Flashing Images -- Crowded Streets, Pedestrians on mobile

phones, cars moving

Various human eyes opening and closing.

VOICE (V.O)
Reality, the world we live in. What
if you had the chance, the
opportunity to live in a world
without rules or limitations, but, a
world that is unpredictable in its
nature.
A machine, resembling a dentist’s chair in design. A wide
set hole the middle, which would leave a persons lower
back exposed. A helmet peripharel with a visor stationed
at the top of the table is placed on the human head.

V.O(Cont’d)
A machine designed for scientific
use, that allows its user to live
consciously in their dreams.
CAMERA REVOLVE of the table and it’s corresponding
appartus, it’s leades, it’s several console mainframe.
V.O(Cont’d)
The user is induced with a sleep
formula. When hooked to lucidity it
sends electrical charges through the
spinal cord. This promotes the flow
of neurotransmitters. The users REM
cycle is rapidly increased.
FADE IN on lab with lucidity centre of the room.
Scientists arguing with FBI agents.
V.O(Cont’d)
Machine’s technology deemed too
dangerous for its original intent,
found its way into the wrong hands.
It became the underworlds new heroin.
Screen begins to fade to black.

\
CONTINUED:
V.O(Cont’d)
It’s market, fools like me. It’s
known side effects..... addiction.
BLACK

V.O(Cont’d)
And death.

INT. BEDROOM -- NIGHT

CLOSE UP on the face of Mark Holme, late forties. His

gaze locked to the ceiling above his bed. The only source
of light is that of the street light outside his window.
Noises of the night fill this sorry excuse for a room.
Knocking of bins outside.
Mark sits up on the edge of his bed. The street light
outside illuminates his slim figure. Rubbing his bag
filled eyes he stands up revealing his long lanky frame,
no smaller than six two.

CUT TO:

INT. KITCHEN -- NIGHT

Mark walks through the doorless entrance, pulling a t-

shirt over his torso. He flicks the light switch to the
right of the entrance. He flicks up and down, no light.
Mark
Damn it!
CONTINUED:
Mark guides himself over to the curtain above his sink.
Pulling it apart reveals his minimal sized kitchen. Dirty
dishes overflowing in the sink and countertops.
Mark walks over to his pull out table to collect his box
of cigarettes. Two left inside.
Leaned over his stove, praying that he at least paid one
of his bills. Success, a small blue flame appears.
He is short tongued as the flame quenches. Mark walking
around his kitchen, savouring each drag he takes, walks
to his fridge. He opens it and must feel his way through
its contents.
Finding the carton of milk he wants, he opens, drinks,
and instantly spits it out.

Mark
Oh God!!!
Bringing the carton over to the window, close up on the
carton top shows the date, June 26th 2017. The carton is
now emptying itself down the drain as Mark walks out.

INT. BEDROOM (MARKS) -- NIGHT

Mark collects some clothes that are thrown around the

room. His choice, not exactly fitting his lifestyle, a
white shirt and taylored suit pants. From his bedside
locker he grabs a faded wedding ring.
WIDE view of room lets us get a real sense of its coffin
like space.
CUT TO:
EXT. OUTSIDE APARTMENT BUILDING -- NIGHT

Outside a tainted red brick apartment building Mark steps

out the front door. The cold air cuts his body as he
steps out.
CONTINUED:
The door behind him refuses to close as he tries to slam
it shut. Knowing there is nothing to steal in his coffin
like room he carries on undismayed.

EXT. OUTSIDE, STREETS -- NIGHT

Mark walks briskly along the footpath of his slum

neighbourhood.
Reaching the end of his block he starts to lower his head
and keep to himself.
OUT OF FOCUS beside him stand two figures that contrast
with the surrounding area.

PROS 1
(chewing gum)
Hey baby, how you feeling tonight?
Mark trying to ignore them looks the other way.

MARK
Not interested.
Second prostitute strides forward with purpose.

PROS 2
Come on, we will give you a group
deal

PROS 1
Everyone needs a release.
CONTINUED:
Prostititue 1 eyes up the ring on his finger. In a fit of
rage he turns to them. The overpowering smell of drink
mixed with cheap perfume makes his nostrils flare.

MARK
I told you, I’m not interested, now
back off.
Turning away from them he takes out his last cigarette.
Removing a lighter from his pocket he flicks it
frantically, no fluid, so he throws it to the ground. As
he walks off the prostitutes yell and scream at him.

EXT. OUTSIDE -- Shopping District -- Night.

Mark passes a shop with a number of youths standing

outside.

MARK
Kid, got a light?

KID
Depends, what’s in it for me?
Mark empties his pockets only to get a quarter out.

KID
A quarter? Seriuosly?
Mark lights his last cigarette. He walks down the road
passing the homeless passed out in alleyways.
EXT. ALLEYWAY -- NIGHT

The smell of stale urine causes Mark to inhale his

exhaled smoke.
He takes the last pull from his cigarette. Mark walks
down an alley that was all too familar to him over the
past few years. He walks up to the door that stands alone
in the alley.
Putting his hand up to a com system, his fingers so numb
he can hardly feel the buttons. He presses the top
button, a weathered crackled comes from the com.

VOICE
Who buzzing me?

MARK
Zizzo, its Mark, open up

ZIZZO
Mark, Mark, do I know a mark?
Marks face now turned to pure frustration, wanting to get
out of the cold.

MARK
Zizzo cut the crap and open the door!
A buzz releases the door from its latch. Mark opens the
door and the warm air hits him.
INT TRASHY CORRIDOR -- NIGHT

Mark stared down the long hallway that lay ahead of him.
On the ground cocaine, heroin users, inside the many
doors adjacent, young kids on the same path.
Mark takes each step carefully, trying not to trip over
any of the people on the floor or draw their attention to
him.

DRUG USER
Oh sir, lovely brown eyes, brown
hair, tall.

Drug user moves closer to mark as he comes to a halt.

DRUG USER
You’re my kind of man. I’ll give you
a special price.
Reacting Mark brushes him aside and walks down what seems
like an endless corridor.
CUT TO:

INT. END OF CORRIDOR -- NIGHT

Mark reaches a door, there is more paint on it than the

ones he passed combined. The metallic numbers on it read
49. Mark knocks on the door. Within seconds it opens.
Zizzo stands before mark. He is a man who would stand in
the shadow of Mark’s frame, he wears latex gloves, boots
up to his knees and overalls.
CONTINUED:
ZIZZO
Well if it isn’t my favourite
customer, come in, come in.
CUT TO:

INT. ZIZZO’S APARTMENT -- NIGHT

Zizzo guides Mark into familar territory.

ZIZZO
Just go straight into the kitchen
Mark. You know the drill by now.
Mark walks down Zizzo’s hallway. To this day it still
feels uncomfortable to him. Several locked doors that he
hasn’t laid eyes on inside.
CUT TO:

INT. ZIZZO’S KITCHEN -- NIGHT

Mark stands tall in Zizzo’s kitchen. Zizzo pushes aside

Mark as he enters. To Mark, Zizzo always reminded him of
an Igor with his unbalanced walk.
Mark sits down on a chair placed beside the kitchen
table.
CLOSE UP on table, loads of beakers containing formulas.

MARK
Isn’t it about time you spot me a
free trip Zizzo?
CONTINUED:
ZIZZO
There is no such thing my friend, you
of all people should know that.

MARK
Lets cut that, please?

ZIZZO
LETS CUT IT?
Zizzo walks over to a counter top and starts fiddling
with some apparatus with his back to mark.

ZIZZO (CONT’D)
I would think think by now other
things have been cut, hmmmm i dunno
like your electricity.

MARK
You keeping tabs on me you rat?
Zizzo walks over to the table where Mark is, revealing a
syringe in his hand. Mark’s face shows no concern.

ZIZZO
No mark, im just looking out for my
customers. I would say I am unrivaled
in customer service would you not?
CLOSE UP of room showing consoles on a desk, dozens of
leads coming from it. Behind Zizzo is mixing some of the
beakers on the table.
CONTINUED (2):
ZIZZO
I’m really and artist in disguise.

MARK
A real da Vinci Zizzo.
A crash comes from the room with the consoles. Both men
turn towards the noise. Zizzo, not bothered continues his
mixing.
A man dressed in a fine suit comes walking out, dazed, he
has blood running from his nose and has two gashes on his
forhead.

ZIZZO
Rough trip lewis?
The man walks into clear view outside the kitchen
entrance. He rubs the blood away from his nose.

LEWIS
I’ve had worse.
Lewis cleans himself a bit more.

LEWIS (CONT’D)
Same time tomorrow ya?
Zizzo carefully pouring one mixture into another.

ZIZZO
I will have the red carpet rolled out
for you sir.
CONTINUED (3):
Lewis already making his own way out.

LEWIS
Watch the mouth smart ass.
Mark looks at his left hand, his faded wedding ring. He
reluctantly slips it off and places it in his jacket
pocket.
Zizzo behind him is using his syringe to extract some of
the fluid, readying himself as Mark takes off the jacket.

ZIZZO
Hopefully you will have a smoother
trip.
Zizzo injects Mark’s neck without him aware.
CLOSE UP Mark’s tired eyes falling heavy as he tries to
stabilize himself on his chair.

ZIZZO
Come on, before I have to carry you
all by myself.
Zizzo supports Mark on his shoulder and walks him out of
the kitchen.

INT. LUCIDITY ROOM (ZIZZO’S) -- NIGHT

Mark trying to keep himself awake looks at Zizzo’s

preperations.
CLOSE UP Zizzo configuring settings on the consoles.
Zizzo turns to Mark lying on Lucidity’s table, his rotten
teeth on show, smiling.
CONTINUED:
Zizzo walks closer, collecting Lucidity’s helmet and
places it on Mark’s dreary head. The visor blocking
Mark’s sight.
Zizzo full of exciment jumps around the room as the final
part of the procedure lays ahead.
Collecting a lead from the ground with a needle end he
walks towards Mark. Zizzo jabs marks spine from the
underside of the table.
Standing over him, he looks through the visor to Mark’s
eyes.
ZIZZO
Sweet dreams.
BLACK

INT BEDROOM 1 -- UNKNOWN

FADE IN
CLOSE UP Mark’s eyes opens. He lies in a bed that is
unfamiliar to him. It is dressed in white, white sheets,
pillows, duvet. The clothes that he has on stand out, a
blue t-shirt and black sweat pants. The bed, almost
camouflaged into the room that also is almost pure white.
Mark turns to his left to see an imprint of someone who
had slept there. Running his hand through the imprint he
visualizes a woman, no bigger than five six in height.
The pillow above, he smells. He smiles.
Beside the bed lies a locker, one would have to look
closely as it blends into the wall with its white colour.
On top, four picture frames.
Mark examines each picture one by one.
First a portrait of a family, a man, woman and two
children. Something is unusual about the picture. Mark’s
face looks confused. The faces of each member morphs, not
for a second does it stop. Mark sits up out of bed.
CONTINUED:
He examines the whirlpool like effect plaguing each of
the faces.
He picks up the next picture with a greater sense of
urgency. A lonely boy, sitting alone on a swing. Like the
previous picture the boys face was undistinguishable.

MARK
Oh my god.....
Picking up the next picture with increased speed Mark
sees a young man sitting on a sand dune, looking into the
distance. Face morphing. Mark places this picture back on
the table almost knocking the others.
Mark raises the last picture up to his face, his eyes
begin to well up. He sees a woman, sitting on a bench
surrounded by water.

MARK
Rebecca....
Mark sitting at the side of the bed, in a room that could
be described as a white abyss, is startled by a noise.

NOISE
YYYYAAAAAARRRRR.
Mark drops the picture with shock. He hesitantly stands
up, and walks towards the only door in the room. Each
step he takes is preserved with caution.

NOISE
YYYYAAAAAARRRRR.
Mark opens the door.
 CUT TO:

INT BEDROOM 2 -- UNKNOWN

Inside Mark steps. Another bedroom, this one painted

green, timber floors, posters of cartoon characters he
had never seen before, and a bed in the centre of the
room.
Walking towards the bed in the centre of the room the
door behind Mark slams shut and morphs itself as part of
the green walls.
The only exit available, a door on the opposite side of
the bed.
Mark moves closer to the bed, engulfing his surrounding
details.

NOISE
YYYYAAAAAARRRRR.
The strange noise now with increased volume consumes the
room. Mark strides past the bed and without hesitation
bursts through the door, breaking its hinges in the
process.
CUT TO:

INT BEDROOM 3 -- UNKNOWN

Mark finds himself in another bedroom, but this one more

like a corridor than a room though colourless like the
first. In the distance a red bed taking up almost all the
width of the corridor, nothing else to be seen.
NOISE
YYYYAAAAAARRRRR.
The long corridor causes the noise to echo in Mark’s ear.
CONTINUED:
Behind him, the door he had broken starts to rebuild
itself. The hinges reattach themselves to the side, the
door itself, raising itself from the dead, places itself
back in its position, then each little splinter of wood
jigsawing its way back on.
It morphs into white.
Mark watching, begins to walk in the opposite direction,
fearful.
A sense comes over him like he is being followed, he
checks behind him every couple of steps. The room, it
follows him.
Mark sprints, his adrenaline levels rocketed he is at
full speed.
The wall behind him stays at his speed level, chasing
him.
Mark begins to bump into objects that are unseen to him.
First a lamp, as it shatters on the floor it changes
colour revealing itself.
A bedside table, its’ contents becoming clear as they
spread on the floor, each standing out from the white
floor.
The objects break Mark’s stride, he begins to tire.
More objects, a computer, cd cases. All illuminating the
white floor.
Mark reaches the bed and scrambles over it, in fear,
panic. The walls now from either side begin to close in
on him.
The noise of the bed behind him being crushed. His tired
legs turning to jelly as he sprints.
A door is in sight.

NOISE
YYYYAAAAAARRRRR
CONTINUED (2):
The noise angering Mark only encourages him. The door
getting closer with each stride. The bed now crushed its
contents fall from the floor.
The floor beneath Mark begins to crumble.
Mark makes a jump for the door jumps over the holes
created in front of him.
CLOSE UP his feet slipping with each touch. The walls now
closing and falling with increased speed. Mark only yards
from the door feels his footing go from him.
He falls into the white abyss.
WHITE.

INT. HALLWAY -- UNKNOWN

FADE IN.
Mark, face up, lying in a pond no deeper than 12inches.
His vision blurred.
Above Mark, propelled from the ceiling, a fountain
spraying towards the pond mark lies in. But this pond
mushrooms back towards the ceiling. Figures glisten in
the water. Dozens of fish swimming in the spherical solid
of water.
Mark turns his attention away from the fountain above him
to a large victorian door that occupies the space infront
of him.
Mark gathers himself out of the pond, his clothes, not
one bit wet.
He walks towards the door that could be freedom, but his
attention is broken by a knock behind him.
Over his shoulder there is a door. Each knock vibrates
the door.
CONTINUED:
Mark turns to the door and walks towards it. He takes
route through the water, his feet walk on the surface and
leave an imprint on the water like snow.
Only a distance from the door the knocking becomes more
intense. Each knock replicates the rythem of his heart.
Each step leads to a great knock.
His heart pounding, the door pounding Mark reaches for
the handle. He opens the door.
Mark is pulled into nothingness by a force. The door
closes behind him.

FADE IN ON WHITE

EXT. PLAYGROUND -- DAY

CLOSE UP Mark is holding his head in his hands, he lowers
his hands as his eyes adjust.
What lay before him is a park and a playground. It's
green grass only shadowed by the array of multicolored
leaves and the numerous shapes and sizes of the different
species of trees.
Maple Christmas, Amazon trees give to the illusion of a
never ending park.
Mark takes in what surrounds him until a man running into
view breaks his concentration.

Man
Run son, run, I will try to throw it
as far as I can.
CONTINUED:
A little boy, no older than five, red shoes, football
jersey and shorts comes out from behind his father. The
boy filled with excitement runs past his father
sprinting.
Marks concentration is broken by this begins. He notices
similar sights around the park.
Fathers and son playing ball, father and son walking
their pets, father and son evident everywhere he looked.
Mark begins to walk towards a play area, the scale of
which becomes evident as he comes closer.
A line of jungle gyms, children climbing backwards in
single file, each child’s father waiting to catch him
underneath.
As Mark passes he sees a row of what seems like
unremitting slides, with fathers waiting for their child
at each platform, and each child sliding up rather than
down, starting form left to right almost as if it was a
synchronized activity.
Mark makes his way past the orderly queue of fathers at
the jungle gym taking in all he is seeing as he moves the
sound of children's laughter ever increasing.
Past the slides Mark sees something that brings him to a
halt; he is hesitant for the first time.
What lay before him is an incessant row of swings. With
each swing there is a boy and his dad, except one.
As Mark makes his way closer the details of this boys
face become clearer from his freckles to his button nose.
The boy now aware of Marks presence starts to smile and
swing himself. Mark breaks into a unsure run towards the
boy as he reaches the soft sand under the swings he stops
in front of the boy.

Mark
Jake..?
Jake makes eye contact with Mark and his eyes begin to
well up.
CONTINUED (2):
Jake
Daddy, all the other boys can go
higher on the swing than me because
their dads have been here to push
them.
Jake stops the swing in a dead motion.

Jake (CONT’D)
But you haven’t been around to push
me.
Marks edges closer to Jake and crouches down in front of
him.

Mark
Jake, I am really sorry. I know I
haven’t been around much for you but
I have a lot on my mind. It’s tough
for me.
Mark stands up and cautiously makes his way behind Jake
on the swing.

Mark (CONT’D)
It is a struggle Jake, I always want
to see you, but when I do you guys
are not always there.
Mark slowly begins to push Jake.

Jake
Mommy upset with you.
CONTINUED (3):
Mark
I imagine she is Jakey, but I Want to
make Mommy happy again and be with
you guys.

Jake
Push me higher Dad.
Mark puts more strength into his pushes.

Jake (CONT’D)
I want to go higher than the other
boys.
With each swing Jakes expression grows with happiness.
Now the other children’s laughter fades and all Mark can
hear is the laughter of his own son.

Jake (CONT’D)
I want to go higher Dad, higher; I
can almost touch the sky.
Mark uses all of his strength to push Jake, the hinges of
the swing creaking, becoming higher pitched the higher
Jake goes.
Jake is almost as high as the top bar, he begins to slide
from his seat, his body slipping until he is suspended in
mid air.
Mark reaches forward with a delayed reaction as if it was
happening in slow motion to catch his falling son.
As Jake is falling Mark is ready to catch him but Jake
disappears.
Mark with his arms still outstretched expecting to have
caught his son by now, looks and realizes he is gone.
He scans the area all the other fathers and sons are
fading and disappearing away into thin air.
CONTINUED (4):
As he stands alone in the park he realizes that the sand
around him is now at ankle height and sucking him under.
In one swift movement mark is sucked away.

Black

EXT. BEACH -- DAY

Sounds of shovel digging sand.
Rays of light begin to break through cracks after a
several shovels. The face of an older boy behind a red
plastic shovel is visible. The boy, oblivious to what he
is digging up.
CLOSE UP Mark lifts himself out of a sand hole. He looks
around to see Jake and Alan (older son) with a look of
relief on their faces.
CAMERA ZOOMS OUT, Mark stands only five inches tall. The
beach is spotted with sand castles and kids building
them.
In the distance stands a lighthouse. It too made of sand.
It’s light shining out to sea where there are sailboats.
Each boat manned by father and son. Both equipped with
fishing rods.
Mark notices one fishing line getting hooked. It has
something big. As father and son pull the line together
an angelfish bursts through the waters surface.
The fish, blue whale in size blocks the shine of the sun
with its leap. It then crashes back into the water
causing colossal sized waves.
PANNING to a castle on shore, a man, five inches tall
walks out the entrance of a castle, he looks at the
structure, pointing at it, saying something that concerns
its build.
CONTINUED:
Mark
(Out of breath)
Jake...
Mark makes eye contact with Alan, silence. Alan breaks
eye contact and continues digging.

Jake
Dad, you did it! You pushed me higher
than ANYONES gone before!

Mark
Jake, you scared me! Don’t disappear
like that again!



Alan
Pfft...
Alan has a cynical, half bemused look on his face, and he
shakes his head while continuing to dig.

Mark
Hey Jakey could you do your Dad a big
favor and lift me onto your castle?

Jake
Do you like it Dad? Alan’s been
helping me build it!

Mark
Very nice, CAREFUL!
CONTINUED (2):
Jake picks up Mark and places him on the top turret of
the castle, closest to Alan.
Jake’s attention is drawn away from his father to a
butterfly, three foot in length. Its color’s only made
more dazzling by the sun reflecting from it. Each flap of
its enormous wings causes the sand below to rise like a
sand storm.
Jake runs to it.

Mark
Nice job you two have done here. I
think you guys could put in a front
entrance though.

Alan
(Noticeably unbothered)
Yeah

Mark
I guess you and Jake have been
spending a lot of time together
recently..?
Alan looks Mark straight in the eye, holding his gaze. He
looks like he is about to say something, but shrugs it
off and looks away.

Alan
You weren’t here
Long silence.
CONTINUED (3):
Alan
Mum, and me, do you know how hard it
was to take care of Jake?
Alan puts more force into each downward motion of the
shovel.
Alan
He was distraught when you left. He
cried for you every night. I had to
REASSURE him each and every night
that you weren’t there. Sometimes I
wished I could just make him forget!
I wish we could all forget.
Jake runs over to the castle and plops on his knees in
front of his Dad.

Jake
Dad I want to go swimming, can I go
swimming?

Mark
We should go find your mother—
Alan interrupts his dad in mid sentence

Alan
Yeah we can go swimming, go grab your
towel little man and I’ll walk you
in.
Jake runs away, both Mark and Alan watch him for a moment

Mark
Look Alan, thanks for taking care of
him.
CONTINUED (4):

Alan
I didn’t do it for you, Dad.

Mark
Al-

Alan
Are you staying?
Mark is thrown by the question. Pauses.

Mark
Ah...
Mark sighs and runs his fingers through his hair. He
looks around him. The other fathers are helping their
children with the building of castles.
Not one look of grief on any of their faces.

Mark
Al, you don’t re-

Alan
-alise how hard it is on the other
side. I know.
Alan picks himself up out of the giant sand trench that
he had dug himself and looks to Jake.
Alan
Race you Jake.
CONTINUED (5):
Alan takes off with Jake speeding in front of him. Alan
turns back to his father on the castle turret and turns
away one last time.
The beach looks endless from Marks point of view, as he
sees his two boys running into the horizon.

Mark
ALAN!
Mark becoming flustered looks around the turret and
grasps the wall for a way out. With each touch of the
sand it morphs into stone.
The small textures become dark grey brick walls.
Mark runs to the first doorway he sees and climbs down
the stairs.
The castle begins to crumble around him.
Stones from above begin to fall. Mark dodges two by
swiftly sidestepping them.
The steps deteriorate underneath his feet.
Mark skips two or three steps at a time.
Behind him the doorway begins to cave.
A LANDSLIDE of stones follows him. The sound of falling
stones becomes louder with each step.
Ahead of Mark, light. Light appears in the cracks of sand
that is the entrance.
The Stones behind Mark are close, clipping at his heels.
Mark dives forward through the entrance.
His body in flight, mid air the stones miss him by
millimeters.
 DISSOLVE TO:

EXT. LAKESIDE -- MORNING

Mark, with his hands over his eyes waits for them to
adjust. He stands on the edge of a tree line. Lowering
his hands he gazes upon the beauty of the shimmering
reflections of the sun on the waters surface.
The water remains so still it looks like a sheet of
glass.
A dock cuts the water in half as it spans halfway out the
lake. There is someone pacing back on fort at its edge.

EXT. DOCK -- MORNING

Mark makes his way forward along the dock. His footsteps
bellowing in the air, each step creating a ripple wave
from the dock.
He comes closer to the figure that sits down on a metal
bench. Mark now standing beside the bench sees the face
of his wife.
The continuing rise of the sun on the horizon highlights
her beauty. First her slightly curved chin, her cheek
dimples, her rose tinted cheekbones, and her sea blue
eyes.
MARK
Can I sit?
There is a pause, no answer.
Mark shifts himself onto the seat, carefully and slowly.
Mark looks at his wife’s face as she stares along the
lake towards the horizon line.
CONTINUED:
MARK
Rebecca...
Rebecca turns to look at Mark.

MARK
Rebecca I am here now.
Rebecca turns her head back out the lake. She has the
same emotionless face.
Mark places his hand on hers.

MARK
Honey please... talk to me. I haven’t
experienced anything like this before
and I just need you to talk to me.
Rebecca continues to look out on the lake.
CLOSE UP sun glistening rays of light on her face.

REBECCA
You are a man torn Mark, a man torn
between two worlds. You attempt to
make them co-exist but it is
impossible. You cannot live two lives
no matter how hard you try. In
reality you can feel for us, but you
do not posses us. You wear a ring on
your finger, but what this it mean?
Nothing.
Rebecca turns to Mark, looking at him, looking into his
brown eyes.

REBECCA (CONT’D)
How can you be married to someone
that doesn’t exist but in your mind?
CONTINUED (2):
REBECCA (CONT’D)
I can only see you when you are
hooked to this machine.
Mark turns his head out to the sun. Tears become visible
as the sun’s light bounces from them. They slowly descend
upon his cheek.

REBECCA (CONT’D)
Mark, to live the way I do, as a
fragment of your mind is too hard. I
would rather that I were non-existent
that live the way I do now.
Mark stands up out of the seat.

REBECCA (CONT’D)
Mark I love you and I always will. So
please… You have to stop this. For
me, for your two children. But Mark
most of all, for yourself.
Mark starts to panic. He paces up and down the dock.

MARK
No, No I won’t do this. You don’t
tell me what to do. I came here
wanting to make a mends. I wanted to
say that I am sorry for how things
are.
Mark stops pacing, standing a few feet in front of
Rebecca as she bursts into tears.

MARK (CONT’D)
I love you. You don’t know how
hard...
Rebecca interrupts.
CONTINUED (3):
REBECCA
Mark please, don’t make this harder
than it already is. There is no other
way.

There is a pause, they standing looking at each other.

Mark makes his move; he briskly walks over to a bundled
supply of rope. Taking it in his hand he steps towards
the bench.
Mark’s steps heavier than before, causing the dock to
shake more than usual.
Mark kneels down beside the leg of the bench and begins
to tie the rope around it frantically.

REBECCA
Mark, what are you doing?
She runs over to him, grabbing him, trying to stop his
actions.
Mark continues to tie.

REBECCA (CONT’D)
Mark, you can’t do this.
Rebecca in tears insists on stopping mark. She tries to
pull him away from the chair. Mark only fends her off and
Rebecca falls to her knees.
Rebecca’s sobbing, the only thing to be heard.

MARK
You said there was only one-way
Rebecca.
Mark stands up and looks at the bench.
CONTINUED (4):
MARK (CONT’D)
But you’re wrong.
Mark forcefully kicks the bench into the lake.
The bench sinking, its heavy weight moving it at a fast
pace, unraveling the rope tied to it.
Rebecca looks down at the rope and back up at Mark. Mark
smiles.
CLOSE UP roping being pulled at a serious speed. Only
meters left it reveals it being tied to Mark’s leg.
Rebecca dives forward to grab her husband. She is too
late.
Mark tugged by the weight of the bench gets his feet
taken from beneath him.
CLOSE UP Marks head hitting to dock.

CUT TO:

INT. LUCIDITY ROOM (ZIZZO’S) -- NIGHT

Mark’s body lies on the lucidity table. It begins to
shake.

EXT. DOCK -- MORNING

Mark is being dragged along the dock with a fresh cut on
his forehead.
He gets dragged to the edge where he hangs on, looking at
his wide on the ground.
CONTINUED:
MARK
I LOVE YOU.

SLOW MOTION FOR REST:

TIME LAPSE:
Mark is dragged under. All that is to be heard is
Rebecca’s screaming.

EXT. UNDERWATER -- MORNING

Mark’s body being dragged deeper. His body begins to
spasm.

QUICK CUT:

INT. LUCIDITY ROOM (ZIZZO’S) -- NIGHT

Mark’s body begins to go wild. Zizzo runs into room.

QUICK CUT:

EXT. UNDERWATER -- MORNING

Mark is letting out a lot of air. Bubbles come from
mouth.

QUICK CUT:

EXT. DOCK -- MORNING

Rebecca is on her knees, her head between her them,
uncontrollably crying.
 QUICK CUT:

INT. LUCIDITY ROOM (ZIZZO’S) -- NIGHT

Zizzo removes Marks helmet. A fresh cut is on his
forehead.
Zizzo tries to wake him. He won’t wake up.
ZIZZO

COME ON!!!!!

EXT. UNDERWATER -- DAY

Mark tries to swim his way back to the surface. The
weight of the bench countering each stroke.
QUICK CUT:

EXT. DOCK -- MORNING

Rebecca lifts her head from her chest. Her eyes covered
in tears.
QUICK CUT:

INT. LUCIDITY ROOM (ZIZZO’S) -- NIGHT

Mark’s nose begins to omit water, so too his mouth.

QUICK CUT:

EXT. UNDERWATER -- MORNING

Bench hits the bottom floor.
 QUICK CUT:

INT. LUCIDITY ROOM (ZIZZO’S) -- NIGHT

On console screen, Mark’s heart monitor skyrockets. More

and more water coming from his mouth and nose.

QUICK CUT:

EXT. UNDERWATER -- MORNING

Mark looks down to see the bench hitting the bottom.
Using his remaining strength he swims upwards.
Mark inches away from the surface gets a tug from his
leg. No more rope. CLOSE UP Mark’s face. Eyes open, he
smiles. Closes eyes. Descends.

QUICK CUT:

EXT. DOCK -- MORNING

Rebecca looks out at sun. CLOSE UP Her face wet from
tears, she closes her eyes.

QUICK CUT:

INT. LUCIDITY ROOM(ZIZZO’S) -- NIGHT

Mark’s body stops having spasms. CLOSE UP Hear monitor
flat lines. PULL OUT.

FADE TO BLACK.
INT. BEDROOM 3 -- UNKNOWN
Mark stands in Alan’s bedroom. Long in length but not
like before. There are sports posters on the walls,
clothes thrown on the floor.
Mark kisses his son on the forehead. Alan looks to his
father and smiles.
Mark leaves the room, turning off the light as he does.

INT. BEDROOM 2 --UNKNOWN

Jake is jumping on his bed.
Mark settles him down and gets him into bed.
He tucks him. Jake energetic from jumping suddenly turns
sleepy. Mark kisses him too and walks out.

INT. BEDROOM 1 -- UNKNOWN

Mark takes his top off and throws it on the floor. The
room, not white anymore, instead, cream. Walking to his
bed he stops and looks at Rebecca lying in it. Slipping
in under the covers he turns and kisses her.
PANNING to the bedside locker we see picture frames.
There are no faces morphing.
Mark is present in each of the pictures, sharing a smile
with his family.
BLACK.



 

























LUCID
DECLINE




Written
by


Owen
O’Riordan

Michelle
Ahern
&
Rachel
Fitzmaurice