"Awake" I must be dreaming
Tuesday, May 22, 2012 at 4:04PM You may not have seen the adverts recently on Sky Atlantic for a new show which has started named 'Awake'. Well, I have and it has left me a little pissed! Here’s why;
R’kid text me a month or so back about this show, or rather he text me “Remind you of anything...” and then the imdb link. I went to the link and started reading the synopsis for this show, which follows a detective coping with his life following a terrible car crash which, while he survived unscathed, took the life of his wife... or son.
Confused? Yeah, that’s the thing, he lives in 2 worlds, 1 when he goes to sleep, where his son survived the crash and the other, when he’s ‘awake’ where his wife survived the crash. Sounds interesting no? He sees a psychiatrist in each reality and each of them is trying to convince him that his ‘other’ reality is a fantasy that he’s created as a coping mechanism for the crash. It’s such an intriguing and awesome premise I could have written it myself! ...oh wait a second, I DID!?!
It’s true you see, this story line, almost exactly follows the screenplay I wrote in 2006 for a movie called “Normal Again”. Now, it may be unimaginable for me to be creative in this way, so I’ll give you a little back story; I watched a lot of movies through university, a lot. So many in fact that I thought that I’d probably not do too bad a job at making one myself! To this end, I started formulating a few ideas and reading books about screenwriting. During my ‘placement year’ of university, where I worked at a school as IT support, I started to put ideas down on paper [well on the computer anyway].
The idea I had which I thought had the most mileage was a story called “Normal Again”. I spent most of the year writing, changing and ‘perfecting’ this screenplay. By the end of it I was rather proud [although R’kid was the only one who had actually read it]. This story follows a guy, who is coping with his life following a terrible car crash which, while he survived unscathed, his wife didn’t... or did.
It picks up his story a year or so after the accident and sees him ‘wake up’ to a different reality to the one he has been living during the time he is ‘awake’. In his waking reality his wife has died in the car crash and he is now with another woman. He seems happy in this state until he starts ‘waking up’ in his dreams. In the world he wakes up to, he is strapped to a bed in hospital while his wife [alive] and mother are pleading with him to stay with them and not slip back into his fantasy. He has a psychiatrist in his ‘dream’ reality and is forced to consult a psychiatrist in his ‘awake’ reality when the ‘dreams’ become more intense. Ring any bells?!
While it’s not a carbon copy, the structure and major themes bear an undeniable resemblance. The thing is, after university and the slow realisation that I wouldn’t get round to actually getting this thing made into a film without an awful lot of luck, I gave the script to R’kid as – being a writer – might be able to use.
And use it he did, after a couple of [c] MJB changes he managed to get the thing into the quarterfinals of a screenwriting competition, the prize being getting your script made into a film! It didn’t get further than the quarters, but still not a bad effort for a story imagined some 6 years ago. I don’t have the modified version which R’kid submitted, but managed to dig out the 2005/6 [c] PCB version [confirmed by adobe ‘date last modified’ metadata - 30/03/2006] so if you have an hour or so to kill and you’re up to date with the latest episode of Game of Thrones, you can read it and share some of my disappointment that I’m not currently smashing it – LA style – with the Entourage gang... I need an alternate reality myself!
please forgive spelling/grammar/lack of writing talent/funny characters instead of .../etc, formatting might be a bit off and it was 7 years ago!
NORMAL AGAIN
FADE IN.
INT. HOSPITAL ROOM. TWILIGHT.
JACK is sleeping, rugged, stubbled, wakes up, slowly, he
doesn't know where he is, then sees that he is in a hospital
bed. A small window is high up, above the head of the bed,
letting a shaft of light shine in. JACK sees He is
restrained; he looks down at his wrists and starts
struggling. His wrists are bound with bandages from suicide
attempts, but he looks bewildered, not knowing what's going
on. He starts struggling, and grunting.
JACK
What thÉ Hello? HellÉ (Hello?)
DR. CAMPBELL, with a clip board, white coat, etc. Has
stubble, late 30's, is alerted by JACK's shouting.
DR. CAMPBELL
Jack, what do you remember?
SARAH, an attractive older woman, pushing 50, is waithing in
the shadows.
DR. CAMPBELL (CONT'D)
(Rushing to the bedside)
Jack?
(To SARAH)
He seems to be coming round again,
(to JACK)
Jack, do you know where you are?
JACK
(Struggling with
restraints)
What, Whatta you on about?
DR. CAMPBELL
What is the last thing you
remember?
JACK
(Angrily)
Who are you? Get these things off
me! What d'you mean, remember? I
wasÉ let me outtaÉ (here)
SARAH
(Rushing to bedside, grabs
JACK's hand in hers)
Jack, Jack, look, just calm down a
little bit, tell doctor Campbell
what you remember.
JACK
(Bemused, recognising
SARAH, and looking into
her eyes)
Mum, what are youÉ what's going on,
I was just gonaÉ, how, whaÉ now I'm
here
(looks around)
in a hospital? Where's Victoria?
Tell me whaÉ, tellÉ (me what's
going on?)
SARAH
(To DR. CAMPBELL quietly
but JACK can still just
about hear)
Victoria? Who, who's that, we
don'tÉ (know anyone called
VICTORIA)
DR. CAMPBELL
(To SARAH same volume)
Its part of his constructed
personaÉ he's beenÉ (creating
people and personalities to anchor
himself to his unconscious reality)
JACK
Constructed? What the hell are
youÉ? (talking about)
DR. CAMPBELL
Now Jack, I want you to tell me
what you remember seeing before you
woke up here.
JACK
(Frustrated)
No. That's it, just tell me what
the hell is going on. Why am I in a
hospital?
SARAH
Don't worry, you're safe here.
(To DR. CAMPBELL)
right? He's going to be OK now
isn't he?
DR. CAMPBELL
(Quietly to SARAH)
Well we can't be sure of anything,
the irregular conscious periods,
theÉ (aggression, the fact that he
cannot remember anything)
SARAH
(Interrupting)
But that's good, surely, the more
he isÉ (conscious the better chance
we have of getting him back)
DR. CAMPBELL
(Talking over SARAH)
Not necessarily, with his memory
loss, we can't say for sureÉ (that
he's getting any better. Without a
structured memory, he may stay like
this indefinitely)
JACK
(Interrupting loudly)
Hey, look I'm right here, now can
someone just explain to me what's
going on?
DR. CAMPBELL gets up from the bedside and sighs as he starts
to explain.
DR. CAMPBELL
Jack, you have been in a coma, butÉ
(with irregular conscious periods)
JACK
(Interrupting loudly)
A coma?
DR. CAMPBELL
(Sighs again, trying to
get through his
explanation)
Listen, you have been waking from
this coma, intermittently, which
isÉ
(Beat. Trying to think of
something to sum it up
but failing, scowls)
highly irregular. You have woken up
half a dozen times, yet each time
you have no memory of it.
(Beat. He lets it sink in
)
You only remain conscious for a
short while, and fall into a state
of shock, putting you back into the
coma.
DR. CAMPBELL walks back over to JACK, who is looking very
confused, looming over him almost, he leans in.
DR. CAMPBELL (CONT'D)
Now, Jack think; what is the last
thing you remember about the crash?
CUT TO.
EXT. GARDEN. EVENING. RAINING.
Round tables, and chairs are arranged on the grass in the
back garden of a large stately home, people are standing
around, in little groups talking quietly, all dressed in
black, it is obviously a funeral. JACK is sat at a table,
away from the main pack of people on his own, a measure glass
half full of whiskey on the table, his hand around it,
playing with it, whilst looking nowhere in particular.
NATALIE, attractive mid to late 20's, brunette, wearing a
black suit, walks over and puts her arm over his shoulder,
sitting down in the chair next to him, trying to comfort him.
NATALIE
Charlotte's looking for you; she
wanted to talk before she left.
JACK
(Disinterested)
Just the formalities I expect.
NATALIE
Well those things are important
too, you're not going to leave it
up to Sarah are you?
JACK
(Sneering)
Don't even know why she came.
A tear appears from the corner of JACK's eye, hardly
noticeable, he stares over at SARAH, standing talking to a
group of mourners.
NATALIE
You have to talk to her sometime;
she isn't going to just go awayÉ
(you know)
JACK
She doesn't deserve anything. She's
the one who left, besides, she
doesn't care, you seeÉ (her forcing
tears out earlier, it was
disgusting)
NATALIE
It's not my fault, OK. You just
need to sortÉ (things out with her)
JACK
I'm sorry; I didn't mean toÉ it's
just when I think about what she'sÉ
I'm sorry.
(Change of tone)
I'll handle it.
NATALIE
Just don't let her get to you.
JACK closes his eyes hard, to fight back tears, downs the
rest of his glass and gets up from the chair. NATALIE walks
over to him and they embrace. SARAH is now arriving to greet
them.
NATALIE(CONT'D)
(To JACK, out of ear shot
of SARAH)
Good luck.
(To SARAH in a sarcastic
kind of voice)
Sarah.
JACK watches NATALIE walk away and SARAH approaching.
SARAH
Natalie.
(To JACK after NATALIE
leaves)
JACK, why did you bring her, you
know I don'tÉ (approve of her)
JACK
Don't start mother; it's not your
decisÉ (decision to make, I asked
her to come)
SARAH
Fine, what do I know anyway? Look
we have to go by the house
tomorrow, sign theÉ (death
certificate, and burial forms)
JACK
(Cutting her off, angered)
"WE"? What's this 'we'? Now he's
dead all of a sudden you give a
damn?
SARAH
Don't you take that tone with me.
You know that's not true. I loved
your father, just because we
weren't together doesn't mean I
stopped caring.
JACK
How can youÉ
(Sighs)
don't worry about coming round, me
and Charlotte can handle itÉ
JACK's voice trails off as he stares into the distance,
looking lovingly at NATALIE.
FADE OUT.
CUT TO.
INT. CAR. EVENING. RAINING.
Car is driving down the road, half way through their journey
they have been talking. JACK is not wearing a seat-belt,
NATALIE is driving.
NATALIE
(Looking at JACK)
What are you thinking?
NATALIE(CONT'D)
(Still looking at JACK)
I think you should go see him; it
can't be easy for either of you,
without each other.
JACK
(Getting irritated)
Well he made his bed; he chose to
cut himself off from the rest of
us. It's not my faultÉ (he's not
here)
NATALIE
(Cutting in)
I know.
(Distracted by something
on the road)
Shit, can't see a thingÉ
It's raining heavily, and the wipers and headlights are not
doing a lot, the car swerves, but regains control.
NATALIE(CONT'D)
ÉLook. I understand really
(pleading)
but it's not like you make any
effort to try to reach him. I
really think you two could use the
support.
JACK
Just leave it, OK, if he wanted my
SUPPORT, he'd have asked by now.
NATALIE
(Raising her voice)
Oh, For God's sake Jack, he's your
brother. You should see him.
JACK
Why? Yeah, tell me why he deserves
it.
(Voice just starting to
crack, close to tears)
he wasn't the oneÉ
(Lets out a cry/cough, but
not crying properly)
Éwhere was he in the last days? I
was the one who sat with himÉ
(Tears stream down his
face)
ÉI had toÉ
(Fighting them back,
regaining composure)
it's not an option.
NATALIE
Oh JACK, consider it, that's all.
You could both useÉ (each other to
lean on)
Her voice trails off as JACK is looking out the front window
ignoring her.
FADE OUT.
FADE IN.
EXT. ROADSIDE. EVENING. RAINING.
The car has crashed. JACK has been thrown through the
windscreen, and NATALIE is in the driver's seat. The car is
crashed with the back round a tree, front sticking out into
the road. It is on fire at the back. Windscreen is smashed.
JACK is just regaining consciousness.
NATALIE
(Screaming, and in tears)
Jack! Jack! oh God, help I can'tÉ
(Grunts and struggles with
belt)
help, get me out, pleaseÉ
JACK
(Just getting to grips
with the situation, very
emotional running over to
the car)
Natalie, just, just hold on, oh my
God; we'll get you out, don't worry
Natalie.
JACK gets to the car and begins struggling with the belt.
NATALIE
(Still in a state)
Come on Jack, please, helpÉ
The car explodes and JACK is blown backwards back onto the
road, while NATALIE is left in the car. JACK is unconscious.
FADE OUT.
CUT TO.
INT. JACK'S BEDROOM. NIGHT.
It is night, and there are horizontal material blinds on the
window, moon light seeping through the sides. JACK wakes
suddenly, in double bed, VICTORIA next to him, he looks down
over her; he is looking confused after the dream. He gets out
of bed, wearing boxer shorts.
CUT TO.
INT. KITCHEN. NIGHT.
Open plan living room and kitchen, there are stairs leading
up to the bedroom, all open plan, JACK descends the stairs,
and walks across toward the kitchen. He enters the kitchen,
and gets a glass from the cupboard; he has turned no lights
on. Moonlight seeps in through the kitchen window. He opens
the fridge, and gets a water filter out, and pours himself a
glass of water. He goes to a cupboard, and retrieves a bottle
of pills, sleeping pills, but it doesn't really matter. He
takes them, with the water, and leans on the counter, trying
to figure out what just happened. He gets up, and walks over
to the fridge. He opens the fridge door, puts the water
filter back and shuts it to reveal VICTORIA standing there,
dressed in dressing gown, looking sleepy, gives him a little
shock.
JACK
Hey you, what are you doing up?
VICTORIA
(Playful and still half
asleep)
Oh, I heard you get up; I did call.
JACK
Sorry, go back to bed, I'll be up
in a bit.
VICTORIA
How come you woke up?
JACK
Just... couldn't sleep, too much
coffee, you should get back to bed,
you're up early.
VICTORIA
(Sexy, teasing smiling,
still half asleep)
Only if you come warm me upÉ
JACK
(Puts on a smile for her)
Ok, just gimme a minuteÉ
VICTORIA leaves, and JACK stands at the fridge door, looking
across the living room, into a mirror, he stares at himself,
not much expression on his face, beat. He then obviously
decides something, and walks off.
FADE OUT.
FADE IN.
INT. KITCHEN. AFTERNOON.
JACK is standing at the fridge, looking in, deciding between
bottles of wine. The front door opens, JACK looks over as
VICTORIA comes through the door, she has a bag, and is
wearing a coat, and obviously she has been at work. JACK
leans up on the fridge.
JACK
How was work?
VICTORIA
Hello,
VICTORIA walks over to JACK, close to him, and presses
herself against him, lightly kissing him, and letting out a
little tired sigh.
VICTORIA(CONT'D)
ÉWork was fine, what have you been
up to?
VICTORIA walks across the living room, to the computer.
JACK
Not much,
(goes off on a tangent)
do you think it'd be pretentious if
we took an expensive bottle of wine
tonight?
VICTORIA
(Over her shoulder,
smiling)
Don't be silly, it's fine.
She clicks a couple of times at the computer.
JACK
OK, do you want red, or whiteÉ
VICTORIA
(Interrupting)
What's this crap?
VICTORIA(CONT'D)
(Reading off the screen)
"Dreams: what they mean for you",
(lets out a laugh and gets
up from the computer,
walking over to JACK)
JACK
(Thinking quickly,
defensive)
Oh that? Oh, Mike was here earlier,
he had some dream aboutÉ (a goatÉ
in a boxÉ? With a thingÉ?)
Camera onto a 2 shot as they meet.
VICTORIA
(Reaches him, interrupting
taking the piss voice)
Yeah, sure. Mike,
(changes tone to
concerned)
Éthis isn't anything to do with why
you were up last night is it?
JACK
(Dismissing it)
No, noÉ
(Gives an evil grin)
Éjust the other day I dreamt I got
food poisoning from your cooking,
and was wonderingÉ (if it was a
sign)
VICTORIA
(Pulls a shocked face,
then it cracks into a
smile)
Ohh, that's just not funny,
(starts tussling with him)
I'm gonaÉ
JACK
(Smiling still playing
with her)
Wha-what? I just thought that maybe
this is a sign to leave it to
Nigela.
(Laughing)
They continue their little fight, she jumps round him, legs
round his waist, arms round his neck.
VICTORIA
(Pulls back her head to
meet his, pouts)
My cooking isn't that bad is it?
JACK
(Looking into her eyes,
close)
Honey,
(kisses her quickly)
I'd take your cooking over
anyone's.
She brightens, they kiss, long, and passionate.
VICTORIA
(Seductively)
How long until the partyÉ
(they kiss again)
JACK
(Close into her, smiling)
Long enoughÉ
FADE OUT.
FADE IN:
INT. APARTMENT NIGHT
There are a lot of people, standing around, talking and
drinking, loud music is playing. JACK and VICTORIA, and a few
other people are sitting on a sofa, in front of a coffee
table with various bottles, beer, wine, vodka, an ice bucket,
some drug paraphernalia. They shout over the music, but not
that loud.
VICTORIA
(In the middle of telling
an anecdote)
Éand he said he thought I was
giving him the 'come-on'!!
(people laugh)
I mean, reallyÉ (what was he
thinking, now I'm not against
people going for it, but you've
gotta know your own depth)
JACK
(Turning to PETE)
So, you guys playing next week?
PETE
(Turns to JACK)
Yeah-man, we'll be at The Civic,
Friday, you coming?
JACK
I dunno, going to see Vicky's
parents during the week, so if we
get back.
VICTORIA
(Getting off her seat, and
sitting on the lap of
JACK - to PETE)
You're not giving him an excuse not
to come.
(To JACK)
you promised me.
JACK
(Defensive to both of
them)
No, hey, you know I love seeing
your folks; they're great, just if
we get back by Friday.
(Turns to VICTORIA)
Pete's playing The Civic.
VICTORIA
(To PETE)
Oh, well we'll try to get there.
PETE
Hey, don't feel you have to, if
you're at your folks don't worry
about it.
VICTORIA
No we should easilyÉ (get back in
time)
An UNKNOWN man enters and stares at JACK.
UNKNOWN
(Glaring at JACK)
You shouldn't be here. You don't
belong.
He walks off, and JACK is shaken (did it have anything to do
with his 'dream') PETE and VICTORIA are a little stunned,
then they start to laugh hysterically.
PETE
(Whilst laughing)
That guy looked so baked!
VICTORIA
(Whilst laughing)
Yeah, watch out Jack, I think he
may be after you.
JACK
(Still looking worried
pretending to brush it
off)
Yeah, probably some coked up
nutterÉ
JACK looks over to where UNKNOWN went, but can't see him
anymore. He frowns, turns back to friends, and takes a drink.
FADE OUT.
FADE IN.
INT. HOSPITAL ROOM TWILIGHT
The room is as it was before, JACK is in the bed, and wakes
suddenly, DR. CAMPBELL has just finished administering some
sort of drug (this is what has 'woken' him). He 'wakes' up
with a gasp. SARAH is still there, a worried look on her
face.
SARAH
(To DR. CAMPBELL)
Yes! Yes,
(to JACK)
Jack, honey are you OK?
(To DR. CAMPBELL)
Its working.
DR. CAMPBELL
(Looking down at JACK from
bedside)
JACK, can you hear me? My name is
doctor Campbell, you have been in a
comaÉ (for some time, it is a
result of a car crash you were
involved in)
JACK
(Interrupting)
Yeah, in a coma, I get it,
intermittent, etc.
DR. CAMPBELL
(Visibly shocked)
You remember?
SARAH
(Smiling, tearful)
My God, Jack, you can remember what
happened.
JACK
Well, it'd be pretty hard to
forget.
DR. CAMPBELL
(Comes over to the
bedside, enthusiastic)
But this is the first time anything
like this has happened with you.
This is great, it's progress,
(turns to SARAH)
his mind must be finally rejecting
the scenarios,
(breaking off to talk to
JACK)
now Jack, what do you remember,
last time you left us?
JACK
(Scowling)
IÉ I just sort of woke up in bed.
DR. CAMPBELL
Good, good, now was there anything
else there, anyone you remember,
any places that you can recall?,
Anything at this point would be
useful.
JACK
Nothing in particular, other than
my house, VICKY, oh, andÉ
(something weird, some guy came up
to me at a party)
SARAH
(Getting upset
interrupting)
But Jack, we don't know anyone
named Victoria. Don't you see thatÉ
DR. CAMPBELL
Jack, do you remember anything
else?
JACK
(Looking funny at SARAH)
NoÉ what does she mean, not knowing
Victoria? What's that supposed to
mean?
DR. CAMPBELL
Well, part of the reason you are
still in this coma is because your
mind has created a reality in which
you live. Victoria is part of this
reality. We don't know a lot,
really, just what we can piece
together from the times you have
been conscious. I know it must be
difficult to hear, but these people
that have been 'created' by your
mind are anchors, which tie you to
this 'reality' if you will. They
are there to make you feel safe,
and above all, to keep you there.
JACK
Wait, wait, wait. You're saying I'm
in a world that my mind created?
DR. CAMPBELL
It's a little more complicated than
thatÉ (your mind uses you memories
to form an ideal comfort zone to
keep you under while it tries to
fix your body)
JACK
(Interrupting)
But that's basically what you're
saying right?
DR. CAMPBELL
In a fashion.
JACK
(Not ready to believe)
Come on. I wake up in a hospital
and told I live in an imaginary
world I'm not swallowing that shÉ
(shit)
DR. CAMPBELL
(Trying to reason with
him)
Jack, what do you actually remember
after the crash?
JACK
(Remembering, getting
upset)
The crashÉ NatalieÉ oh god...
DR. CAMPBELL
JACK, you need to try to focus,
what is it you remember?
JACK
I'd forgottenÉ it was my fault, we
were arguing about going to see my
brother, she said I shouldÉ oh God,
Natalie, I'm so sorryÉ now she's
gone, it's my fault, it's all myÉ
(fault)
DR. CAMPBELL
But you see Jack, Natalie isn't
gone, she's been here with you,
waiting for you to wake up, you
passed out after the explosion,
Natalie managed to climb her way
out of the car, she was in hospital
for a few days, but she recovered,
she's OK.
JACK
She's alive? HowÉ whÉ where is she?
I have to seeÉ (her, get me out I
want to see her)
DR. CAMPBELL
After you woke up the first time,
you were quite aggressive toward
Natalie, she was very upset. We
thought it would be best to keep
her out of the way until you were a
little more adjusted, we didn't
wantÉ
JACK
No, no she was in the car, IÉ I saw
her she wasÉ
DR. CAMPBELL
Think JACK, what did you really
see?
JACK (V.O.)
I sawÉ she wasÉ, no, sheÉ she was
in the car
JACK remembers the crash, placing NATALIE in the car when it
explodes, and then not in the car, he can't decide what he
saw.
DR. CAMPBELL
(Appealing to him)
Do you want me to bring her in? I
can get her for you, but youÉ (must
try to remain calm)
JACK
Yes, yes where is she?
DR. CAMPBELL leaves his bedside, and SARAH runs to him.
SARAH
(Beaming)
Oh Jack, we're gona be a family
again, we'll be even better than
beforeÉ Ohh,
(breaks into tears,
hugging him)
JACK
Its OK mum, its gona be OK.
As he starts to say it's OKÉ the door opens and DR. CAMPBELL
enters, followed by NATALIE, she has a tearful, loving,
relieved look on her face, and says his name under her
breath.
JACK (CONT'D)
(Looking up from the bed,
nearly in tears)
NatalieÉ ButÉ I, I saw you die,
(starts streaming with
tears. NATALIE shakes her
head. She's not dead)
you're here, youÉ (you're alive,
alive)
NATALIE heads over to him, SARAH gets up and stands to one
side, NATALIE leans in to kiss him on the forehead, she is
also streaming with tears.
NATALIE
(Whispering)
None of that matters now Jack, it
just matters that you're back with
us. I've missed you Jack, it's been
so lonely, I don't ever want you to
leave againÉ
JACK
(Whispering and a little
bewildered)
I've missed you, Natalie, what's
going on; I don't know what's
happening.
NATALIE
It's like doctor Campbell said, the
crashÉ you never woke up,
(starts crying)
youÉ they said you may never come
back to usÉ (they said there was a
chance you'd never wake up)
NATALIE is crying too hard to carry on, she holds his hand.
JACK
No, no it's OK, I'm here now. I'm
hereÉ
DR. CAMPBELL
Jack, you're going to have to do
this yourself, when you are in your
created world, we cannot help you,
you will have to find a way of
cutting yourself off from anything
that's still holding you there, to
allow your mind to come back to us.
(produces a syringe and
goes to put it into JACK)
JACK
Wait, what's that? What are you
doing?
DR. CAMPBELL
(Injecting him)
This is a drug which will keep you
more conscious when you fall into
the coma; it is to ensure you don't
become fully immersed in your own
reality. You will sleep now, but
hopefully become more aware. Just
remember what I said, you are the
only one who can change this.
JACK
I don't want to go back yet,
Natalie, pleaseÉ (let me stay)
NATALIE
I'll be waiting for you right hereÉ
FADE OUT.
FADE IN.
INT. BEDROOM. NIGHT.
JACK and VICTORIA lying asleep in bed, and JACK opens his
eyes really suddenly, but does not jump up like earlier. He
starts to frown.
JACK
(Whispering under his
breath, whilst still
frowning, trying to
figure it out)
What the fuÉ (fuck)
CUT TO.
INT. LOUNGE. MORNING.
JACK is sitting on the sofa, reading a newspaper, with the TV
on. The News reporter is talking, giving the sports results.
JACK is reading the paper, looking a little tired.
NEWSCASTER
Éwere 21-11 until the late break
when they brought it back level,
and Jack you don't belong here it
wasn't quite enough, as the cubs
managed to convert their chances
late on for an important win. In
other newsÉ
After NEWSCASTER says 'you don't belong here' JACK looks up,
straight at the TV, and watches the NEWSCASTER continue with
the report. No repeat performance, so JACK takes the paper
with him to the kitchen, trying to brush it off, lets out a
yawn. JACK goes to the counter, puts the paper down and is
picking up the coffee pot. He drops it, letting out a
startled, annoyed grunt, and waves his hand in the air
(cooling off his burnt hand), the coffee pot has smashed on
the floor, but when he bends to pick it up, it is stone cold.
He gets up, grabs the newspaper, and goes out the front door.
CUT TO.
EXT. STREET. AFTERNOON.
JACK walks down a street to DR. BERKLEY's office, he passes
people on the sidewalk, including DAVE, he carries on
walking, but he stares at JACK as he goes past. Subtle,
hardly noticeable. JACK gets to the office.
CUT TO.
INT. PSYCHIATRIST'S WAITING ROOM.
The windows are tinted, but at the top sun is shining a shaft
of light into the room, JACK talks to the receptionist, then
he sits down next to DAVE. JACK doesn't notice anything odd.
CUT TO.
INT. DR. BERKLEY'S ROOM.
DR. BERKLEY is sitting at his desk, JACK on a chair opposite.
DR. BERKLEY
(Continuing with
conversation)
ÉSo you feel that these 'dreams'
are affecting you physically now?
JACK
Well I don't know what's happening,
I'm seeing things, and these
dreams, they're just, they're so
real, I can actually smell the
hospital,
(working himself into a
state)
and today with the coffee, and
there was a guy at this party I was
at, telling me I didn't belongÉ
DR. BERKLEY
(Interrupting to calm JACK
down)
Jack, Jack, just slow down, it's
OK, you're fine, there's no one
here but you and me. Now you seem
to be displaying signs of some kind
of paranoia, maybe some mild
schizophrenia, now what I want you
to do is make an appointment with
my secretary, and come back
tomorrow when we can have a proper
session, then I will prescribe you
some bauazipan. They are stress
inhibitors, and should take your
mind off the dreams.
JACK
Thank you DR. BERKLEY, I will
(gets up from the chair
and shakes his hand)
I'll see you tomorrow.
JACK leaves.
DR. BERKLEY
(into his intercom)
He came.
FADE OUT.
FADE IN.
INT. CAFE. AFTERNOON.
JACK is sitting at a table with a cup of coffee, staring into
space, deep in thought. He looks down at his coffee, then
sees DAVE standing in front of him.
JACK
(Looking around, as if the
guy has made a mistake)
Can I help you?
DAVE
I know who you are Jack, you need
not be alarmed.
JACK
How do you know my name? Who are
you?
DAVE
My name is Dave, and I have been
following you. But don't worry. It
was in fact you who asked me to be
here.
JACK
Asked you to? What the hell are you
talking about?
DAVE
You remember the hospital Jack?
JACK
What do you know about that?
DAVE
I am here to ease the transition
between here and the hospital. Like
doctor Campbell said, you need to
find a way to detach yourself from
the things holding you to this
place. This is why you asked me
here, to assist.
JACK
Assist? But I never even met you
before.
DAVE
No, but this isn't a place of logic
Jack, the words of doctor Campbell
were remembered in your
subconscious, and the action you
wish to take regarding them is
manifested in me.
JACK
(Looking confused and
getting irritated)
My actions that I what? What are
you on about?
DAVE
You were right to see doctor
Berkley, he can help you to let go.
The medicine he will give you will
also enable you to stay in a
conscious state for longer periods.
JACK
Doctor Berkley?, No he, he was
supposed to help me get over these
weird dreams, not toÉ (encourage
them)
DAVE
It's Ok Jack, don't be scared, we
all want to help bring you back to
Natalie.
JACK
We?, Who? No, stop it. I don't want
this.
JACK gets up from the chair, he's freaking out, and looks
round to see that everyone else in the cafลฝ is looking at
him.
JACK (CONT'D)
(Visibly distressed,
shouting)
What the FUCK is going on?!
JACK is looking around, everyone is silent. DAVE gets out of
his chair, trying to sooth JACK.
JACK (CONT'D)
Jack listen, all we want to do is
help you, after all, this is all
(raising arms to the cafลฝ
and everyone in it)
your doing anyway.
DAVE walks towards JACK, saying we just want to help, JACK is
saying no, no, everyone in the cafลฝ stands, and starts
walking towards JACK, saying we're here to help you. DAVE
gets to JACK, and says, just relax, JACK, you'll be there
soon, just hold still, he holds JACK, and someone from behind
grabs JACK and puts him in a chair. JACK starts to
hyperventilate, into a panic attack, he's looking around him
at a figure standing over him (DAVE), he's still saying no,
no, looks again, and it's DR. CAMPBELL standing over him, and
he realises he's back in the hospital room again, with DR.
CAMPBELL giving him an injection. A moment of calm.
DR. CAMPBELL
He's back.
JACK starts struggling, vigorously, screaming, not coming to
terms with where he is now. He is yelping. DR. CAMPBELL
starts in a soothing tone.
DR. CAMPBELL(CONT'D)
It's OK Jack, we're here now,
you're in the hospital, you're
going to be Ok.
JACK calms a little, getting his bearings, realising that he
isn't in the cafลฝ anymore.
JACK
Uhhh?! WhaÉ I wasÉ and thereÉ they
were everywhere. Natalie.
NATALIE
(Soothing)
No no no sweetie, it's Ok, you're
here, that's what matters. You're
here.
SARAH
Yes honey, you'll be Ok now, we're
here.
DR. CAMPBELL
Jack, you are making incredible
progress, you have been awake more
in the past few days than at any
other point of your coma. All we
need to do now is figure out how to
keep you here. Now what happened?
JACK
There was a man, he called himself
Dave, he said he knew about the
hospital, and about doctor Berkley,
he said that he was there to help
me, and then everyone just started
looking at me, and it was horrible,
and theyÉ
JACK works himself into a state, so DR. CAMPBELL interrupts
him.
DR. CAMPBELL
Right, you say there was a man,
this 'Dave' and he knew about the
hospital?
JACK
Yes, he said he was there to help
me. But how could he know about
this place, and be real?
DR. CAMPBELL
Well, I'm not sure exactly what
this Dave guy is trying to do, but
I think this might have something
to do with you letting go of the
reality you have built up. Do you
remember me telling you that you
would have to sever all ties to
that reality if you are ever to
stay here?
JACK
Yes, he saidÉ
(thinking)
He said something about in my
subconscious letting me know that I
had to leave.
SARAH
Oh, Doctor, that's great isn't it?,
I mean that's exactly what you
asked him to do, he's trying to get
outÉ
SARAH puts her arm around NATALIE in a sort of motherly,
mourner's fashion.
DR. CAMPBELL
That's right, Jack, You have made
the first step, you have created a
character, Dave to help you let go
of the reality. He will help you
sever your ties, and you might be
nearly ready to join us
permanently.
NATALIE
Oh God Jack, well done, oh, I love
you so much, now you can come back
to me at last.
DR. CAMPBELL
Now you said something about a
doctor Berkley?, What did you mean
there? Who is he?
JACK
He, he was, a psychiatrist. Dave
knew about him.
DR. CAMPBELL
Jack, why did you go to see a
psychiatrist?
JACK
I, I, I was trying to get rid of
these dreamsÉ I thought I couldÉ
DR. CAMPBELL
(Loud and pissed off)
Jack! What are you doing, these are
not dreams, this is not your
deluded fantasy. That is what we
are trying to save you from.
NATALIE
Jack, no, you can't, if you do
things like this you will ruin the
work you have already achieved.
Please Jack.
SARAH
No Jack, no you have you have to
come back, you have to believe,
don't you believe?
JACK
But Dave, he, he said that it was a
good idea to see doctor Berkley,
that the pills he would give me
would help to keep me here, in the
hospital.
DR. CAMPBELL
Ah, I see, pills, that could be Ok
Jack that's good, you have created
a way of keeping awake, or at least
a chance of waking more regularly.
Very good.
JACK
So what should I do?, What's going
to happen?
SARAH breaks away from NATALIE in a sort of 'take charge'
air.
SARAH
(To DR. CAMPBELL)
Yes, when will Jack be better?
DR. CAMPBELL
Well there is some progress still
to be made, but he's defiantly on
the right track. Just keepÉ
He trails off as JACK goes into some kind of shock fit,
shaking and the like.
CUT TO.
INT. BEDROOM. NIGHT.
JACK is still shaking, but because VICTORIA is shaking him to
wake him up, he wakes abruptly.
JACK
Hmmm? Wha. What? What's wrong
Vicky?
VICTORIA
You were making strange noises, and
struggling about, you Ok?
JACK
What? Oh, um I guess it must've
been a nightmare or something
VICTORIA
You not remember?
JACK
No, why, what's wrong?
VICTORIA
Nothing, just wanna make sure
you're OK.
She kisses him on the forehead.
JACK
Don't you worry about me,
(moves and kisses her too)
I'm fine. Go back to sleep.
He turns over, away from VICTORIA, and looks slightly
worried, she is staring at him looking very worried.
FADE OUT.
CUT TO.
INT. DR. BERKLEY'S. OFFICE.
JACK is already in with DR. BERKLEY, talking to him, DR.
BERKLEY is sitting, with a notebook / clipboard in an arm
chair, and JACK is sitting on one to, leaning forward,
gesturing with his hands.
JACK
Éand everyone in the coffee shop
started holding me down. What's
happened to me?
DR. BERKLEY
It's Ok Jack, I told you yesterday
that I would help, and I will. This
is one of the stages of recovery.
Look, you have to be completely
honest with me, you don't have to
be worried, you can trust me, you
can tell me anything you want.
JACK
OkÉ
DR. BERKLEY
First of all you have to tell me
when this all started. Right from
the beginning, starting with the
accident.
JACK
ButÉ
DR. BERKLEY
Jack, I need to know if I'm going
to be able to help you.
JACK
Well after Natalie died, I just, I
couldn't carry on, first dad, then
her, but Victoria, Victoria was
there for me when I was alone, she
helpedÉ we moved, we got together
here, and we've been fine. But it's
lately these dreams, and I think
she suspects something, sheÉ
DR. BERKLEY
So you started having these dreams,
that you are in a hospital and you
say Natalie is there?
JACK
Yes.
DR. BERKLEY
Ok, I think what's happening is
that you are feeling guilty about
being with Victoria, in your
subconscious you feel that you are
betraying Natalie in some way,
you've moved on, but you think it's
wrong for you to be happy, so all
these worries are spilling into
your dreams, creating fantastical
scenarios, where you need HER help
to get out of a mess, you want to
give her back the power, after
feeling you have neglected her. I
have seen this kind of thing
before. Not entirely like this, but
patients feeling guilty about lost
loved ones. You need to purge this
guilt Jack, if Natalie was here I
know she'd feel the same.
JACK
But they're so real.
DR. BERKLEY
Dreams can often feel real Jack.
JACK
What about Dave? What happened with
Dave?
DR. BERKLEY
Well what happened after they held
you down in the cafลฝ?
JACK
Well then I woke up in the
hospital, and
DR. BERKLEY
And then you woke up in your own
bed?
JACK
Yes, butÉ
DR. BERKLEY
Another dream.
JACK
But no, no I was there, I know,
after I saw you yesterday I went to
that cafลฝ.
DR. BERKLEY
Then it could've been a daylight
hallucination, either way, it's
just your subconscious playing
tricks on you.
JACK
So what do I do?
DR. BERKLEY
Well, I can prescribe you some
medicine and I think you should get
out of the stress of the city for a
while, at least the weekend. Is
there anywhere you can go?
JACK
Well we were thinking of going to
Victoria's parents this weekend,
butÉ
DR. BERKLEY
That's great, now does she know
where you are right now?
JACK
No, she's at work, I couldn't tell
her about thisÉ
DR. BERKLEY
Jack, this is imperative, you must
tell her exactly what's going on,
tell her everything. She may not
understand it all, but she will be
there for support, and that is
important, the support is what will
bring you through this.
JACK
But IÉ
DR. BERKLEY
Jack, promise me you'll tell her.
You cannot do this alone.
JACK
I'll tell her.
DR. BERKLEY
Good, now if you need to talk, or
see me, just give me a call Ok,
here
(Gets a business card from
his pocket, and writes a
number on the back.)
This is my home number.
JACK
Ok.
DR. BERKLEY
Now I want you to go home and tell
Victoria, where you have been, and
everything, even the hospital and
Natalie.
JACK
Natalie?
DR. BERKLEY
Everything.
FADE OUT.
FADE IN.
EXT. STREET. NIGHT.
JACK walks down the street. He is thinking of what he will
say to VICTORIA when he sees her. Cut to him arriving at his
front door, he opens it, and VICTORIA is standing there,
looking worried, with a mug of tea, eyes red.
VICTORIA
Where have you been? I've been
worried sick, you didn't answer
your phone, no one knew where you
were. I came home from work at
lunch because I was worried about
you last night, and you weren't
hereÉ
CUT TO.
INT. LIVING ROOM. NIGHT.
Looking through the French windows, the 2 of them inside,
talking, one at each end of the living room, JACK is talking
to VICTORIA, but we can't hear any of it, as it is too
distant, too muffled. JACK is explaining, VICTORIA's face
distraught. JACK kind of breaks down, but still standing,
just crying, VICTORIA goes to him, arms outreached, and holds
him while they both cry.
FADE OUT.
FADE IN.
INT. BEDROOM. NIGHT.
JACK and VICTORIA are lying together, wrapped around each
other. VICTORIA lets out a sigh.
VICTORIA
Hmmm. I'm glad you told me
everythingÉ that was everything
right?
JACK
Of course, what you think there's
more to add to a crazy story like
that?
VICTORIA
No, I, I just want to know
everything, you should never feel
like you have to hold back.
JACK
Well you don't need to worry now,
we'll be ok, we're gona be fine.
FADE OUT.
FADE IN.
EXT. DRIVEWAY. DAY.
JACK is stood at the back of the car, boot open, its a 4x4
thing, he is putting the last bag, which he picked from the
floor into the boot. VICTORIA is in the passenger seat,
looking in the rear-view mirror at JACK.
VICTORIA
You all done?
JACK
Just about. The house locked?
VICTORIA
(chuckling a little)
Yes! I told you already, come on or
we'll be late.
JACK walks to the drivers door, and gets in, VICTORIA is
tuning the radio, or putting in a mix tape, music comes on
which she approves of and she turns to JACK and smiles. She
leans over and they kiss briefly. JACK starts the car, and
pulls out of the drive.
JACK
Ok, lets go.
VICTORIA
Oh, I've been meaning to ask, you
know this thing we've got coming
up,
(JACK shoots her a puzzled
look)
you know, the Brown's anniversary?
JACK
Oh yeah. When is that again?
VICTORIA
Um, start of next month. Anyway I
was thinking we should maybe invite
Tom and Andie.
JACK
Really?
VICTORIA
Yeah, you know they don't get out
much, and it might be nice for them
to get to know some new people.
JACK
I guess, but can we do that?
'Invite' people to a party that we
aren't even throwing?
VICTORIA
I'm sure it'd be fine. It's an
anniversary, the more the merrier.
You can have a word with Lynn at
work, I'm sure she wont mind, and I
can talk to Andie.
VICTORIA smiles at JACK, and he smiles back.
JACK
I love you.
JACK starts to dip his head, and shakes off sleep
JACK (CONT'D)
Whoa.
VICTORIA
What?
JACK
I just, I feel really, weird, like
just tired. You mind taking over
the driving, I just, I don't wanna
have an accident.
The car pulls over onto a grass verge, and JACK throws open
the door, gets out, VICTORIA following closely behind,
looking worried. JACK leans against the side of the car,
dizzy.
VICTORIA
JACK, JACK, what's wrong? Are you
ok?
JACK
Just gotta... stand, feel...
JACK vomits onto the grass, VICTORIA rubbing his back,
leaning in to see if he's ok. JACK looks visibly better.
VICTORIA
You alright now?
JACK
Yeah, I just
(wipes his mouth on a
tissue)
urgh felt feint. I dunno, it was
strange. I feel Ok now though.
Maybe something I ate.
VICTORIA
Well if you're sure. Here, I'll
drive the rest, try to get some
rest.
VICTORIA helps him back into the car, into the passenger
seat, and she gets in the drivers seat, and pulls away. The
drivers window is open, VICTORIA has a tear running down her
face. JACK doesn't notice, as he has his eyes closed, but not
sleeping in the passenger seat.
FADE OUT.
FADE IN.
EXT. LODGE. DAY.
JACK and VICTORIA arrive at BILL and JANICE's, VICTORIA's
parents' house, it's a kind of lodge, out of the way, but not
like the only thing in the forest for miles, just less urban.
The car pulls up and BILL is walking towards it in jeans, and
a check shirt.
BILL
Vicky!, Darling how are you, and
Jack. Great to see you guys.
JACK
Bill, How've you been
VICTORIA
Mum, dad!
VICTORIA runs up to JANICE and hugs her tightly, JACK walks
up to BILL, and shakes him warmly by the hand.
JACK
Nice to see you again, how's the
back?
VICTORIA
Did you get my letter last month?
BILL (CONT'D)
Not too bad, could do with a hand
shifting some of the logs out back
though
JANICE
The Thompson's new baby? Yes, isn't
it lovely.
BILL (CONT'D)
Well, let's get your stuff, c'mon.
BILL walks to the boot of the car and retrieves the bag, JACK
grabs another, and starts walking inside with it. The women
are in front, linked arms, chatting away about the new baby,
and we walk just behind JACK and BILL.
JACK
How's the weather been holding up
round here? I heard there was a
fierce storm couple weeks back?
BILL
Well we missed most of it, but it
made a mess of one of the trees out
back we had... (to cut it down)
BILL's voice trails off as they enter the house.
FADE OUT.
FADE IN.
INT. LODGE. DAY.
BILL, JACK, JANICE, and VICTORIA are sitting round a dinner
table, eating a roast meal, and drinking wine.
BILL
So, Janice and I will be away this
summer, we're taking a long overdue
cruise, why don't you two come up
here, you can have the cabin for 2
weeks? Hmm?
JANICE
Oh yes, that would be nice don't
you think Victoria?
VICTORIA looks over at JACK.
VICTORIA
Well, what do you think?
JACK smiles at her, and holds her hand under the table
JACK
I think that's just the break we
need.
They gaze at each other while BILL talks.
BILL
Well that's settled then.
JANICE
It's so good to see you two again.
BILL
Now who pass your plates and I'll
get dessert.
JACK raises his plate up for BILL, and in doing so reveals
the inside of his arm, he looks down at it, and sees a needle
mark, and then hospital pajamas, and a patients wrist band.
He violently brushes his arm with his other hand causing him
to drop his plate but it does not smash, he withdraws his
arm, covering it. Then he checks it again, revealing no
markings of any kind, no pajamas, or wrist band.
VICTORIA
What's the matter?
BILL
Jack, is there something wrong?
JACK
No, it's fine I just. Sorry Bill,
mozzie or something, I was bitten
BILL
Oh, right, yeah bloody nuisance
they are. It's the pond, I keep
telling her.
BILL says this half to JACK, half to JANICE, who he is
referring to, whilst BILL is talking, VICTORIA gives JACK a
concerned look, and mouths 'are you alright?' To him. JACK
gives a half smile, and a reassuring nod.
JACK
I'll er (clears his throat) I'll
help you with that dessert then.
JACK gets up and picks some things from the table to clear
BILL
Er sure Jack, Ok.
BILL and JACK clear the table, JANICE looks at VICTORIA
slightly worried, and BILL tries to ignore what happened.
JACK takes the plates to the kitchen.
FADE OUT.
FADE IN.
INT. LODGE BEDROOM. NIGHT.
JACK is waking from sleep. He stays lying down with his eyes
open, to the roof for a second, then he leans over, looking
at the other side of the bed, and VICTORIA is sound asleep.
Then he turns over to his other side to try to leave the bed,
but realises he is restrained.
CUT TO:
INT. HOSPITAL ROOM. TWILIGHT.
JACK struggles against his bonds, not understanding what is
going on, and he starts hearing noises, voices but not
discernible. Then he sees he is in the hospital.
DR. CAMPBELL
Jack, you're here, can you hear me?
JACK
(groggily)
Yeah, I, what's happened? I was, I
was awake.
SARAH and NATALIE come over to JACK.
SARAH
It's the next stage, Jack, doctor
Campbell said you'd be able to come
back to us while you are still
awake, isn't it great, you're
nearly home.
DR. CAMPBELL
It's true Jack, you are in the
final stages of rejecting your
constructed world. Soon you wont
need any drugs to keep you here.
JACK
But, what about, Vicky?, She's...
DR. CAMPBELL
(interrupting)
Now Jack, I told you before
Victoria isn't a real person, you
have to break away from that world,
forget about her, she isn't what's
real.
NATALIE
Please Jack, you have to forget
about all that now, there is no
Vicky, you have made her up. Don't
you want to come back to me Jack?
JACK
Natalie...
NATALIE
Yes Jack, you have to let go.
DR. CAMPBELL
Now Jack the last thing you must do
to release yourself is to cut
yourself off from these friends you
have created. Only when isolated
from them can you come back.
JACK
Wha? But how?
DR. CAMPBELL
They need to be gone for good Jack
(solemn tone) you have to rid
yourself of them. I know it sounds
hard, but it's for your own good.
Make it as easy for yourself as you
can. I know you wouldn't be able to
kill them yourself, but you mustn't
think of them as people. You have
to find a way.
JACK
No I couldn't no,
CUT TO:
INT. LODGE BEDROOM. NIGHT
JACK wakes up suddenly.
JACK
No!
He realises he is in the lodge, and starts to get his breath
back, he is sweating. He has also woken VICTORIA with his
yelling. She is sitting up in bed, staring at him worried.
VICTORIA
Jack?... It happened again didn't
it, the hospital
JACK is still panting, he nods to her, and starts scrambling
out of bed.
JACK
Yes, we've, we gotta leave. Now.
It's worse, I, I have to see doctor
Berkley, come on, get your stuff,
we have to leave, we...
VICTORIA
Jack, calm down, just calm down, we
can go in the morning, it's ok
JACK
No, no you don't understand, it
happened, it happened...
VICTORIA
I know, I know it's ok now though.
You just had a bad dream...
JACK
(shouting)
It happened while I was awake.
This silences VICTORIA and they stare at each other, she
looks disturbed, searching his face for an explanation.
JACK (CONT'D)
Look I need to see doctor Berkley,
I have to find out what's
happening, he can help, he can...
VICTORIA
(in a state, close to
tears)
Ok Jack, we can go, I'll tell mum
and dad you were ill, we'll go,
just, it's ok, look, you're ok.
FADE OUT.
FADE IN.
INT. DR. BERKLEY'S BEDROOM. NIGHT.
The phone is ringing, DR. BERKLEY is lying in bed, and it
wakes him, he sleeps alone, and reaches for his glasses from
the bedside, turns on the lamp, and answers the phone (it's
on his bedside table, because he will probably be called at
odd times a lot - as his patients have his home phone and
they are crazy).
DR. BERKLEY
Hel... (clears his throat), Hello?
JACK
Doctor Berkley
DR. BERKLEY
Jack?, Yes it's me
JACK
Doctor, It happened again, when we
were at Vicky's parents, it
happened again, but it was worse,
it, it happened when I was awake,
first I was...
DR. BERKLEY
Jack. Ok, I need you to slow down,
just. What happened?
JACK
Well I, I, firstly I saw this
needle hole in my arm, and I was
wearing pajamas, and had a hospital
wrist band, and
DR. BERKLEY
And you say this was when you were
awake?
JACK
Yes, yes I was sat at the dinner
table, and passed my plate, then
everything was a little dimmer, and
I looked at my arm, and I was
wearing a wrist band, and had
pajamas on, and there was, there
was a hole in, in my arm, like
where a needle had been.
DR. BERKLEY
Ok Jack, you need to remain calm,
it was another daylight
hallucination, have you been taking
the pills I prescribed for you?
JACK
No, but then later, I was in bed,
awake, and I tried to get out, then
it was, I was in the hospital
again.
DR. BERKLEY
Jack, the pills, did you pick up
the pills?
JACK
I, no, I, not yet
DR. BERKLEY
Right, I want you to come in and
see me, right away, just get to my
office. I'll be there.
DR. BERKLEY hangs the phone up, thinks for a second, then he
gets up from the bed.
FADE OUT.
FADE IN.
INT. DR. BERKLEY'S OFFICE. NIGHT.
The office is dark, the light on the desk is illuminating
some of the room, but the top light isn't on. DR. BERKLEY is
sitting at the desk, and looking through a diary / address
book thing, he seems to be looking for something in it. There
is a knock at the door. DR. BERKLEY gets up from the chair
and heads towards his inner office door, the knocking
continues. He opens in and goes to the front door, then he
opens the door, it's JACK.
JACK
Doctor.
DR. BERKLEY
Jack, good. Come in.
They walk into the inner office and sit, DR. BERKLEY behind
the desk, and JACK in the seat in front of it. DR. BERKLEY
rummages in his desk and retrieves a small bottle of pills.
DR. BERKLEY (CONT'D)
(handing JACK the bottle,
then finding a bottle of
water from his desk)
Here, I want you to take 2 of these
now, there's some water here.
JACK
What do they do?
DR. BERKLEY
It's Ok Jack, they're just to calm
you down, now I want to know what
happened when you were in the
hospital.
JACK
It was the same as before, but they
said I had to 'rid' myself of the
people here, like Vicky, and the
people 'holding' me here. I
think... I think they wanted me to
kill them. The doctor there said I
shouldn't think of them as real
people, and to find a way to get
rid of them, like permanently.
DR. BERKLEY looks hard at JACK, studying him, thinking.
DR. BERKLEY
Jack, this is serious, you realise
that?
JACK
Of course it's serious.
DR. BERKLEY
But Jack, you need to understand.
There is no hospital, and no doctor
telling you to do these things,
it's just you, you are telling
yourself these things. Not even in
your sleep anymore.
JACK
But I, I don't mean to, how can I
stop it?
DR. BERKLEY
It's up to you, you are the only
one who can stop this, you need to
come to terms with what's
happening, and put it behind you,
take your mind off it, these pills
will only surpress it so much, you
have to do the real work. Now we
assume it's about Natalie, now
maybe if you went to her grave, you
might...
JACK
(interrupting)
No, I, I couldn't face that.
DR. BERKLEY
Well you'll have to do something,
you need to keep your mind off the
hospital and everything else.
There's not a lot more I can do.
JACK
Ok. Thank you. It's been... thanks
for helping.
JACK gets up from the chair, and shakes DR. BERKLEY's hand,
then turns and leaves the office. DR. BERKLEY, waits until he
hears the front door close, and looks through his diary thing
again, finds the page he was looking for, and picks the phone
up, reading a number from the page and types it in, he holds
the receiver to his ear.
DR. BERKLEY
Hello?, Yes... it's doctor Berkley,
could you put me through to doctor
Mhailer please... Jim, hi, sorry
it's late, but I have a patient...
a Mr. X, he might be dangerous...
no, nothing yet, but I think the
situation might escalate. I want to
be ready, just incase... sure,
alright then... bye.
He hangs up the phone, waits a second, then picks it up again
and dials a number.
DR. BERKLEY (CONT'D)
Hello, Victoria X? Hello, my name
is doctor Berkley...
FADE OUT.
FADE IN.
INT. BAR NIGHT.
TOM, ANDIE, JACK, MIKE, VICTORIA and PETE are sat round a
large table in the bar, it is full, and there is loud music,
and people talking all around, very noisy. All have drinks at
various levels, and of various type. They are all a little
drunk, but not very much, they've had like 2 drinks.
PETE
(shouting)
So, where to after this then?
TOM
(also shouting)
Well me and Andie thought the
surgery looked alright, we came
past it on the way in and it was
pretty packed.
PETE
Yeah? Cool.
MIKE
Yeah, but I think there's a band
on, and it's tickets only
ANDIE
Oh, really, well there's always
Atlantis, that's usually fun.
JACK
(giving a little laugh)
Yeah, Mike, you like it there,
there's always some intoxicated
girl on your arm.
They all laugh, JACK gets up and drains his glass.
JACK (CONT'D)
Right. Who's for another?
ALL
Yeah
JACK grabs a couple of empty glasses and starts walking to
the bar, we watch him, coming towards us, and then turn to
the bar. He leans over the bar and makes a 'another round'
signal to the bar.
JACK
(to the barman)
Table 24. Cheers.
He leaves the bar and is walking to the table when he bumps
into DAVE, just by the table 5 yards away, in plain sight of
the table.
JACK (CONT'D)
(shocked)
Dave? What the hell, what are you
doing here?
DAVE
Jack, you shouldn't see doctor
Berkley anymore. He is no longer
going to help you.
JACK
What? What are you doing?
DAVE
I told you before, you are the
reason I am here, and doctor
Berkley is no longer an ally. You
have to end your contact with him.
JACK
I have, I mean he said I have to
help myself now, you, I don't want
to go back to the hospital, they
said...
DAVE
(interrupting)
Yes, that you need to sever you
ties. It's ok Jack, that's why I am
here, I can help you do this, you
needn't do anything. You're nearly
there, just concentrate on getting
better. I'll be around.
VICTORIA
(shouting at JACK)
Jack?!
JACK swings round to look at her and turns back to see that
DAVE is gone. He looks puzzled, and heads over to the table
VICTORIA (CONT'D)
Jack, what's going on - you order
the drinks?
JACK
Yeah, I, did you see Dave?
VICTORIA
Dave? Who the hell is Dave?
JACK
The guy, did you see the guy I was
speaking to?
PETE
What guy Jack?
MIKE
Yeah, what're you on about?
JACK
Just now, when Vicky called me, I
was speaking to this guy Dave.
TOM
Jack, you don't even know anyone
called Dave.
JACK
I know,
(getting impatient)
look, I was just talking to some
guy over there, just before I came
over.
ANDIE
Really?, I didn't see you with
anyone Jack.
JACK
But you must've... I was just now
speaking to someone.
MIKE
I saw you go to the bar then come
back here, there was no guy. You
paused a second. That's when Vicky
called you.
VICTORIA
Jack?
VICTORIA gets up from the table and walks to JACK, she takes
him to one side, and talks low enough that the others don't
hear.
VICTORIA (CONT'D)
Jack, has this got something to do
with the hospital?
JACK
(getting angered)
No, what? Well yes, but I was just
talking to someone just now. You
must have seen him?
VICTORIA
Jack, I saw no one, there was no
one. Now doctor Berkley called me
earlier.
JACK
DR. BERKLEY?
JACK looks to be getting annoyed.
VICTORIA
Yes doctor Berkley called me and he
was saying that you were getting
worse, that you might be dangerous.
JACK
Dangerous? What the hell are you
talking about?
VICTORIA
He told me about the last time you
were at the hospital, about what
they said.
JACK
And you really think that I would
do anything like that? You take a
doctors word over mine? Your own
fucking husband?
VICTORIA
Jack, I don't know what to think,
you said yourself it's happening
when you're awake now, maybe that's
all it was?
JACK
No, I was talking to someone, you
know what. Go to hell,
(shouting to all)
you can all just fuck off.
JACK storms off out of the bar leaving the group looking
stunned, some of the other people in the pub looked round,
then get back to their conversations. VICTORIA starts to cry,
PETE gets up, and sits her down at the table, shh-ing her,
trying to be comforting her.
PETE
It's ok Vicky, what's going on,
what's wrong with Jack?
VICTORIA
(through tears)
Oh god, it's, he's been imagining
things. He had to go to a
psychiatrist. He doesn't think I'm
real... He doesn't think any of
this is real.
FADE OUT.
FADE IN.
EXT. STREET. NIGHT. RAINING.
JACK walks briskly across the road, into a park, he is not
stumbling, but he isn't walking perfectly either. He walks
over to a nearby bench, muttering to himself, a scowl on his
face. He sits down hard on the bench.
CUT TO:
INT. HOSPITAL ROOM TWILIGHT.
As JACK sits down he is in the hospital, sat up in the bed.
DR. CAMPBELL is fiddling with various machinery by his
bedside, SARAH notices JACK has woken.
SARAH
Jack?! Oh darling, you're awake
again.
JACK looks around himself, less surprised now - he is getting
used to it. The rain that wet his hair is now sweat on his
brow.
NATALIE
Honey!
DR. CAMPBELL
Jack, good, how are you, last time
you left us in a bit of a state.
JACK
I'm, I'm ok.
DR. CAMPBELL
How are you coping. Have you
thought anymore about what I said?
JACK
Yes, I, well I saw Dave, he said
that he'd be able to help get rid
of my ties there.
DR. CAMPBELL
That's good, that's precisely what
you needed to do, now you wont have
to feel guilty about leaving
friends behind.
JACK
I... They didn't see Dave, they,
they didn't believe me.
DR. CAMPBELL
No, they are starting to dessert
you now Jack, don't worry, it's all
part of distancing yourself from
that place.
JACK
Natalie, I want, I want to be with
you.
NATALIE rushes over, and gives him a hug and a kiss.
NATALIE
I knew you could do it Jack, I
always believed in you. Soon we'll
all be able to go home.
JACK
What do I need to do doctor?
DR. CAMPBELL
Now you just have to wait.
FADE OUT.
FADE IN.
INT. BEDROOM. NIGHT.
JACK is sleeping, the front door opens, and VICTORIA starts
calling.
VICTORIA
Jack?, Jack are you in?
She comes up the stairs, and opens the bedroom door.
VICTORIA (CONT'D)
Jack. Jack wake up, we need to
talk.
JACK wakes slowly.
JACK
What, what is it.
VICTORIA
Jack come down stairs.
JACK
Why, what?
VICTORIA drags him out of bed and he gets up.
VICTORIA
We need to talk to you
They walk down the stairs
JACK
Who needs to talk to me? What d'you
mean?
They get to the living room and TOM, ANDIE, MIKE and PETE are
waiting for them there.
JACK (CONT'D)
What the hell is this?
TOM
Jack, Vicky told us what's been
happening, you don't have to worry.
ANDIE
Yeah Jack, we're all here for you.
JACK
What're you on about?
MIKE
It's ok Jack, we were all upset
when Natalie died, it's
understandable, we all lost a dear
friend.
JACK
What do you know, you didn't love
her.
PETE
Look Jack, that's not the point. We
are here to help you, we want you
to get over this. We want you to be
normal again. Vicky told us about
the hospital.
JACK
You don't know, you're not real,
none of this... just leave me
alone, get out.
ANDIE
Jack please, you've upset Vicky.
JACK
(to VICTORIA)
You, you've done all this.
VICTORIA
Jack, it's to help you, you need to
believe me.
JACK
No, just get out all of you, I
don't want you here anymore, it's
all in my head, Natalie.
JACK sits on the sofa, head in his knees.
JACK (CONT'D)
(softly)
Natalie, Natalie...
FADE OUT.
FADE IN.
INT. NATALIE AND JACK'S KITCHEN. DAY.
JACK is watching NATALIE in the kitchen, preparing some food,
it is a summery day, and it is a dreamy like sequence,
different from the rest. JACK gets up from the chair, and
goes towards NATALIE, wrapping his arms around her and
kissing her cheek from behind, she is still carrying on with
the preparation. She turns and kisses him, then he changes
mood, steps back from her, picks a glass off the counter and
slams in to the floor.
CUT TO:
INT. JACK AND VICTORIA'S KITCHEN. NIGHT.
Everyone is trying to calm JACK down.
JACK
NO. You made her go.
VICTORIA
Jack, it's just us, please, calm
down.
PETE
Yeah, come on now Jack, we don't
wanna hurt anyone.
JACK calms down a little.
JACK
It's ok, look I'm fine, just I need
a lie down.
VICTORIA
Jack?
JACK
I'm fine, really.
JACK walks upstairs.
MIKE
He seems pretty bad.
PETE
Yeah, listen Vic, maybe one of us
should stay with you in case he
tries something.
VICTORIA
No it's fine, you guys go, I'm sure
he'll be ok in a while. I'll leave
him to sleep.
TOM
Only if you're sure.
VICTORIA
It's fine.
FADE OUT.
FADE IN.
EXT. DRIVEWAY. DAY.
DAVE walks up to JACK's car, gets out a pair of wire cutters,
looks under the car and cuts the break lead, spilling some
fluid on the ground. Then he walks off. VICTORIA comes out of
the house, she puts on a pair of sunglasses, and opens the
car, puts the radio on, gets in and starts it. She pulls out
of the drive. She drives onto the freeway, and is driving
pretty fast. There are traffic lights up ahead, and she
starts braking, obviously nothing happens, she looks down and
tries again, she whispers 'what the hell' and looks up again,
she is nearing the cars parked at the lights, and is getting
worried, the lights turn green, and the cars pull away, she
reaches them and is able to manoeuvre around them, getting
some honks, she is going very fast, and, as she sighs to
herself, just making the manoeuvre but there is oil on the
road, and she looses control of the car, sending it into a
nearby pylon, the front of the car explodes, just the bonnet.
She regains consciousness, from behind the air bag, cut up a
little - the windscreen is broken. She lets out some noises
indicating she is hurt, and opens the door. She stumbles out,
and is greeted by a driver who stopped just ahead of her.
DRIVER
Hey, are you ok?
VICTORIA
Yes, I'm, I'm fine, I just...
DRIVER
You don't look fine, here get in,
I'll give you a ride to the
hospital.
VICTORIA
Thank you, I just, can I use your
phone, I need to make a call.
DRIVER
Sure.
DRIVER hands her a phone.
FADE OUT.
FADE IN.
INT. HOSPITAL ROOM TWILIGHT.
JACK wakes up, standing over him is a nurse, DR. BERKLEY, and
DR. MHAILER, all busying themselves with various jobs -
charts, etc.
JACK
What, what's going on? Why are you
here
DR. BERKLEY sees that JACK is awake and turns to the nurse
DR. BERKLEY
Could you get MRS. X, tell her he
is awake.
JACK
What's going on doctor? Where's
Natalie, and doctor Campbell?
VICTORIA enters the room, with a sling, from her car crash
JACK (CONT'D)
Vicky? What happened to you? How
come you're here?
VICTORIA
The car... the brake lead was cut.
I couldn't stop.
JACK
What?! the brake lead broke?
VICTORIA
No Jack someone cut it. Someone cut
the brake lead.
JACK
But what? Why, why are you here?
DR. BERKLEY
Jack. You aren't in a dream
anymore, this is a real hospital,
you are sick.
JACK
Huh? What d'you mean?
DR. BERKLEY
You don't remember, the drugs will
wear off, you will soon.
(beat)
Someone cut the lead Jack, Victoria
rang me after she found your shirt,
covered in brake fluid.
JACK
But I, what? I didn't do this
DR. BERKLEY
Jack, she found the wire cutters
wrapped in the shirt.
VICTORIA
(tearful)
Why Jack? Why?
JACK
But I...
Screws his face up, remembering, like with the crash at the
start, sees DAVE cutting the lead, then it's JACK doing the
exact same thing, wearing the same clothes. Then remembering
JACK talking in the bar with himself, no one else is there
when DAVE was supposed to be talking with him.
JACK (CONT'D)
No, I can't, I didn't
DR. BERKLEY
Jack, doctor Mhailer here has had
experience with patients with
similar conditions, he is going to
help you recover, and Victoria will
be here, every step of the way.
DR. MHAILER
Don't worry Jack, we'll have you
back to your self again. It just
takes a little time.
(to the others)
He needs to sleep for a while now,
we should leave him. Just till the
drugs wear off, then we can start
the treatment.
DR. MHAILER takes a needle from the side and puts it into his
drip.
FADE OUT.
FADE IN.
INT. HOSPITAL ROOM TWILIGHT.
JACK wakes up, the room is empty except for him. He looks
around, searching.
JACK
(shouting)
Hello?! doctor Campbell? Natalie?
He starts crying to himself
JACK (CONT'D)
(between sobs)
What the hell is going on.
JACK (CONT'D)
Natalie, Natalie.
He sees a scalpel on the side, and grabs it, as he says
NATALIE some more, he closes his eyes and starts to slit his
wrists. The door opens suddenly, and DR. MHAILER rushes in
with a nurse.
DR. MHAILER
Oh my god,
(to nurse)
quick, get some gauze.
They stop him cutting any further, and work at bandaging his
wrists, there wasn't much bleeding, they then restrain his
wrists with straps, all the while JACK is shouting 'no, no'.
DR. MHAILER (CONT'D)
(to JACK)
It's ok Jack, it's going to be ok.
He prepares a needle, and injects JACK, straight into his
arm.
FADE OUT.
FADE IN.
INT. HOSPITAL ROOM. TWILIGHT.
JACK is sleeping, rugged, stubbled, wakes up, slowly, he
doesn't know where he is, then sees that he is in a hospital
bed. A small window is high up, above the head of the bed,
letting a shaft of light shine in. JACK sees He is
restrained; he looks down at his wrists and starts
struggling. His wrists are bound with bandages from suicide
attempts, but he looks bewildered, not knowing what's going
on. He starts struggling, and grunting.
JACK
What thÉ Hello? HellÉ (Hello?)
DR. CAMPBELL, with a clip board, white coat, etc. Has
stubble, late 30's, is alerted by JACK's shouting.
DR. CAMPBELL
Jack, what do you remember?
THE END