like a tiny cafeteria rather than a kitchen. There are THREE SMALL TABLES, and some VENDING MACHINES, along with PACKETS of sugar in the middle of each table. Enter GABRIEL, JULIA, and TOMMY. They flick on the lights and search the place. They start searching through cabinets and drawers. TOMMY (preoccupied) Long as we?re here, might as well stay healthy until they send a rescue team. GABRIEL, while looking through a cabinet, gives a disbelieving GRUNT. TOMMY offers a look. JULIA opens what seems like a FREEZER. It is empty. She gives a curious stare. TOMMY is going through some cabinets, violently pulling out pots and pans and throwing them on the floor. His expression is one of frustration. TOMMY Nothing. 29 GABRIEL walks over to one of the vending machines. You do not have to pay. He simply presses a button and a CHOCOLATE BAR falls out. JULIA and TOMMY approach. JULIA (sighs) Well, I don?t know how healthy we?ll be on M&Ms and Snickers, but food will keep our brains nourished, keep us sane. LATER. They are all sitting around one of the tables. There are potato chip bags, soda cans, and sugar packets lying around. It is quiet. TOMMY is sitting back in his chair picking his teeth. He stares at GABRIEL, whose eyes peer out a nearby window into the stars. TOMMY Someone tried talking to me. All eyes turn to him. TOMMY On the computer, before we were hit. It asks me all these questions, philosophical mumbo-jumbo, it didn?t make a lot of sense. The atmosphere cringes. There is a silence. TOMMY It told me it was God. The words hang in the air for what seems like the longest time. JULIA casts a looks to GABRIEL. FOCUS ON: She gently places her hand over his. GABRIEL pulls it away and sighs. GABRIEL It was Nemo. When we designed the Endeavor, we included an on board personality simulator, to keep astronauts 30 busy when they weren?t working. JULIA Well, yeah, long-term induced isolation will cause anyone to lose a marble or two, not something you want happening in the most fragile environment imaginable. A pause. The conversation RESETS. TOMMY So…Dr. Gabriel Williamson. GABRIEL turns to him. TOMMY What do you do these days? He cups his hands and leans forward. JULIA listens intently. GABRIEL I?m currently continuing research on what?s known around the scientific community as the Brane Theory. TOMMY Brains? GABRIEL Yes, but, not in the traditional sense. Brane as in short for membrane. JULIA So what is the brane theory? GABRIEL It?s complicated. TOMMY Try us. GABRIEL sits back and sighs as he tries to think of a way to explain. He finally picks up a handful of sugar packets and begins ALIGNING them next to each other, making a SQUARE MOSAIC of pink sugar packets. He talks as he works. 31 GABRIEL (preoccupied) Let?s say, each of these sweet and lows, is a universe. TOMMY interrupts. TOMMY Each one is a universe? GABRIEL chuckles. GABRIEL Well, in order to propose the brane theory than it?s necessary to accept the possibility that there may exist more than one reality; existing on a super or subatomic scale. TOMMY lets out another laugh. JULIA, at least, seems intrigued. GABRIEL (CON?T) Anyway, there is an infinite number of these sub universes, one is created when an event with more than one possible outcome takes place within one universe, therefore the result of alternate outcomes physically manifest itself with in a separate universes. TOMMY Can you slow down? Just a little bit. He squeezes his thumb and forefinger together. GABRIEL sighs and points back to the sugar packets. GABRIEL (CON?T) Anyway, the theory is, each universe, ours, the infinite number of others, is encapsulated by an enormous membrane of energy. JULIA Like medicine in a pill? GABRIEL 32 Exactly, a semi-permeable brane that acts as a partition between universes. And- (a beat) -there is only one proven form of matter that can pass through these membranes- (lowers voice) -that can actually travel between universes. There is a long silence. TOMMY has stopped laughing, he now (almost comically) is leaning forward on the table, obviously stimulated. TOMMY What is it? GABRIEL The graviton. In 2005, Fermi lab institute created a collision between two hydrogen atoms so precise and exact, that it created a graviton. And- (he smiles) -we actually witnessed, a graviton travel to another universe. (a long beat) There is, one other material that, according to Dr. Rougere, may be able to travel through the branes, but it?s not- He stops abruptly. It is like he suddenly remembers something. His eyes widen. GABRIEL Rougere! INT. ROUGERE?S LAB, GLOBAL ENDEAVOR—SPACE The door opens and GABRIEL barges in. He looks around frantically. It is empty. TOMMY and JULIA walk in behind him. They both look around as well. JULIA approaches GABRIEL, whose eyes remain fixated on scanning the room. JULIA (softly) 33 Gabriel, I already checked. There?s nothing. GABRIEL walks over to where ROUGERE was sitting in his dream. GABRIEL No, no! It…he, was right here. I saw him, he talked to me, I, I…communicated with him. JULIA Gabriel, it was a dream. GABRIEL wipes the sweat form his forehead and leans against the LAB TABLE. He whispers to himself. GABRIEL It didn?t feel like a dream. Long beat. TOMMY dashes over to a few drawers and starts going through them, sorting through papers and such. TOMMY (preoccupied) Maybe we can find some notes or something, you know, find out what happened. JULIA That?s a good idea. TOMMY continues searching. JULIA passes by the motionless GABRIEL and touches his cheek. JULIA (very softly) Gabriel… Her voice tapers off into nothingness as she walks away and begins rummaging the lab. TOMMY, in a corner of the room isolated from the other room, looks through various papers in a drawer. Through the messy clump of cluttery papers, he finds a FOLDED NOTE. Suspiciously, he looks around to make sure nobody is looking. He unfolds the note. FOCUS ON: On the note, the words “I HAVE SEEN” is written in marker. GABRIEL opens a cabinet in the corner and finds a SMALL, POCKET-SIZED TAPE RECORDER/PLAYER inside. He takes it out 34 and examines it. He then stuffs it into the interior pocket of his JUMPSUIT. OVER BY JULIA, she is going through a TALL METAL CLOSET. Inside is a lab coat and several laboratory-affiliated accessories, like goggles and gloves. She then notices something: there is a very large space between the back of the CLOSET and the WALL. She winces to peer behind the metal closet and GASPS. MOMENTS LATER. JULIA is standing a few feet from the METAL CLOSET. GABRIEL and TOMMY are working on pushing it. After a few beats, they manage to maneuver the heavy furniture over far enough to reveal what was behind it. It is a DOOR. A large, metal, unmarked door. There appears to be no code panel, finger-print scanner, or retina detector to get in, just an OLD-FASHIONED KEY CARD SLOT next to it. TOMMY It?s a door. JULIA To what? GABRIEL walks to the door and places his hand upon it. GABRIEL It?s warm. JULIA Where?s it go? GABRIEL I was wondering why Rougere?s lab looked so small. This leads to the big part. TOMMY What?s inside? GABRIEL I don?t know. Suffice to say, I have no idea why he would block access. There is a long silence. GABRIEL looks at his other two crew members. GABRIEL How long have we been up? JULIA glances at her watch. 35 JULIA (preoccupied) If you got up at eight, yesterday, you?ve been up twenty-six hours. Long beat. GABRIEL We should sleep. TOMMY Sleep? We?ve got nine people missing who for all we know could be walking around with knives, and are moving away from home, without a shuttle, and you expect us to sleep. GABRIEL Sleeping keeps you sane. JULIA He?s right, our brains need rest in order to function properly, and right now isn?t exactly the right time to be running on fumes. GABRIEL moves toward the exit. GABRIEL We?ll sleep for six hours. We?ll continue working on getting home then. TOMMY and JULIA look at each other. TOMMY You know- ( beat) -I don?t think I?m tired. INT. BRIDGE, GLOBAL ENDEAVOR—LATER—SPACE It is later. Much later. This is evident by the look of exhaustion labeled upon GABRIEL?S face a he sits at the main console, his eyes hinging between bare lucidity and sleep. He is alone. JULIA enters and approaches slowly. JULIA Gabriel… 36 Her voice is soft, but just loud enough to startle him. GABRIEL I thought you were sleeping. JULIA I thought you were. She sits in a chair next to him. JULIA Tommy?s not sleeping, either. GABRIEL begins typing, if only to keep his eyes off JULIA. GABRIEL (preoccupied) How can anyone sleep? How can anyone think or do anything else in this situation. JULIA You can think about lots of things. (a beat) That?s why God gave us memories. GABRIEL How can you say that? JULIA It?s just the way things are. GABRIEL No, that is not the way things are. The way things are, is that no matter how much you hope, how much you pray, how much you visit the god damn churches- A beat. He stares at JULIA while tears develop. GABRIEL It always ends the same way… His voice tapers off into space as he turns away. He cries. JULIA You?re not the only person who?s had troubles. You know? You?re not the only person in 37 this universe who lost somebody. There are people out there, believe it or not, who are worse off, who?ve lost more. GABRIEL stops crying. He looks at her. She at him. She reaches down her shirt and pulls out a CROSS NECKLACE. She squeezes it, then shows it at him. JULIA And they still keep faith. (a beat) It?s what keeps people going. She stands up and leans by his ear. JULIA (whisper) That?s why you?re still here. She walks away. GABRIEL HITS the console as he lets out even more tears that he was hiding before. He finally rests his head upon the console. After a few beats, the TRANSLUCENT SCREEN on the WINDOW lights up. It goes through a succession of electronic pulses before we see: “GABRIEL…” GABRIEL notices the electric white letters slowly. He SIGHS. GABRIEL Nemo, off! At GABRIEL?S command, the light quickly dims. GABRIEL leans back and rests his eyes, when suddenly, the SCREEN LIGHTS UP AGAIN. White letters: “GABRIEL…” GABRIEL sighs again. GABRIEL I said, Nemo off! Nemo: 38 “WHY?” GABRIEL casts a confused look. GABRIEL Why am I being questioned by a computer? Nemo, off! Nemo: “A COMPUTER?” GABRIEL chuckles. He gets up and turns. GABRIEL (preoccupied) I don?t have time for this. Nemo: “WHY IS IT THAT YOU BELIEVE EVERYTHING YOUR MIND TELLS YOU?” GABRIEL turns back around and looks at the monitor. GABRIEL What?s that mean? On cue, the LIGHT DIMS, Nemo turns off. After a few beats, GABRIEL slaps his head, a look of a man who think he has just hallucinated. SMASH CUT TO: INT. GABRIEL?S ROOM, GLOBAL ENDEAVOR—SPACE The first thing we see is the SHEETS being violently ripped off the bed. GABRIEL then takes them and throws them in a nearby TRASH CAN. He continues to produce a NEW SHEET from underneath the bed and gently fits it over the mattress. All of this happens in a maximum of thirty seconds. He then pulls off his jumpsuit, revealing a set of black khakis and white t-shirt underneath. OVER AT THE SINK, he washes his face in the running water. He stares at himself at the MIRROR overlooking him as he wipes his face dry with a nearby cloth. Then, he suddenly WINCES IN PAIN and grabs the area over his heart. He pulls his shirt off and stands erect in the mirror. There, we can clearly see a LARGE CUT near his heart. It is about two inches long and still slightly moist. GABRIEL pats it and WINCES. 39 SMASH CUT TO: Moments later, GABRIEL is dabbing PEROXIDE onto a COTTON BALL. He then, slowly, progresses it towards the wound. As it hits his flesh he lets out a loud YELP of pain and immediately begins gasping. We see in his face that the pain is unbearable. INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE GABRIEL, shirtless and clutching his wound, walks down the hall. He stops at ONE ROOM and slowly cracks the door open. He stares inside. P.O.V. GABRIEL: It is dark. JULIA sleeps soundly under the covers, only her head exposed. She looks about as peaceful as you can get. GABRIEL slowly enters. INT. JULIA?S ROOM, GLOBAL ENDEAVOR—SPACE GABRIEL approaches slowly. He stares at her lying peacefully, like an angel. He reaches down and pets her hair. His wound suddenly begins feeling better, as is seen in his facial expression, turning from grim to calm. He WHISPERS. GABRIEL (whisper) You were right. (a very, very long beat) It is while I?m still here. He smiles. EXT. SPACE Peaceful shot. Earth seems so close, yet so far. The GLOBAL ENDEAVOR?S CIRCULAR RING still spins around the TOWER, but it appears to be MOVING through the vacuum of space as well. IN THE CORNER OF OUR EYE, we see a TWINKLING, PULSATING BLUE LIGHT. Is it POLARIS (NORTH STAR), or is it something else? FADE TO: BLACK 40 FROM BLACK, we hear something. It is a familiar sound, the sound of dining…it hits us: it is the sound of the restaurant, from the beginning. FADE IN TO: INT. FANCY RESTAURANT, GLOBAL ENDEAVOR—SPACE We hear people everywhere, chatting, having a good time, but we do not see them. We just see ROUGERE and GABRIEL, sitting alone at the table. They are eating, laughing, and for the first time ever, we see GABRIEL appear to be truly happy; a smile is draped across his face as he scarfs down pasta. ROUGERE Well, suffice to say, I asked the governor for a refund. They both laugh. GABRIEL lifts his wine glass for a sip. FOCUS ON: We see that there is NO WEDDING RING on GABRIEL?S finger. ROUGERE takes a bite of bread and continues. ROUGERE There are still, a few questions that are still left, burning the end of my synapses. GABRIEL What?s that? The mood dims. ROUGERE sits back and crosses his arms. ROUGERE While conducting research, I noticed that more people die in their sleep than almost any other cause of death. No diagnosis, no cause, just, slipped into lifelessness. Why? GABRIEL sits for a bit, pondering the question as well. GABRIEL Well, there goes your „everything happens for a reason? theory. GABRIEL chuckles and goes back to eating. ROUGERE sits quietly. The mood intensifies. 41 ROUGERE How?s your pasta? GABRIEL slurps up a string of pasta and wipes his mouth. H nods. GABRIEL It?s good. ROUGERE How can you tell? He looks around curiously and chuckles a bit. GABRIEL What does that have to do with anything? ROUGERE Everything. ROUGERE takes a sip of wine and SIGHS deeply. GABRIEL puts down his fork. ROUGERE Isn?t it curious, how a simply conscious thought can so easily fool the inner workings of the mind? GABRIEL becomes intrigued. ROUGERE How a subconscious thought can turn into a physical manifestation, or in this case a sensation, one like taste. It?s like, have you ever woken up from a dream, while feeling yourself falling? When you finally open your eyes, you get this sudden rush of nerves and adrenaline, that keeps you up the rest of the night? There is a very long beat. ROUGERE takes another sip of wine, while GABRIEL simply stares. ROUGERE It?s just, how can a simple subconscious image, no matter how farfetched or impossible- (a beat) -can seem so real? (another beat) 42 I believe that we may be missing an enormous piece of this mosaic Gabriel. ROUGERE leans forward and whispers. GABRIEL listens intently. ROUGERE (loud whisper) Don?t you find it the least bit strange that you can go from being stranded in space, to sitting here shooting the breeze with one of your old pals, eating fettuccini in Paris? ROUGERE bursts into laughter. Not casual laughter, but the laugh of a madman. GABRIEL?S eyes wonder, as he suddenly realizes he?s been dreaming. ROUGERE continues laughing while he starts eating his own plate of pasta. ROUGERE By the way, I left piece of your puzzle in the bottom drawer. You?ll know where to look. CUT TO: INT. GABRIEL?S ROOM, GLOBAL ENDEAVOR—SPACE GABRIEL wakes up suddenly and ROLLS off the bed onto the floor. He lands with a thud, and suddenly WINCES in pain. He lifts up his arm to see: FOCUS ON: There is a large CUT, similar to the one on his chest, except draped across the bottom of his arm. It is moist and bleeding. MOMENTS LATER. He is going through the DRAWERS of a nearby dresser. He reaches the bottom drawer. Inside is a ruffle of clothing. He digs through them until he finds a BIBLE. It is beautiful, with a gold border and black suede covering. 43 He clasped the bible and sits down on the bed. When he opens the bible, something FALLS OUT. A KEY CARD lands on the floor, looking much like a thick credit card. GABRIEL picks it up and examines it. He then flips through the BIBLE. We immediately notice that every page is BLANK. There are no hymns, no scriptures, nothing but pure white blank pages. Confused, GABRIEL flips the book over and examines the back. There is a GOLD ENGRAVING that reads “DR. DAVID ROUGERE.” INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE It is quiet. JULIA walks down the hallway, when we hear a VOICE. It is ROUGERE?S VOICE. She stops on a dime and listens intently; we can clearly hear the voice of Doctor DAVID ROUGERE! ROUGERE (V.O.) We do not know exactly what we?re looking for- (a beat) -of course, it?s hard to explain without a base. Without a solid foundation. We have nothing to work on, and as usual, our ideas are dismissed as quickly as a bad dream. JULIA looks around curiously. JULIA Doctor Rougere? She looks down the hall, towards GABRIEL?S ROOM. INT. GABRIEL?S ROOM, GLOBAL ENDEAVOR—SPACE GABRIEL sits on the edge of the bed, sweating profusely, his eyes wondering. On the NIGHTSTAND is the TAPE RECORDER he took from ROUGERE?S lab. ROUGERE?S VOICE ushers from it. ROUGERE (V.O.) We ask not to force this harsh reality upon the modern people, of this world, but request only tolerance, at the possibility of its existence. Doctor David 44 Rougere, the Global Endeavor, April 6, 2011. The TAPE abruptly cuts off as JULIA walks into the room. She stares at GABRIEL and the TAPE RECORDER. GABRIEL (distant) I found it in his lab, when we were looking through it earlier. (a beat) He hasn?t told me anything I don?t already know. JULIA finally breaks her own silence. JULIA Tommy?s missing. GABRIEL Missing? JULIA Yes. (beat) I checked his room, the kitchen, bridge, he?s gone. GABRIEL doesn?t seem too phased. GABRIEL It?s a small ship…where could he go? He lets out a SIGH and whispers to himself. GABRIEL (whisper, to self) Where could nine people go? JULIA looks down at the BLANK BIBLE. JULIA What?s that? GABRIEL I found it in Rougere?s drawers. Why would he have a book like this? There is a long beat. JULIA Maybe he wanted to write his own story. 45 GABRIEL looks up at her. INT. ROUGERE?S LAB, GLOBAL ENDEAVOR—SPACE The door bursts open, like before, and GABRIEL comes rushing in, sporting his black khakis and an undershirt. He is carrying something. JULIA comes in behind him, seemingly chasing him. JULIA What are we doing? GABRIEL starts towards the LOCKED DOOR. GABRIEL I found it in the book. He stops at the door and SWIPES the KEY CARD through the slot. A series of GREEN LIGHTS light up on the key card slot, followed by a succession of electronic beeps. The door opens, sliding into the wall. GABRIEL and JULIA both stand back and watch. JULIA Should we go in? GABRIEL doesn?t answer; he simply steps into the darkness past the door. JULIA, hesitantly, follows. INT. MAP ROOM, GLOBAL ENDEAVOR—SPACE This is the MAP ROOM, and we will see why in a moment. Inside, it is dark, darker than any other room on the ship. It is also empty, no furniture, just four solid walls and a switch on the wall. When GABRIEL and JULIA enter, the door closes behind them. They look for a moment at the closed door, then continue to explore. There is nothing. JULIA What is this place? GABRIEL (preoccupied, looking) Rougere?s lab. The part he hid from the world. JULIA Was this what you two were working on? 46 GABRIEL hesitates, he looks around and smiles. GABRIEL No, no, this is different, this is, this is something, something else. JULIA Well what is it? GABRIEL walks over to the panel by the closed door and presses a few buttons. JULIA (over shoulder) Gabriel. Gabriel, what is it? The room suddenly darkens, even darker than before, into nothing but PITCH BLACK. JULIA?S voice is full of fear. JULIA What just happened. GABRIEL Sshhh! A few moments later, we see something. It is a LIGHT, a little blue light, smack dab in the center of the room, in the shape of a 3-Dimensional ORB. We can see JULIA and GABRIEL standing in the room, by the light. JULIA leans over to get a better look at the rotating sphere. FOCUS ON: It is Earth. A small, blue, insignificant sphere of blue light. JULIA Gabriel, I think it?s Earth. Another SPHERE OF LIGHT POPS up, a WHITE ONE, not even a tenth the size of Earth. It is the moon. Then Mars, then Mercury, Venus, and all the other planets of our solar system, all rotating in a perfect orbit around nothingness. Then, the sun. It grows from a tiny spec in the middle, into an enormous yellow light that seems to take up the entire room. After a few beats, all the planets shrink, and eventually, it is a galaxy, followed by the creation of more tiny 47 galaxies, hundreds, thousands, then, each of them tiny specs, possibly millions. All of these specs, each with their own tiny collection of solar systems, spin beautifully, no bigger than grains of sand, around the room. GABRIEL It?s a map. JULIA Of what? GABRIEL Of everything. (a beat, he smiles) It?s a map of the universe. GABRIEL starts pointing out galaxies, like an astronomer at the planetarium. GABRIEL There?s andromeda, our universe, the milky way. Every time he speaks the name of a universe, it lights up in a brilliant red. JULIA cups a universe, and discovers her hand goes right through it. JULIA Holograms? GABRIEL Yes. JULIA It must?ve taken a lifetime to program this. Billions upon billions of stars, planets, galaxies. How could he build a map of the universe if we?ve never seen the whole universe? There is a beat. GABRIEL isn?t paying much attention to her, he is embraced by the magnificence of the UNIVERSAL MAP. GABRIEL Maybe- (a beat) -there?s one other thing Rougere theorized could travel through the barrier between universes. 48 JULIA Which was? Before he can answer, the room suddenly goes dark again. All the tiny galaxies abruptly dissipate, leaving only darkness in the room. Then, another light, this one different from the planets. They are letters. Holographically projected letters simply hanging in the air. They read: “HELLO” JULIA grabs hold of GABRIEL, he clutches her as well. GABRIEL breaks the silence. GABRIEL Nemo? The words shift: “WHY DO YOU SAY THAT?” GABRIEL It?s what you are, aren?t you? New words: “IS THAT WHAT YOUR MIND IS TELLING YOU?” There is a long beat. The hanging letters seem to last hours, if really only seconds. GABRIEL Yes. JULIA buries herself into GABRIEL?S chest like a baby, only her eyes beak at the heavenly electric words: “WHAT DOES YOUR CONSCIOUS TELL YOU?” A beat. GABRIEL Are you God? The words disappear. New ones reappear: “ALL IS CLEAR WHEN ONE CAN SEE.” These words disintegrate. GABRIEL 49 What does that mean? Nothing. The lights come back on and the DOOR opens. GABRIEL looks around, frustrated. He yells, an almost subtle anger in his voice. GABRIEL What does that mean! GABRIEL and JULIA embrace in silence for what seems like eternity. INT. GABRIEL?S ROOM, GLOBAL ENDEAVOR—SPACE Silence. GABRIEL is flipping through the BLANK BIBLE, a PEN gripped in his fist. We see that many of the pages have been filled out with sloppy, cursive writing. He finds a blank page and vigorously begins writing. He sweats profusely as he works, his breaths becoming short, his eyes fiery. He then stops, and looks up. P.O.V. GABRIEL: Out the window, we see the beautiful silhouette of a distant Earth. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE MOMENTS LATER, deserted. GABRIEL enters and stands in front of the main console, staring hypnotically out the window. P.O.V. GABRIEL, FROM BEHIND: Earth, mysteriously, is much closer. The North American continent clearly visible, a blue aura surrounding it. A smile develops, GABRIEL stares. He reaches out and touches the glass. The mood is dim, poetic. GABRIEL cries. Suddenly, WORDS appear on the WINDOW SCREEN” “DO YOU MISS IT?” GABRIEL (whisper) Yes. 50 There is nothing but silence. The words disintegrate into nothing. GABRIEL closes his eyes and starts, apparently, talking to Nemo, all the while his eyes never leaving the Earth. GABRIEL When I was young, my, uh, my parents, they didn?t live long after I was born. My foster mother used to tell me that the stars leave no one alone, that, that no matter what happens, they?ll always be there, always shining, always watching. (a beat) Are they still watching? Silence. No answer. GABRIEL opens his eyes, to see that EARTH is no longer closer. It is much further away. He retracts his hand from the glass and looks around. Nothing. CUT TO: INT. BATHROOM, GLOBAL ENDEAVOR—SPACE GABRIEL slams open a MEDICINE CABINET. Inside, his hands scan for medicine bottles. He picks up a bottle marked EXCEDRIN, then a bottle of liquid NYQUIL. He turns on the faucet over the sink and splashes his face with water, then takes the bottle of NyQuil, opens it, and CHUGS the entire bottle down in one enormous guzzle. Brutally, he hurtles the empty NyQuil bottle into the bathtub, then turns to the bottle of Excedrin pills. Frustrated in his semi-drunken state, he fights and GRUNTS to open the child-proof bottle. He yells. GABRIEL God damn it! God damn it! JULIA appears in the doorframe. GABRIEL falls to the ground and leans his back against the cabinet and THROWS the Excedrin bottle against the wall, smashing it; pills rain down. GABRIEL sets his head back. 51 He is a broken man, a man at the end of his rope. JULIA quickly wets a WASHCLOTHE and leans down, patting GABRIEL?S head. They sit through a few seconds of silence, before… GABRIEL We?re going to die here. The words suspend in the air. GABRIEL starts laughing. JULIA I know. GABRIEL grabs her hand and kisses it. INT. CORRIDOR, GLOBAL ENDEAVOR—SPACE We see the BATHROOM DOOR, slightly ajar, slowly close. FADE TO: BLACK. CUT TO: EXT. SPACE The GLOBAL ENDEAVOR spins majestically, hypnotically. It is not a machine, a ship, or a prop. It is a character. INT. GABRIEL?S ROOM, GLOBAL ENDEAVOR—SPACE Silence. JULIA is asleep on the bed. GABRIEL stands by the sink, staring at himself in the mirror. He is silent. The tone is dark, tense. His eyes are fiery, his breaths deep, and his skin moist. Behind him, out of the corner of our eye, Earth rotates, thousands of miles away. FOCUS ON: He rips the WEDDING RING off his finger and lets it fall down the sink drain. GABRIEL asks himself I the mirror: GABRIEL Get out. (a beat) 52 Please. In an instant burst of rage, GABRIEL PUNCHES the mirror, shattering it into a thousand pieces in the sink. JULIA wakes up and jumps from the bed. GABRIEL pulls back his hand, it is bleeding, but only slightly. JULIA Gabriel! GABRIEL I?m fine. JULIA grabs his hand and pats it with a nearby cloth. JULIA Let me help you. He RIPS his hand away. GABRIEL I?m fine! He turns and stares out the window. JULIA places her hand on his shoulder. A NOISE, a loud, banging sound from down the corridor, coming from the bridge, bangs in our ears. Both of them turn to the door, outside, a strange, rustling sound is heard. MOMENTS LATER. GABRIEL slips on a shirt. JULIA sits on the bed. JULIA Why can?t I go? GABRIEL (preoccupied) Because I said so. JULIA And why is that? GABRIEL I?m not arguing with you. JULIA Then let me go. GABRIEL turns to her. He rests his hands on her shoulders. 53 GABRIEL I?m not letting anyone go. (a beat) Not anymore. They kiss. INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE LATER. GABRIEL, alone, walks down the corridor. The strange rustling sound seems to be coming from the bridge. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE GABRIE enters. Silence. He looks around and sees nothing. We hear TOMMY?S VOICE. TOMMY (O.S.) Did you enjoy it? GABRIEL turns to see TOMMY sitting in the main chair, staring out the LARGE WINDOW. He is covered in shadow, we see only his back. GABRIEL stands behind him. GABRIEL Tommy? TOMMY I?ll ask you again, did you enjoy it? GABRIEL nears. His voice shaky. GABRIEL Where were you? He may sound like TOMMY, and look like TOMMY, but something about his dark, mysterious, almost sinister tone, indicates it is not. That is something else, something malevolent. His voice heightens. TOMMY Did you enjoy fucking her? Silence. Awkwardness fills the atmosphere. TOMMY starts LAUGHING; we still cannot see his face. 54 TOMMY I?m kidding, man. Besides, your wife?s dead, right? No harm no foul, right? Hey, you know what? I?m proud of you; you finally let the past be the past, that?s a big step. GABRIEL doesn?t answer. A beat. TOMMY Ah, hell, you know just as well as I do right? Women, had a few, myself, lost a few. TOMMY laughs again. GABRIEL Thomas? TOMMY laughs again and hugs the sky. TOMMY It talks! I wasn?t sure you were even there for a second, thought I was talking to myself. (a beat) You know what it?s like to talk to yourself, right? GABRIEL Yes. TOMMY I guess you know what it?s like to throw your wedding ring away, too, huh? You could of fetched about fifty bucks for that thing on eBay, buy yourself a nice steak dinner. (a beat) Or some fettuccini. A beat. GABRIEL takes a step closer, only a step. TOMMY Oh- (snaps fingers) -by the way, I found some stiffs for you. 55 GABRIEL (quiet) Stiffs, Thomas? TOMMY Thomas? I think my mom called me Thomas. I don?t like Thomas, honestly. Sounds too, fancy-ish. (a beat) Oh, right, stiffs! Um, bodies, yeah, I found some bodies, in the storage room, where they hold all the oxygen tanks are. A beat. GABRIEL?S voice shakes, his breaths shorten. GABRIEL Who?s? TOMMY Geez, I don?t know. Black guy, woman, a fat dude. Eight of them, I think. A beat. GABRIEL Rougere? TOMMY Nope. Not that I looked or anything. I just didn?t see anyone who looked French. TOMMY sighs and leans back in the chair. After a few moments of silence: GABRIEL Tommy? Tommy? He reaches over and spins the chair around. His eyes widen. We don?t see what?s in the chair. SMASH CUT TO: INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE The door to GABRIEL?S ROOM opens. JULIA walks out and starts down the corridor. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE 56 JULIA enters. She gasped as she sees GABRIEL, sitting on the MAIN CONSOLE, a few meters from the CORPSE OF TOMMY, SITTING IN THE CHAIR, HIS THROAT SLASHED, HIS EYES STARING OFF INTO THE DISTANCE. FOCUS ON: He is grasping a BLOODY STEAK KNIFE in his dead hand. JULIA What happened? GABRIEL You?re the doctor. JULIA moves closer. She reaches her hand out to touch TOMMY?S CORPSE. GABRIEL I wouldn?t do that? JULIA I?m a doctor. GABRIEL sighs. JULIA touches TOMMY?S chest, around his heart, when suddenly, he TWITCHES. JULIA screams and takes off down the corridor. We hear a DOOR SLAM in the background. GABRIEL sighs. INT. QUARTERS CORRIDOR, GLOBAL ENDEAVOR—SPACE GABRIEL leans against the door to his room. It appears to be locked. He KNOCKS. GABRIEL Julia! Julia! JULIA?S voice is muffled, coming from the other side of the door. JULIA (O.S.) I?m not coming out! GABRIEL elaborates. GABRIEL Julia! He may have been dead but his nerves were still firing. The sudden stoppage of heart rate, can cause- (a beat, his voice lowers) 57 -erratic undulating of the muscles. JULIA (O.S.) I know that, Gabriel! GABRIEL So what?s the matter, then?! A beat. The door CLICKS open. JULIA peaks out through the crack, tears running down her face. JULIA When I saw him lying there, lifeless, dead, I couldn?t help but think, but think- (a beat) -that might be me. They embrace. She cries on his shoulder. GABRIEL I?m not going to let that happen. A long beat. GABRIEL I promise. CUT TO: INT. CORRIDOR, GLOBAL ENDEAVOR—SPACE Empty. Deserted. CUT TO: INT. BRIDGE, GLOBAL ENDEAVOR—SPACE Also empty. Quiet. CUT TO: INT. KITCHEN, GLOBAL ENDEAVOR—SPACE Silence. There are empty sugar packets on the tables. The glass of the VENDING MACHINE has been smashed, and cleaned out. CUT TO: EXT. SPACE 58 The Earth. It is splendidly rotating around the solar system. A diamond in space. INT. LAB CORRIDOR, GLOBAL ENDEAVOR—SPACE We see light seeping out from the slightly ajar door to ROUGERE?S LAB. INT. ROUGERE?S LAB, GLOBAL ENDEAVOR—SPACE Silence. GABRIEL sits at a LARGE COMPUTER; its screen is a GLASS PANEL. He has the BLANK BIBLE in his lap. He is furiously punching in numbers and symbols, like a computer programmer hard at work. FOCUS ON: On the pages of the BLANK BIBLE are numerous mathematical equations and unreadable cursive letters. Like a math student?s notebook. He whispers to himself. GABRIEL Come on, come on. FOCUS ON: He presses EXECUTE. GABRIEL (crosses fingers) Please. A message on the screen: “UPLOAD COMPLETE” INT. MAP ROOM, GLOBAL ENDEAVOR—SPACE The door slides open. GABRIEL enters. He turns to the panel and presses a few buttons until the lights dim to pitch black. Suddenly, instead of planets, NUMBERS, 3-dimensional numbers flood the room. They engulf GABRIEL, then, disappear. 59 Then, the UNIVERSE is created, every galaxy no bigger than a grain of rice, much like before. But this time, a BLUE BUBBLE surrounds the room, and slowly begins shrinking, until it is no bigger than a GOLF BALL. It is a BUBBLE containing the entirety of the universe as we know it. Then another UNIVERSE BUBBLE sprouts, then another, and another, and eventually, the whole room is filled with these BUBBLES. GABRIEL smiles. GABRIEL I was right. (a beat) David was right. In an instant, the multiple universes disappear, replaced by hanging 3-D words: “GABRIEL” GABRIEL doesn?t respond at first. He stares down this mysterious entity. GABRIEL I?m I going to die here? The words evaporate. There is a pause before new words: “DO YOU WANT TO?” GABRIEL No. What kind of question is that? Words: “AN INEVITABLE ONE” GABRIEL I wasn?t expecting it. Words: “NOR WERE YOU EXPECTING HER” A beat. GABRIEL Her? Who? He plays dumb without realizing it? 60 The words float in mid-air for a beat or two, then, the LIGHTS flip on and the DOOR OPENS. JULIA enters, excitement in her voice. JULIA Gabriel! He turns to her. JULIA I think I found something. CUT TO: INT. DOCKING CORRIDOR, GLOBAL ENDEAVOR—SPACE It is much like the DOCKING CORRIDOR from the beginning, with a GLASS WALL separating into a GLASS ROOM. Except different. It is a different one. There is no circular door, but a large, garage-door like wall. Enter JULIA and GABRIEL. JULIA Look! Behind the wall of glass, seemingly parked in the DOCKING BAY, is a small POD, no bigger than a small sports car, just sitting there. GABRIEL (excitedly) Oh my God, I completely forgot! These were placed to guide astronauts back to Earth in case of emergency. JULIA Let?s go! JULIA rushes over to a panel by the wall, to open the GLASS WALL. GABRIEL doesn?t move, though, he thinks for a second, pondering. GABRIEL (whisper, to self) How could I forget about it? The GLASS DOOR opens, JULIA rushes inside. She dances around the POD excitedly, the mood dims when GABRIEL walks in. He is sulking, his voice dark. 61 JULIA What?s the matter? A beat, followed by a sigh from GABRIEL. GABRIEL There only designed, for one person. JULIA?S eyes dim. JULIA Oh, no! I mean, I?m sure we could fit- She looks down into the pod; it is very tiny inside. She continues her denial. JULIA (CON?T) Yes! We could fit two people, if we just gave it a shot- GABRIEL interrupts. GABRIEL Julia- (beat) -we can?t. A silence. They look at each other. SMASH CUT TO: INT. GABRIEL?S ROOM, GLOBAL ENDEAVOR—SPACE GABRIEL You know you have to. He is a condemned man. JULIA stands in the door while GABRIEL walks about collecting various scattered papers on the floor. JULIA But I don?t want to! GABRIEL Oh, yes you do. He continues collecting papers, shuffling them in his hands to contain them. JULIA I won?t do it! I?m not leaving without you! 62 GABRIEL presents the bundle of papers to her. GABRIEL These are some of my notes, Rougere?s notes, take them back, they explain everything. JULIA No. GABRIEL Take them. JULIA No! GABRIEL SNAPS. He SLAPS JULIA across the face. GABRIEL (shout) God-damn it, Julia! JULIA (crying) No! A pause. GABRIEL sighs, JULIA whimpers. He changes his approach, his tone silencing, becoming quieter, more caring. He touches JULIA?S shoulders. GABRIEL Julia, please. (beat) They say everyone has a purpose, this is yours. (longer beat) And mine. They EMBRACE for the seemingly last time. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE GABRIEL stands alone, staring out the window. P.O.V. GABRIEL: We see the LIFEPOD, containing JULIA, launch into space, towards Earth. He lets out a few tears. EXT. SPACE Another heavenly shot. The GLOBAL ENDEAVOR rotates slower than usual. The mood is dim, lonely. 63 CUT TO: INT. CORRIDOR, GLOBAL ENDEAVOR—SPACE Dark, empty. We hold for a long time, symbolizing the emptiness, and loneliness of space. CUT TO: INT. ROUGERE?S LAB, GLOBAL ENDEAVOR—SPACE GABRIEL sits alone at a computer. He has placed the LARGE CABINET back over the MAP ROOM DOOR. His facial expression is that of a man in his final moments. The COMPUTER suddenly lights up. GABRIEL winces to see this strange development. Eerily, a GRAPH has appeared, and then we hear the PEACEFUL SOUND OF A TROPICAL RAINFOREST. Birds chirping, frogs singing, rain splashing, and monkeys howling. The GRAPH appears to be an OSCILLOSCOPE that BOUNCES with the wave frequency of the sound. GABRIEL examines closer as the JUNGLE SOUND gets louder, and louder. We hear ROUGERE?S VOICE. ROUGERE (V.O.) It is in a situation such as this, that one must not ask himself, where is my mind telling me I am- (a beat) -but where is my conscious, telling me I am? GABRIEL?S eyes widen, his face peaceful. SMASH CUT TO: EXT. JUNGLE CLEARING, RAINFOREST—RAINING—DAY GABRIEL is standing in a clearing. We hear the sounds of the JUNGLE. He stumbles, facing his new surroundings with fear and curiosity. We see ROUGERE appear from the foliage. He walks up to GABRIEL, a smile on his face. GABRIEL David? 64 ROUGERE Once again. GABRIEL Why do you keep doing this? ROUGERE Me? I?m just following you around. GABRIEL looks around at the beautiful scenery: tropical birds soar overhead, monkeys jump from treetop-to-treetop, and snakes and lizards scurry about on the ground. GABRIEL I?m dreaming again. ROUGERE Why do you think that? GABRIEL Because this is impossible. A pause. ROUGERE smiles. ROUGERE Do you know what else is impossible, Gabriel? They stare into each other?s eyes, when we suddenly hear the tender, soft tone, of a WOMAN?S VOICE, the voice of an angel, coming from far off in the distance. WOMAN?S VOICE (distant) Gabriel! Gabriel! GABRIEL jumps, he looks at ROUGERE and stumbles through his words with a GULP. GABRIEL It?s Angie…it?s my wife! ROUGERE leans over. ROUGERE (loud whisper) Go to the one you love, Gabriel. CUT TO: EXT. FOLIAGE, JUNGLE—RAINING—DAY GABRIEL is ripping through the foliage, his heart pounding, his face alit. 65 EXT. TOP OF WATERFALL, JUNGLE—RAINING—DAY He emerges at the top of a massive WATERFALL, five-stories high, the bottom emptying out into a fresh lagoon. He looks over the edge. P.O.V. GABRIEL: Walking along the lagoon bank, is the silhouette of a BEAUTIFUL WOMAN. Her hair is a golden blonde, her skin velvety smooth. She is looking around, lost. It is ANGIE, GABRIEL?S deceased WIFE. He doesn?t waste a moment. He JUMPS from the top of the waterfall and into the water below. CUT TO: EXT. LAGOON BANK, JUNGLE—RAINING—DAY GABRIEL crawls, soaking wet and exhausted, out onto the bank. He coughs up blood and vomit. It is worth it when he looks up and sees the face of his beloved. He stands up to face her. They stare into each other?s eyes for the longest time. GABRIEL I missed you. ANGIE I know. GABRIEL I, I?ve- ANGIE Sshh… They embrace. We hear her VOICE. ANGIE (softly) Gabriel, Gabriel. GABRIEL I love you. ANGIE I know. CUT TO: INT. ROUGERE?S LAB, GLOBAL ENDEAVOR—SPACE 66 GABRIEL is atop the LAB TABLE, asleep. JULIA hovers over him. His eyes open. JULIA I couldn?t leave you. Alone. GABRIEL I know what I have to do. He gets up off the table and storms out. JULIA follows. JULIA Gabriel? INT. DOCKING CORRIDOR, GLOBAL ENDEAVOR—SPACE It is the first docking corridor, with the circular door. GABRIEL storms in, JULIA following him. JULIA Gabriel, what are you doing? GABRIEL Finishing this. He walks through the open door and SLAMS it shut behind him, sealing himself within the glass room. With a passion in his face, he walks to the CIRCULAR DOOR and places his hand over a LARGE RED BUTTON which reads: “EJECT” JULIA presses against the glass, powerless. JULIA Gabriel, no! He snaps back. GABRIEL Why not? What was our purpose for being here? I?ve found nothing but misfortune and false hope. If I didn?t come here to die, then what did I come here for? There is a pause, a long one. JULIA For me. 67 Another pause. JULIA You were just about ready to give up, but then you met me. (a beat) And I met you. He ponders for a second, his eyes searching. JULIA I love you, Gabriel. Another silence. GABRIEL takes his hand away from the button and slowly exits the glass room. They hold close. A beat. Then, out of the corner of his eye, GABRIEL notices something. He leaves the comfort of JULIA?S arms and walks over to a wall, where several METERS lay imposed into it. FOCUS ON: One meter reads: “OXYGEN-0%” There is a pause, GABRIEL stares at the dial. GABRIEL We?ve been going without oxygen since the moments we arrived. Silence. Suddenly, we hear the blaring sound of STATIC, then, VOICES, human VOICES, scratchy and staticy. INT. BRIDGE, GLOBAL ENDEAVOR—SPACE Enter JULIA and GABRIEL. TOMMY?S body has been covered with a now-bloody sheet. They stop before the large WINDOW SCREEN, where there is a NEWS BROADCAST, fuzzy, yet viewable, taking place. JULIA What is this? 68 FOCUS ON: The NEWS BROADCAST shows several workers rushing and scrambling around an apparent CRASH SITE, where scrap metal and burnt parts lay scattered. They both recognize it: it is the GLOBAL ENDEAVOR. We hear the voice of a REPORTER. REPORTER (V.O.) The crash occurred when an instability on board caused a rip in the ship?s heat resistance, causing an almost instantaneous navigation failure. The ship crashed here at about 9:30 AM yesterday morning. (a beat) We are now receiving word that there are exactly nine confirmed deaths, including the famous scientists Dr. David Rougere, and several others. Details as they arrive. The voice tapers off, as does the screen. GABRIEL It was an hour before we even arrived. JULIA Gabriel, if we?re not there, then where are we. A pause. GABRIEL There are only two things that can travel through the membrane between universes, gravitons- (a beat) -and consciousness. JULIA What does that mean? GABRIEL looks at her. EXT. SPACE 69 The GLOBAL ENDEAVOR is in shadow. It looks dark, almost spooky. INT. DOCKING CORRIDOR, GLOBAL ENDEAVOR—SPACE It is silent. GABRIEL and JULIA stand together, by the CIRCULAR DOOR. GABRIEL (softly) This is it. JULIA Yes. GABRIEL places his hand over the large “EJECT” BUTTON. He breathes deep. GABRIEL Julia… JULIA Yes, Gabriel? GABRIEL I see. Quickly, he PRESSES the button. SMASH CUT TO: EXT. SPACE The GLOBAL ENDEAVOR stops spinning. FADE TO: BLACK BLACKNESS. We see a dot, we hear a BEEP. We then realize we are looking at a HEART METER. The heart is functioning well. INT. HOSPITAL ROOM—DAY GABRIEL lies in the bed, hooked up to a respirator. We see an ENOMROUS FLESHWOUND on his chest, by his heart. His eyes open. We hear HARRIS. HARRIS (O.S.) You gave us quite a scare, there for a minute. GABRIEL looks around. Was it really all a dream? GABRIEL 70 What happened? HARRIS stands next to him. HARRIS Peters got you. Got you pretty good, too. He points to the wound near GABRIEL?S heart. GABRIEL How long? HARRIS Few hours. He lean over. HARRIS Believe it or not, you were legally dead for about an hour. You were given a zero percent chance. (beat) Made liars out of them. GABRIEL just stares. EXT. GROCERY STORE—DAY It is not raining, the sun is poking out from beneath the clouds. INT. GROCERY STORE LINE—DAY GABRIEL stands in line, like yesterday. The clerk scans his items. CLERK Okay, that?ll be 21.33, please. GABRIEL Excuse me. He opens his wallet and flips through it. He doesn?t find what he is truly looking for; the look on his face darkens when he cannot find the picture of his wife. INT. HALLWAY, APARTMENT BUILDING—DAY He walks down the hall, his arms full of groceries. He digs for his keys when he reaches his door. Slowly, he puts the key to the doorknob, but then…he notices that the door is already SLIGHTLY AJAR. 71 Curious, he opens it and steps in. INT. GABRIEL?S APARTMENT—DAY Something isn?t quite right. It is brighter, more colorful. He looks around curiously. Placing the grocery bag on the couch, he notices something on the stand by the couch. It is a picture of a little boy, no more than 4 years old. GABRIEL picks it up and touches the face. We then hear JULIA?S VOICE, she is crying. JULIA (O.S.) They told me you were dead. GABRIEL turns around. To his astonishment, JULIA is standing there, tears running down her cheek, tissue in hand. He is stunned. She approaches him and HUGS him. JULIA (loud whisper) I don?t ever want to lose you again. GABRIEL (softly) You won?t. I promise. FOCUS ON: There is a WEDDING RING on GABRIEL?S finger. EXT. CITY SKYLINE—NIGHTFALL We see the lights beginning to turn on in the city. We hear ROUGERE?S VOICE. ROUGERE (V.O.) With all our modern knowledge of sub-atomic particles and virtual spaces, it is only necessary to accept the pure fact, that there is more than one reality. That reality, is nothing more than a word to describe the various outcomes of a given event or choice. EXT. OVER FLORIDA--? 72 We seem to be ZOOMING OUT with each shot, getting higher and higher. ROUGERE (V.O.) It was once said, that dreams, are nothing more than a doorway into another dimension, another universe. We are now only discovering that there may be truth to this. EXT. OVER NORTH AMERICA-? It rests calmly beneath the clouds. ROUGERE (V.O.) What if the consciousness was not just a metaphor used to describe our points of view and the little voice inside our head, that creates physical manifestations and truly makes us believe that our physical surroundings, are indeed real. What if, it was a tangible substance, composed of particles beyond our comprehension. EXT. OVER THE EARTH Glowing beautifully, rotating on its axis. ROUGERE (V.O.) From this, we can theorize that when a person dies, they become one with their conscious, which can travel through the membranes hat separate universes, allowing us to find a reality that we prefer, that we ultimately desire. Besides, you can kill the body, and the mind, but how can you kill thought? EXT. SPACE Nothing. Just blackness dotted with trillions of white glowing orbs. ROUGERE (V.O.) Alas, we are only scratching the surface of these 73 possibilities. One day, when we understand the chemical make-up of this mysterious arrangement of particles that creates the consciousness- (a very long beat) -then someday, we maybe be able to unlock the chemical make-up, of what we know- (another beat) -as the soul. There is a faint, blue twinkle in the starlight. FADE TO: BLACK. THE END. 74 75 76 77