The Stars Are Projectors

8/12/2019 The Stars Are Projectors

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THE STARS ARE PROJECTORS

by

Antonio M. Corte-Real

Revised fourth draft screenplayby Susan Rogers


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EXT. CARNIVAL FAIR / DAY (DREAM SEQUENCE)

A beautiful sunny day.

Several colorful attractions; spinning wheels and a

speeding roller coaster.

CHILDREN scream with joy around a CLOWN giving away

balloons.

A COUPLE walks by, eating cotton candy. CHARLES and

ZELDA. They look happy and enjoying themselves.

CHARLES is a 30 year old, average looking guy.

Zelda is a gorgeous, blonde, 25 year old woman, with a

perfect figure. Shes wearing a red dress that serves the

curves on her body well.

Charles whispers something to her ear.

She laughs and throws some cotton candy at Charless face

and runs.

INSERT SOUND: A truck horn fades in.

Charles chases her.

INT. CHARLESS APARTMENT, BEDROOM / NIGHT

CHARLES wakes up, startled, sitting up in his bed.

He breaths in, calming down.

He looks at the window with the blinds down, street light

streaming through them.

Charles looks at his wife, MARY, sleeping at his side.

Quietly sitting at the edge of the bed, he turns on a

lamp standing on the headboard table next to the bed.

Charles picks up a transparent mechanical clock.


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MARYAnother sleepless night?

Mary sits with her knees on her chest. Charles has hisback turned to her. She is wearing a pink night gown.

Charles stands up and grabs his clothes over a chair, and

begins to dress himself in a clumsy manner.

MARY (CONTD)Where the hell do you think youre going?

CHARLES(dressing)

To work.

MARYIts still night time.

CHARLESI need to sleep in my office.

MARYCant you do that here?

Charles shakes his head.

MARY (CONTD)Why not?

CHARLES(annoyed)

Just because.

An uncomfortable silence falls between them.

MARYWhatever...

(making fun)People will actually think that youre ahard working person...

Charles walks out the door.

EXT. STREET / NIGHT

An empty, quiet street, lightened only by the warm light

of street lamps. A few cars parked along.

Rain drops on top of cars and water puddles. A serene and

peaceful sound.

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CHARLESYou just want more booze.

DRUNKEN MAN

If you knew what I know, you too would bedrinking.

CHARLESShave yourself and get a job. Good God,

man. Have you looked yourself in themirror?

DRUNKEN MANHave you?

The Drunken Man walks backwards, fading into an alley.

Charles draws an expression of guilt.

CHARLES(to himself)

Ah, Hell!

He leaves the car and follows.

CHARLES (CONTD)Hello? Here, I have some change.

EXT. ALLEY / CONTINUOUS

Charles runs into the dark, dirty alley, holding some

money.

CHARLESHey! Here! You can have some money.

The alley is empty. The Man is gone.

Charles looks around, puzzled.

INT. BUILDING LOBBY / NIGHT

A modern looking building.

At the reception sits the DOORMAN, an old man, in his

seventies.

Hes dressed much like a fancy hotel bell-hop.

His head is lowered, snoozing.

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Charles swings open the glass doors. He is soaking wet.

He passes by the Doorman, dripping water across the white

marble floor and nods at him.

Behind the wooden reception desk the Doorman raises his

head and nods back, returning his original position.

INT. CHARLESS OFFICE / NIGHT

Charless office is clean and organized.

Charles enters the office through the wooden door with a

glass window where his name is painted on backwards:

Charles Branch.

He takes off his coat and hangs it on his coat hanger.

On the desk he sees a brown sealed envelope and picks it

up.

Charles throws himself onto the brown leather chair andwith a letter opener, slashes the envelope.

From it he pulls out a set of black and white

photographs.

He looks at them, dropping them on the desk one by one.

A CAR CRASH.

A SUICIDE.

A PHOTO OF SOLDIERS AND TANKS.

After looking at each photo, Charles rubs his eyes in

boredom and takes a notebook from one of the desk

drawers.

He rolls up his sleeves.

As he stares at the photos one more time and notices

something strange about them.

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All of them seem to have a figure wearing a hat standing

in the background, sometimes a shadow, others a

reflection, but always out of focus.

He picks up a magnifying glass to get a better look, but

sees nothing more than silhouettes.

He seems curious, but doesnt make much of it.

In the notebook he writes something and places the

notebook sheet, along with the photos, inside the

envelope once again.

Afterwards, he leans back on his chair, crossing his feet

over the desk and dropping his hat over his face.

FADE TO BLACK.

THE SOUND OF A SLAMMING DOOR.

INT. CHARLESS OFFICE / NIGHT (NEXT DAY)

Charles is woken by the slam of the door.

He takes the hat off his face and slowly opens his eyes,

only to see his editor, MR. SHOUTMAN. with several

envelopes and pages.

Mr. Shoutman is a large looking man, with a short haircut

and wears hideous looking combination of clothes: a light

brown blazer, dark pants and a light blue shirt with abright red tie.

He has an unusual smile on his face and speaks with a

quite strong, booming voice.

MR. SHOUTMANCharles! By God, man! You spent theentire day in your office.

Charles picks up the envelope and waves it in front ofMr. Shoutman.

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MR. SHOUTMAN (CONTD)(reaching for the envelope)

Excuse me.

Mr. Shoutman opens the envelope and peeks inside.

MR. SHOUTMAN (CONTD)Fantastic news today, dont you think?

CHARLES(unenthusiastic)

Yes, Mr. Shoutman. The kind that sells.

MR. SHOUTMANSome days I feel bad about selling otherpeoples misfortune, but before eachprinting I am overwhelmed with asensation of excitement just by thinkingabout the number of readers we have.

CHARLES(unenthusiastically noddinghis head)

Hmm... Hmm...

MR. SHOUTMANWell, I should hurry and get this toprinting.

Charles, waves his hand, politely shooing him off the

office.

CHARLESYou do that.

Mr. Shoutman is about to leave when he turns back to

Charles.

MR. SHOUTMANOh... err... Charles. I really dont mindthat you take some time out in youroffice, but maybe its best that youdont make a habit out of it. Im sureyou have a proper bed for that.

CHARLESIts occupied.

MR. SHOUTMANProblems at home? Thank God I had neverbeen through that.

CHARLESHow fortunate of you.

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MR. SHOUTMANYou should see a doctor for that insomniaproblem.

Mr. Shoutman leaves the office, slamming the door behind

him.

Charles returns to his snoozing.

CHARLES(to himself)

What is it with people and doctors?

EXT. ALLEY / NIGHT

A dark, dirty alley.

The Drunken Man is sitting close to a trash bin eating a

half eaten can of tuna with a broken plastic fork.

Out from behind him, a FIGURE wearing black gloves grabs

him, covering his mouth.

The Figure drops a black liquid directly in his ear.

The Drunken Man instantly collapses and is dragged into

the dark.

FADE TO BLACK.

EXT. GREEN GARDEN / DAY (DREAM SEQUENCE)

A blinding sun light overwhelms Charless eyes.

He tries to open them, but cant.

As his eyes adapt to the light, he opens them wide.

An image begins to take color and shape.

Charles sees himself lying on a beautiful green garden.

The sky above him is blue and untainted by clouds.

Charles sits up on a picnic towel and looks around.

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He is wearing a white shirt, partially unbuttoned and

black pants.

His sleeves are rolled up and he is bear-footed.

Around him, everything is bright green, the grass, the

trees.

Further away are other plants with bright purple and

white flowers.

The garden is almost like a paradise.

Charles is amazed, eyes wide open, speechless before such

magnificent vision, completed by the sound of a running

fountain nearby and the singing of birds.

He is suddenly startled by a feminine voice next to him,

ZELDAs voice.

ZELDA (O.S.)Beautiful, isnt it?

Charles looks at his side and sees Zelda lying on the

picnic towel next to him.

She is wearing a red and white pin-up dress.

She sits up and looks at Charles with a smooth, gentle

smile on her lips.

ZELDA (CONTD)

It almost feels like we are tainting thisbeautiful garden.

Charles smiles back at her.

Zelda gently takes her hand to Charless back and slowly

moves it towards his shoulder.

ZELDA (CONTD)What is it? You look distant.

Charles remains silent for a few seconds, not knowing

what to say.

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Finally, his mouth moves.

CHARLES

(gently, almost whispering)I cant think of anywhere else Id ratherto be than here with you.

She smiles and nears her lips to his until they gently

meet.


Charles wakes up wrapped around his bed sheets.

Outside, the night reigns still.

The only light in the room sneaks between the blinds from

the street lamps.

Charles sits up, and cleans the sweat from his face

before turning on the lamp beside him.

His wife, Mary, lies next to him, awake.

MARYYou should go see a doctor.

CHARLESYou know how I feel about them.

Mary sits up and places her arm around Charless chest

and her chin over his shoulder.

Charles falls defenseless to her charms.CHARLES (CONTD)

I dont know... It almost seems like Imgoing insane. These images, thesehallucinations in my sleep... I have noidea what they are or what they mean.

MARYI really dont get your irrational fearof doctors.

CHARLES

I dont need any doctors poking me.

MARYStop whining and grow up.

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In front of him is a long room with tall wooden

bookshelves at the sides, each one filled with books of

all colors and sizes.

The ceiling converges into a round arch that extends

across the room.

The floor is also built out of wood and extremely

polished, reflecting everything that stands on it.

Centered in the room are rows of desks and chairs

perfectly aligned, each one with a lamp on it.

Sitting in front of one of the desk is an old man, VIRGIL

with the desk light turned on, reading.

Over the desk are several stacks of books.

Virgil raises his eyes from the books as soon as he

notices Charless presence.

He is a very old man, with silver white hair and lightblue eyes. His face is wrinkled, a sign of the ages, and

he wears a white shirt with a brown vest and brown pants.

He stands up with some difficulty and walks towards

Charles with the aid of a wooden cane.

His footsteps echo across the building.

VIRGIL

(while walking)A strange time for reading.

CHARLES(smiling)

Indeed it is.

Virgils expression changes slightly when he sees Charles

up close, seeming to recognize him.

Hiding this, he extends his hand.

VIRGILMy name is Virgil, the caretaker of thisbuilding. How can I help you?

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CHARLESCaretaker? You make it sound like sogrim.

VIRGILAnd should it not be? Not many peoplecome in here anymore. Literature isalmost dead.

Charles shakes Virgils hand.

CHARLESYes... Well, this will sound strange, butdo you have anything on hallucinations?

VIRGILCould you be more specific?

CHARLES(reluctant)

Well, Ive been having strange imagescoming up in my mind while in my sleep. Iknow how insane this sounds...

Virgil smiles, turns around and signals to Charles to

follow him.

He follows.

Virgils wrinkled hand flips a wall switch that lights up

the entire library.

They both walk across the library, Virgil in the lead and

Charles following, passing bookshelf after bookshelf.

Virgil walks with some effort in slow pace.

VIRGILTell me more about these torments.

CHARLESI have had trouble sleeping.

VIRGILWhat kind of troubles?

CHARLES(evading)

The same kind that I have when Im awake.

Virgil laughs with a rough, old laughter.

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VIRGILNothing like a good book to take your

mind off things.(pause)

Its a shame people no longer think thatway. Nobody cares about words anymore,only images. An image is worth a thousand

words, is what they say.

Charles remains silent.

VIRGIL (CONTD)I dont know... Its hard to open up theeyes and minds of these youngergenerations. Thank God youre here tosave us from such mediocrities.

Charles smiles.

Virgil stops in front of a bookshelf.

VIRGIL (CONTD)Here they are.

The bookshelf is completely filled with books on the same

matter. Books of different colors and different writings

on the covers, but the title is always the same:

Dreams.

CHARLES(surprised)

Dreams?!

VIRGILFeel free to call me should you needanything.

Virgil walks away, his footsteps resonating across thebuilding.

Charles stands there, facing the bookshelf in awe.

He picks one randomly and opens the it. It is blank.

He browses through the entire book, but all the pages are

completely blank.

Charles removes another book. It is also blank.

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As time goes by, Charles continues to browse books, all

of them blank.

Dozens of blank books pile around his feet.

Still, he relentlessly continues to look through the

books, but all he finds are blank pages.

At some point he becomes fed up with it and searches for

Virgil, but he is nowhere to be found.

EXT. STREET / NIGHT

Charles exits the library.

A street clock marks almost 6 a.m., yet it is still

night.

There are some people walking about, some carrying

briefcases.

Charles walks back the way he came from.

On the other side of the street, he sees a WOMAN,

resembling the one from his dreams, Zelda.

Charles stares at her, astonished and surprised.

She vanishes behind a street corner.

He crosses the street to the other side and follows her.

He quickens his pace.

A group of people heading to work walk up between them

from around the corner, blocking Charless passage,

pushing him back.

Charles passes through the group, but Zelda is gone.

He runs around the streets, looking for her.

Each street is filled with more and more people, making

him fall further into desperation.

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He passes by some people opening their businesses.

A NEWSPAPER VENDOR.

A BARBER SHOP PREPARING TO CUT THE HAIR OF ITS FIRST

CUSTOMER.

A DINNER WITH SOME PEOPLE ORDERING FOOD.

But he cannot find her.

Anxious, he turns around and sees her crossing the street

behind him.

He follows her, but after cutting a corner, he once more

loses her.

Realizing he cannot find her anymore, he lowers his head

in disappointment and turns back.

As he cuts a corner, face turned to the floor, he

stumbles against Zelda.

Zelda drops her purse. Its contents scatter across the

floor.

Charles, not raising his head, immediately picks up her

things.

CHARLESI am so sorry. I really must be morecareful of where Im going.

Charles places the scattered objects inside the purse and

stands up to hand it over to Zelda.

CHARLES (CONTD)Again, I appologi--

Charles pauses as he sees who in fact the woman is.

Zelda looks slightly surprised as well, but attempts to

hide it by gently smiling.

ZELDAThank you.

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Zelda takes her purse from Charless limp, motionless

hands.

ZELDA (CONTD)Its quite alright.

Charles remains speechless.

Zelda looks slightly uncomfortable with this.

ZELDA (CONTD)Well, I really must go. Excuse me.

Zelda passes at his side, as Charles continues static

with surprise.

When he comes to, he realizes Zelda is already walking

away from him.

He rushes after her, gently touching her arm.

CHARLESExcuse me...

Zelda turns around.

CHARLES (CONTD)(awkward, nervous)

Im so sorry to disturb you... I dontmean to hold you back or delay you fromwhere you are heading or anything... Thismay seem a bit strange, or then againmaybe not...

Charles smiles, attempting to be funny in an awkward

manner.

Zelda looks at him, waiting for something to come out of

all that senseless speech.

CHARLES (CONTD)I mean... You probably hear this all thetime, being such a beautiful woman as youare --

ZELDA

(interrupting, politelysmiling)I really must go.

Zelda turns around.

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CHARLESWait, wait.

CHARLES (CONTD)

Im sorry. What I was awkwardly trying tosay is that I think Ive seen you before.

Zelda pauses for a moment, looking straight at Charless

eyes.

ZELDAYoure right.

Charles smiles, overcome with a sensation of hope.

ZELDA (CONTD)I do hear that all the time. And now ifyoull excuse me...

Zelda turns her back and walks.

Charles follows her. Zelda doesnt stop.

CHARLES(walking, chasing afterZelda)

Do you have children?

Zelda looks at him surprised with the question.

ZELDAWhat?!

CHARLESJust answer me, do you?

ZELDANot tha its anything of your business,

but yes, I have twins.

CHARLESAre their names Ashton and Ignatia?

Zelda stops and faces Charles, somewhat aggressive.

ZELDAHow do you know that?

CHARLESLike I said, it seems that we have met

before.

ZELDAHave you been spying on me?

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Zelda opens the window and leans her head outside the

moving car.

Her blonde hair dances in the wind, while she enjoys its

soft touch on her skin, eyes shut and a wide smile on her

face.

Charles shifts his attention back and forth from the road

to her, concerned.

Zelda gets back inside the car.

ZELDAI should write this down.

She opens the glove compartment and looks through it,

taking out a notepad.

ZELDA (CONTD)Didnt you have a pen in here?

Charles, while driving, leans over to look inside the

glove compartment.

Before Charles can react, a large truck crashes into

them, swallowing the car beneath it, in a violent clash

of broken glass and twisted metal.

INT. CHARLESS CAR / NIGHT

Charles wakes up, sweaty and startled.

His face has a clear expression of fright.


Charles stands in front of a mirror, adjusting his

collar, combing his hair. He is well dressed up and

properly shaved.

Mary comes in and leans at the door, staring at Charles.

Charles is a bit uncomfortable.

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CHARLES(looking at Mary)

Its just a business dinner.

Mary looks suspicious.

MARYYou dont have business meetings.Besides, dont you think youre too welldressed for a simple business dinner?

CHARLESYou think Im overdoing it?

Charles puts on a tie.

There is a short, uncomfortable silence, filled only by

the mechanical sound of a ticking clock on the wall.

MARYIs there anything else youd like to tell

me?

CHARLES(adjusting his tie)

No. What do you mean?

Mary approaches Charles.

MARYWell, when a woman sees her husband gettoo well dressed for a business dinner,its natural for her to think that there

may be another woman involved.(pause)

Im sorry about last night.

Mary sees a small card on top of the headboard table next

to Charles, the card given by Zelda.

CHARLESSince when are you jealous?

MARY(smiling)

Ever since you got so good looking.

Mary tries to reach for the card, but Charles picks it up

before she does and puts it in his pocket.

CHARLESJust a business card.

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They play a melodic version of the song The Stars Are

Projectors.

At the center stands Zelda, wearing a beautiful, tight

red dress.

She stands in front of a vintage microphone, very gently

moving her body to the music and singing along with a

lovely voice.

ZELDA(singing)

In the last second of life, they're gonnashow you how

How they run this show, sure, run it intothe ground

The stars are projectorsProjectin' our lives down to this planetEarth

The stars are projectors,Projectin' our minds down to this planetEarth

As Zelda sings, Charles sits at an empty table near the

stage facing Zelda.

Zelda sees him and for a second seems slightly anxious

and uncomfortable, but keeps on singing, avoiding eye

contact with Charles.

A WAITRESS walks up to Charles. He says something

inaudible, she nods and walks away.

ZELDA (CONTD)Everyone wants a double featureThey wanna be their own damn teacher, andhow

All the stars are projectors Projectin'our lives down to this planet Earth

It's all about moderate climates

You gotta be cold and be hot for sureIt's all about the moderate climates

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You wanna be blessed and be cursed forsure

All the stars are projectors

Projectin' our lives down to this planetEarth

The music ends.

A few people applaud.

Charles also applauds, but with more enthusiasm.

He waves at Zelda.

She gently smiles and steps off stage and sits at his

table. She seems a bit uncomfortable and shy.

CHARLESI would have never imagined.

ZELDAWhat?

CHARLESThat you had such a lovely singing voice.And here I was expecting to see a

waitress, only to find myself sitting infront of a star.

Zelda blushes.

ZELDAWell...

(attempting to hide herembarrassment)

Thank you... I guess...

CHARLESActually, thank you. For agreeing to see

me again.(touching Zeldas hand)

You have no idea how much this means tome.

Zelda quickly backs up.

ZELDAIm sorry.

(pause)About my behavior earlier.

Charles looks slightly disappointed.

25.

ZELDA (CONTD)


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CHARLESTheres no need for apologies. Like yousaid, you didnt know me.

ZELDAActually... I did.

(pause)And...

Zelda falls silent for a moment.

The Waitress comes back to the table with a glass of

whiskey on the rocks and places it in front of Charles.

ZELDA (CONTD)It scared me.

(pause)Ive been having... some strange visionsduring my sleep... and...

Zelda, a bit nervous, lights a cigarette.

ZELDA (CONTD)I thought I was going insane. I evenstarted seeing a psychiatrist.

(pause)And I think I was handling them, but whenI saw you in person, the whole world fellapart.

Zelda takes another puff of her cigarette and calms down.

ZELDA (CONTD)But there you were.

Charles smiles, overcome with a sensation of hope.

CHARLES

I did some digging up of my own. I stilldont know what they mean, but I do knowtheyre called dreams.

A jazz band walks up on stage and plays.

ZELDADreams?!

CHARLESI have also been having these unsettlingdreams.

(pause, disturbed)But recently...

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ZELDA(interrupting)

They havent been--

CHARLES(uncomfortable)

Yes. I know.(pause)

Was that why you got scared?

Zelda nods.

CHARLES (CONTD)But now that were here we should talkabout this. Theres so much I want totell you.

ZELDAWell, you could start by telling me yourname. I am Zelda. Zelda Goldheart.

CHARLES(with a stupid smile)

Off course. Silly me. And here I amjabbering away as if weve known eachother all our lives. Im Charles.

ZELDA

Well, Charles, what do you think of allthis?

EXT. STREET / NIGHT

Charles is walking towards his car, head down in

disappointment.

Virgil is near his car, leaving a note on the windshield.

Charles yells.

CHARLESHey! You!

Startled, Virgil runs, but he is slow.

Charles chases him, quickly catching up, grabs him and

holds him by the collar.

CHARLES (CONTD)You. Old man. What is the meaning ofthis? Why are you following me?

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30/97


Charles stops the car in his street, in front of his

building.

He takes the keys from the ignition and opens the door.

As he steps out, he stops for a moment and sits back in

the car again, closing the door.

He looks confused and undecided.

He leans back and closes his eyes.

INT. BRIGHT WHITE ROOM / DAY (DREAM SEQUENCE)

Charles is standing in the middle of a room completely

surrounded in white light.

In front of him is a FIGURE of a woman in a white dress.

As she moves closer, her shapes become clearer.

Charles then sees that it is Zelda who stands before him.

CHARLESWhere are we?

ZELDA(smiling)

In dream land.

CHARLESIve never had this dream before. What

does it mean?

ZELDAWhatever you want it to mean. It is yourdream.

CHARLESYou mean our dream. Arent you here with

me too?

ZELDAWhy do you want me to be with you so bad?

CHARLESI thought thats what were supposed tobe. Together with each other.

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ZELDACouldnt that be just what you want tobelieve?

CHARLESMaybe its just a fantasy, but its stillbetter than reality. If you never dreamyoull never be more than what you are.

ZELDAAnd you if you dont wake up, dreaming isall youll ever do.

(pause)Its time, Charles. Wake up.


ZELDA (V.O.)(whispering)

Wake up.

Charles wakes up and opens his eyes.

He notices that the rear view mirror is facing up.

The moment he reaches in his hand to re-adjust it, he is

interrupted and startled by a sinister voice coming from

the back seat.

INCOGNITO (O.S.)I wouldnt do that if I were you, Mr.Branch.

Charles tries to turn his head, but for some reason he

cant.

CHARLES(panicking)Whats going on? Who are you?

Charles struggles to turn his neck around.

CHARLES (CONTD)What have you done to me? Why cant I

move?

INCOGNITO (O.S.)Your case with this woman is quite

intriguing.

CHARLESWho are you? What do you want?

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INCOGNITO (O.S.)Let us simply say that I am a studious

when it comes to human emotions, beingthe one you call love the one I find most

intriguing. Hence my interest in yourcase.

CHARLES(still scared, but sarcastic)

Were almost like class buddies, then.Maybe we can compare notes sometime.

INCOGNITO (O.S.)Leave the girl. There is nothing else youcan do for her. But you still have timeto do something for yourself. Eventually

you will forget about this conversation,all of this. We will see to that.

At that moment a car drives by them with the lights on.

For a second Charles can see the reflection of the

Incognito on the windshield glass.

The Incognito wears a dark over coat and hat. His face

seems to be covered by some sort of faceless mask. No

wholes for eyes or mouth. Just a smooth, white mask.

He suddenly finds himself free to move again. He turns

around, but the backseat of the car is empty.

Charles looks at the note given to him by Virgil sitting

on the passenger seat next to him and picks it up.

The message reads: I have the answers you seek. Virgil.

INT. LIBRARY / NIGHT

The door swings open.

Charles walks towards Virgil, organizing and stacking up

books.

VIRGILMr. Branch. You came sooner than I

expected.

CHARLESYou! I need answers. And youre going togive them, now!

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INT. LIBRARY / MOMENTS LATER

Virgil is leaning back on his chair, after Charles

finishes telling his tale.

VIRGILThose kind of dreams are the kind I callimpressions. They are usually remnant,important memories that have beenforgotten by the subject.

CHARLES(sarcastic)

Thats wonderful. The problem is theynever happened.

VIRGILI understand perfectly what you said. Itis you who is not following my logic.When I speak of these moments, I am notreferring to the life youre having, butrather the one you had.

CHARLES(irritated)

Speak straight. What have these visionsto do with me and Zelda? And why all ofthe sudden is everyone chasing me?

VIRGILWhat do you mean by that?

EXT. IN FRONT OF THE ASYLUM / NIGHT

Charles parks his car in front of a psychiatric hospital.

The streets are deserted, in complete silence.

Charles steps out of the car. Virgil exits from the

passenger side.

CHARLESWhy are we here?

VIRGILFrom what you told me, the situationseems more aggravating than Ianticipated. Some things are best tocomprehend when seen rather than simply

told.

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She shuffles through some files in the cabinet, closes

the drawer and sits back down, still moving like a doll.

She lights a cigarette and continues her reading.

Charles and Virgil observe the strange spectacle.

Charles walks towards the Nurse.

The Nurse doesnt pay attention to Charles, as if he

isnt even there.

A moment passes and the Nurse repeats the previous actionin the exact same way.

Amidst the silence Charles hears the sound of

phantasmagoric WHISPERS approaching from the end of the

hall.

Virgil grabs Charles by the arm and pulls him behind a

column.

While the Nurse has her back turned to the corridor FOUR

FIGURES, the INCOGNITOS, swiftly pass behind her.

The whispers are incomprehensible but sound as if they

are speaking to each other.

The figures wear dark clothing; a long black coat with an

oversized collar, almost covering their heads, and black

hats.

They are carrying a gurney with a MAN lying on it, each

one standing in each corner. The Man is lying faced down,

his head completely sunk in the pillow.

The four Figures do not walk. They glide slowly across

the floor.

Inside the booth, the Nurse continues to shuffle through

the files, unaware of what is happening behind her.

35.


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Behind the column, Virgil takes out a small circular

mirror from his pocket and hands it to Charles.

He takes it and positions it in order to see what is

happening.

The four Figures carrying the gurney suddenly stop.

The whispers also come to a halt.

They stand for a few moments, slowly moving their heads

around, looking for something or someone, as if they

sensed Charless presence.

They decide to continue on with their task and vanish

into the blackness of the corridor.

The Nurse then returns to her seat, repeating her

movements, picks up her book and continues reading.

Realizing there is no more danger, Charles, in disbelief,

walks towards the Nurse once more.

CHARLESExcuse me, miss?

She stares at him with a puppet like expression, not

blinking her eyes even once.

NURSEVisiting hours are over.

CHARLESWho were those four men and what werethey doing to that patient?

The Nurse doesnt seem to react to his question.

NURSEVisiting hours are over.

She returns her attention back to her book.

Virgil walks up and stands beside Charles.

VIRGILShe wont be able to answer you.

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Charles immediately runs over to the Man and tries to

release him.

Virgil stops him.

CHARLESWhat are you doing? We need to help him!

VIRGILAnd then what? Drag him out?

CHARLESIf we have to.

VIRGILTheres nothing you can do for him.

CHARLESDo what you want, but Im helping this

man.

VIRGILIf you release him, he will never wakeup.

Charles stops and steps back.

CHARLESWhats to happen to him then?

VIRGILAfter his memories finish beingreplicated for archiving...

Charles walks around the room, staring at the several

monitors.

VIRGIL (CONTD)

... theyll be permanently erased fromhis mind, given new ones, and set out onthis world.

Charles walks up to the console and hits a few keys, but

nothing happens.

VIRGIL (CONTD)Loosing all of his identity and neverknowing about it.

CHARLESThis is why you brought me here? To showme that my memories are in danger?

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VIRGILMemories are all we have in this world.Everything that defines us. Without them

we are no more than that Nurse in the

hall, a puppet programmed for theiramusement.

Charles remains silent for a moment.

CHARLESWhat are they?

EXT. STREET, MORRISSEY BOULEVARD / NIGHT

Charles and Virgil approach a building.

The building looks extremely old, severely unattended.

Charles walks up to the door, a blue, thick wooden door.

Over it is the number 27 in large, oversized golden

metal numbers.

Virgil knocks using the door knocker shaped like a lions

face.

The sound thunders behind the door, followed by a

silence.

After a while they hear the faint sound of footsteps.

The door creeks open a bit, making an old, screeching

sound.

A NAKED YOUNG MAN stands on the other side.

INT. VIRGILS BUILDING / NIGHT

The inside of the building is in even worse conditions.

It is dark. There are almost no lights.

The walls look rotten and decayed, with several holes in

them, allowing Charles to see into the other rooms.

Charles walks carefully looking at the floor, checking

where he steps. A COCKROACH passes by his feet.

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Small piles of trash and garbage bags are scattered

around the corners.

They both walk through a small hallway leading to some

stairs.

CHARLESAnd this someone happens to live in thisdump?

Virgil leads the way, walking slowly and patiently.

Charles follows him closely. He looks a bit annoyed with

the old mans slow pace.

They arrive at the first floor.

Here the apartments dont seem to have doors.

As they pass by one of the apartments, Charles looks

inside.

A couple, the same Young Man from before and a YOUNG

WOMAN, dirty looking and completely naked, wash white

sheets on dirty black water.

They dont pay attention to Charles, as he stares while

passing.

CHARLES (CONTD)So why is all of this happening? What dothey want?

VIRGILOne can only conjecture.

CHARLESYou must have some idea by now.

VIRGILEvery time a new soul arrives into this

world, they are completely stripped oftheir memories.

CHARLES

I got that. Move on.

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KEVINOkay, okay, okay, okay, okay, okay.

Virgil quickly enters and signals to Charles to hurry upand get in.

Charles enters but leaves the door open.

Kevin quickly rushes between them and shuts the door

violently, locking it again.

The room is flooded with a strong light.

It is a circular room, completely filled with mirrors.

In the ceiling is only one lamp, but because of all the

mirrors it lights up the entire room.

CHARLES(whispering to Virgil)

Whats with twitchy? Looks like hebelongs in that mental institution.

VIRGIL

He did.

Kevin walks around Charles, observing him from top to

bottom, much like a curious animal.

Kevin suddenly leaps back from Charles and runs to the

corner scared.

KEVIN(to himself)

They know. They know. They know. Theyknow. They know. Get him out. Get himout. Get him out.

Virgil walks up to him to reassure him.

VIRGILCome, come now. Youre safe in here. Inyour little room. No ones coming for youhere.

Kevin begins to calm down. He looks reassured but still

stares at Charles in suspicion.

CHARLESThat was interesting.

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VIRGILSomething happened during his imprinting.Didnt go as they planned it. His mind isa cobweb of information. Past memories,

new memories and all the knowledge thereis to know about them. Everythingintertwined.

CHARLESIs that why hes like this?

VIRGILWouldnt you? But he can tell you all youneed to know about the Incognitos.

CHARLES

So thats what theyre called? So how doI do this? Do I hit him on the headfirst?

Kevin wonders around the room, always staring at the

mirrors.

CHARLES (CONTD)Hey, hey.

Kevin looks at Charles.

CHARLES (CONTD)(speaking loud and slow)

So who are these Incognito people?

VIRGILHes not slow or deaf.

Kevin looks agitated when hearing that word.

KEVINMasters. Masters. Puppet masters.

CHARLES(sarcastic)

Where have I heard this one before...

KEVINAngels or devils? Angels or devils? Dontknow. Dont know. No one knows. No one.No one.

CHARLESWell, this is helpful.

VIRGILGuardians, Gods, Angels, Demons,Divinities... Call them what you will.They are the keepers of this world.

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They watch us from the shadows, secludedfrom the world. They watch and assess.And if they believe the time has come,they intervene.

CHARLES(sceptical)

Really? And what do they do?

Kevin runs towards Charles and grabs his arms fiercely.

KEVINThey come when youre alone. Youre aloneand they come. Th-th-th-then they swallowyour soul. Your soul. Your soul. Youforget, forget.

Kevin turns around and sits facing the mirrors.

CHARLESWhy do they do this? More importantly,how do they do it?

KEVINThe mind is strong. Th-th-the body is

weak. In reflection lies salvation.

Kevin keeps repeating this over and over again.

Charles looks around the room.

CHARLESIs this how you see them? The mirrors?

VIRGILCorrect. They sneak up behind you, whenyoure not looking. Reflections are theonly defense we have against them.

Kevin opens his arms, looking around the room with a

smile on his face.

KEVIN(laughing hysterical)

They cant f-f-f-f-f-fool me. I see them.I s-s-s-s-s-see them coming.

CHARLESHas any ever been seen?

VIRGILYou probably even crossed paths with oneat some point. A shadow, a reflection.But like I said, were hard wired toignore them.

45.

VIRGIL (CONT'D)

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(pause)But now they have revealed themselves toyou. They have never done that before. Ifeel that there is something out of the

ordinary at work here.

CHARLESHe didnt seem too interested in erasing

my memory.

VIRGILYou dont understand how they function.Even if you ran to the farthest corner ofthis world, they would still find you.

Charles turns around and quickly heads for the door.

VIRGIL (CONTD)Wait. Where are you going?

CHARLESI need to find Zelda. Warn her.

VIRGILYes... The woman... I had not thoughtabout her.

EXT. STREET, IN FRONT OF SLOPPY JOES / NIGHT

Outside Sloppy Joes the streets are completely empty.

Charles is runs to the bar.

INT. SLOPPY JOES / NIGHT

Inside Sloppy Joes most of the lights are now turned

off. The place is empty.

Behind the bar is a RED HAIRED WOMAN. She wears unusual

clothing for a jazz bar, a tight top over a fishnet shirt

and piercings.

Shes cleaning up.

Charles walks up to her with a smile, trying to empathize

with her.

CHARLESHi. Im looking for a woman.

46.

VIRGIL (CONT'D)


48/97

The Red Haired Woman stops what shes doing and stares at

him with cold eyes.

RED HAIRED WOMANYoure barking on the wrong tree there,buddy.

CHARLES(laughing)

No, I meant I was looking for a woman whoworks here. She was here before singing.Her name is Zelda.

The Red Haired Woman looks away and continues to clean

up.

RED HAIRED WOMANAnd who are you supposed to be?

CHARLESIs she here?

RED HAIRED WOMANWhat do you want with her?

CHARLESShes a friend and I need to talk to her.

RED HAIRED WOMANSure you are. Now get the hell out beforeI call someone to throw you out.

CHARLESI really need to talk to her.

RED HAIRED WOMANIm sorry, did I accidently gave away theimpression that I care?

The woman turns to a large and strong looking MAN in the

corner.

RED HAIRED WOMAN (CONTD)(yelling)

Hey, Joe.

Joe looks in their direction and walks over.

JOEIs there a problem here?

CHARLES(nervous)

No, no, sir. No problem. I--

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RED HAIRED WOMAN(interrupting)

This creep is looking for Zelda and wontleave.

Joe looks at Charles with a threatening look.

CHARLESLook, I just need to talk to her. Itsreally important.

Joe grabs Charles and pushes him towards the exit.

JOEDo you have any idea how many losers come

in here saying the same thing?

Joe is about to throw him out the door when Zelda turns

up. Shes wearing a coat and holding a purse.

ZELDACharles? Whats going on here?

JOEThis guy says he knows you.

ZELDAYes. Its okay.

Joe lets him go in disdain.

ZELDA (CONTD)Could you give us a moment please?

Joe walks away, still observing Charles.

CHARLES(trying to be funny)

Wow, big guy that one.(pause)

Was that... your husband?

ZELDA(bluntly)

No. What are you doing here? I thought weagreed never to see each other again. Youcouldnt hold up for one night?

CHARLESCould we go somewhere more private?

INT. SLOPPY JOES / MOMENTS LATER

Both Charles and Zelda are sitting at a table.

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INCOGNITO (O.S.)I advised you to let her go. Now that youhave made her aware of the situation, she

will have to be processed.

CHARLESNo! She didnt believe me. Leave heralone!

INCOGNITO (O.S.)Im afraid we cannot take that chance.Consider this a warning. Your time iscoming.

Charles can move again.

He turns around, but the Incognito is gone.

INT. LIBRARY / NIGHT

Virgil and Charles are back at the library.

Charles is agitated.

VIRGILSo? Did you find her?

CHARLESYes, but we have to go.

VIRGILGo? Go where?

CHARLESThey were watching me. Theyre going totake her. We need to make sure nothinghappens.

Charles walks towards the door.

Virgil holds him back.

VIRGILWhat? Are you insane? Thats walking intothe lions den. Leave her. Its alreadytoo late for her.

CHARLESDont you want answers as well? To find

out why youre in this place forstarters?

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Virgil pauses for a moment. He takes out his pipe and

lights it.

CHARLES (CONTD)For Gods sake, man. This is no time forrelaxing.

VIRGILDo you have a plan?

CHARLESI dont know. Find her and keep her safe.

VIRGILDoesnt sound much of a plan. Besides,

youre forgetting one small detail.

CHARLESWhich is?

VIRGILHow will you find her now?


Virgil smiles.

VIRGIL (CONTD)Not to worry. Follow me.

Virgil leads the way.

Charles follows his lead.

Virgil seems to move much quicker than previously,

without the aid of a cane of any kind.

They walk in a straight line, passing through several

bookshelves, right until the end of the library.

They are now facing one single bookshelf.

VIRGIL (CONTD)Help me push this.

Both Charles and Virgil push the large bookshelf-

Behind it, a green door reveals itself.

Virgil turns the opens it.

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The inside is pitch-black.

Charles walks inside, followed by Virgil.

The door swings shut after they both go in.

INT. CENTRAL ARCHIVES, CORRIDOR / NIGHT

A pitch black corridor with a light at the end.

Charles and Virgil walk towards it.

INT. CENTRAL ARCHIVES, ELEVATOR / NIGHT

The elevator has buttons from top to bottom.

Charles stands there looking at the buttons, trying to

figure out which one to press.

Virgil presses one.

The elevator drops smoothly.

Suddenly the floor of the elevator makes a strange

metallic sound and separates from the rest of the

elevator.

Charles is startled, but when he sees Virgil completely

calm, assumes it is normal.

INT. CENTRAL ARCHIVES / NIGHT

The elevator floor is dropping slowly in a straight line,

as if suspended by invisible wires.

The floor of the elevator sets down on a pillar like

platform with the same dimensions.

They now stand in the middle of a gigantic gallery.

The floor is nowhere to be seen, a bottomless pit.

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CHARLES(still stunned)

I never imagined there could be so manypeople. How did you get access to this

place?

VIRGILI have my ways.

CHARLESSecrecy is the heart of business, is whatthey say.

Virgil, smiling, politely nods.

CHARLES (CONTD)Is this where you found all thatinformation about me?

Virgil approaches the console.

VIRGILYes. This is how I knew you dislike

medical attention.

CHARLESWhat does that have to do with anything?

VIRGILNo matter how mysterious and powerfulthey may be, they are not all-powerful.They require aid to monitor an entire

world. So they program some of us to dotheir work. Doctors, psychiatrists,police officers, fire fighters. All ofthem are subconsciously programmed toreport in any anomalies.

CHARLESSo you figured that it would be safe to

talk to me without me being followed?

Virgil nods.

CHARLES (CONTD)Well, apparently you were wrong.

VIRGILYes, it would seem so. It still eludes mehow they knew about you.

CHARLES

I think Zelda mentioned something aboutseeing a psychiatrist.

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VIRGILThat would explain a lot. But no matter.Now they probably already know about metoo. Might as well just go along with you

and see where this mess takes us.

CHARLESIn a place as big as this one, this willtake forever.

VIRGILFear not, my friend. Do not underestimatethis world. Organization is almost like areligion to them, especially when itcomes to something as big and complex asthis.

Virgil leans on the console, his nose almost touching the

keyboard and types in something.

VIRGIL (CONTD)Now speak her name.

Charles approaches one of the phonograph horns.

CHARLESZelda Goldheart.

A loud clamping sound comes from the bottom of the

platform and it moves sideways.

The platform picks up some speed.

Charles holds on to the protective railings that surround

the platform in order to keep himself from falling.

The platform keeps on moving along the hallway.VIRGIL

(wondering)It is strange though...

CHARLES(holding on to the railings)

What? Moving over a bottomless pit atfifty miles per hour?

VIRGILUsually I have to sneak my way in here.

CHARLESLucky I guess. Good for us.

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VIRGILTo escape this hell, of course.

Charles stares at Virgil in disbelief for a brief moment.

Virgils expression quickly changes to one of irritation.

VIRGIL (CONTD)No matter what you think of it, it isstill my lifes dream.

(pause)Perhaps you are right. Perhaps we cannever escape this place. But still, I

would like to know what could I have donewrong in my life to deserve this...

CHARLESTheres something I still dont get.Since Im already being watched by theseIncognitos, why are you helping me?

VIRGILHonestly I must say I dont know. Isimply fell compelled to aid you for somereason.

Charles looks at him in suspicion as he pulls the car

over.

He picks up the page to double check the address and

prepares to exit the car.

VIRGIL(CONTD)Wait!

EXT. STREET / CONTINUOUS

Charles runs over to the house and knocks on the door,

but no one answers.

Virgil runs after him.

Charles is about to knock again when Virgil stops him.

CHARLESI need to know shes safe.

VIRGILShe may be sleeping. I say we wait.

CHARLESAnd what if shes been already taken?

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VIRGILIf that is the case, then there isnothing we can do.

Charles knocks once more.

VIRGIL (CONTD)(worried)

If shes still in there, what do youthink shell do? From what you told me,her most probable reaction would be tocall the police. And with the police,they come.

Charles remains pensive for a minute.


VIRGILIt is late and you look tired. I willtake the first watch.

CHARLESNo, I prefer to be awake.

A silence grows inside the car.

Charles tries to keep himself awake.

But after a while he cannot keep his eyes open and

eventually falls asleep.

INT. CHARLESS CAR / LATER

Virgil is waking Charles.

Charles suddenly arouses, breathing heavily and with a

look of fear on his face.

VIRGILI take it you were having another dream.You slept through the entire day.

CHARLESWhy didnt you wake me up before?

Virgil points outside, towards Zeldas house.

VIRGILLook.

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Charles looks in the direction Virgil points.

In front of Zeldas home is an AMBULANCE, with red and

blue lights spinning in silence.

Two PARAMEDICS carry a gurney in Zeldas house.

The DRIVER sits at the wheel.

Both Charles and Virgil look at each other and nod

simultaneously, leaving the car.

EXT. STREET, IN FRONT OF ZELDAS HOME / NIGHT

Charles and Virgil quietly leave the car and move towards

the ambulance.

Virgil walks towards the back of the ambulance while

Charles goes for the driver.

Before the ambulance driver can realize it, Charles opens

the door and pulls him out, throwing him to the ground.

Charles unleashes a few punches on the drivers face,

knocking him out.

He then drags his unconscious body behind a dumpster,

concealing him with a few garbage bags.

Afterwards, Charles quickly takes the drivers place in

the ambulance.

A few seconds later, the two paramedics come out of

Zeldas home, carrying her, unconscious, lying in the

gurney.

INT. AMBULANCE, BACK / CONTINUOUS

The doors of the back of the ambulance are open.

The paramedics slide the gurney with Zelda in.

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Charles then opens the back door and carries out Zelda.

He then realizes that the sky is clear and filled with

stars.

He looks at the night sky, admiring it.

VIRGILWhat is it?

CHARLESThe sky. I cant remember the last time Isaw it like this. Its beautiful.

VIRGILYes. Its always different back in thecity, a dark empty sky, constantlyshrouded by a veil of clouds. Out herethey come out to light our path.

CHARLESThe stars are projectors.

VIRGILAnd this world is the stage. They are theonly real thing in this illusive world.

Virgil approaches the door and knocks.

The door opens.

INT. ENOCHS HOME, ENTRANCE / NIGHT

Apart from the exterior appearance of the building, the

walls are straight, covered with yellow wallpaper.

There are frames of broken mirrors and spaces where other

mirrors appear to be missing.

ENOCH, Virgils brother, stares first at him and next

diverts all of his attention to Zelda, who Charless

carries with tenderness.

Enoch has the wrinkled face and the sad eyes of a tired,

old man.

VIRGIL(hugging Enoch)

My brother. It has been too long.

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Virgil leads the way, excited.

INT. ENOCHS HOME / NIGHT

Charles finds himself inside yet another room dressed in

mirrors, although all of them broken.

Some seem to have come from a carnival fair, distorting

all image reflected on them.

Zelda is lying on a couch.

On the opposite corner of the room is another couch,

where Enoch sits.

He looks intrigued.

Virgil stands in front of him, as he had just finished

telling a fantastic and exciting tale.

Charles simple walks around the room, watching his own

split reflections on the mirrors.

ENOCHThat is quite an amazing tale. And I mustsay, I am relived.

VIRGILWhat do you mean, Enoch?

ENOCHFor now there is no more reason for me tokeep in exile.

VIRGILI dont understand what you say, brother.

ENOCHThe only reason I had not yet submittedto them was because of you.

(pause)I can let them finally come for me.

VIRGILHave you lost your mind? We are so close.We can finally accomplish what all our

generations before us could not.

ENOCHEscape Hell?

(pause)

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Look at yourselves. An old librarian, anunconscious woman and a clueless man.

VIRGIL

That is why we are here. To conjecture aplan.

CHARLES(interrupting)

Virgil, your brother seems to have moresense than you. I never expected toescape this place. All I want is to saveZelda and live with her for the rest ofour lives.

ENOCH

(to Virgil)Your ambition to find a way out of thisplace has always taken the best of you.

VIRGIL(to Charles)

Do you know for a fact that this is whatthis woman wants? You have said soyourself that she did not show the leastof interest. It will not be after yourescuing her that she will gracefullyfall into your arms.

CHARLES(defensive)

Still sounds more sensible than escape.

ENOCHThe boy is right. It is best that weallow ourselves to be captured.

CHARLES(trying to interrupt)

Hold on a minute--

VIRGIL(desperate)

You cannot do this. You must not do this.Please, I beg of you. I do not wish to bealone on this.

ENOCHLook at us, Virgil. At our lives. We havebeen living a lie, constantly lookingover our shoulder. I cant stand it anylonger.

CHARLESI didnt say anything about gettingcaught.

64.

ENOCH (CONT'D)


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INT. CHARLESS CAR, DESERT / NIGHT

Charless car is driving across a deserted landscape with

large slow spinning wind generators.

Virgil is silent. A sadness has stricken him.

ENOCH (V.O.)There is a small village, inhabited by,let us call them, fallen angels.Incognitos who defected from theirstatus, choosing to live in peace andexile. Perhaps you can find your answersthere.

VIRGIL (V.O.)And you, my brother? Is there anythingyou wish to know from them?

ENOCH (V.O.)I already have the answer I need. Now go.The Incognitos will take care of me.

EXT. EXILED INCOGNITOS VILLAGE / NIGHT

Charles and Virgil stand near the car. The car lights are

on.

In front of them is a single avenue of simple rustic

houses made wood, much like a small old western town.

The village is dark. No lights anywhere, with the

exception of a single fire place at the end.

Charles fearlessly walks forward. Virgil follows, looking

in every direction.

As they pass by, FIGURES lurk up from the dark to the

glassless windows holding a lit candle.

They stare at them with a straight, motionless face and

turn their heads as Charles and Virgil pass.

The figures walk back into the dark after they pass by.

As Charles and Virgil walk towards the fire, they hear a

soft melody of an acoustic guitar.

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Near the fire place is a MAN, pale looking: one of the

EXILED INCOGNITOS.

Wearing simple clothing and bear footed, he gently plays

the guitar.

The Exiled Incognito continues to play without lifting

his head from the guitar as they approach. His eyes are

covered with a black cloth.

EXILED INCOGNITOWhy do you always seek the truth ofeverything?

Virgil stands behind Charles, intimidated.

CHARLESIts our nature.

EXILED INCOGNITOCuriosity is a human flaw, a disease

without a cure.

CHARLESCuriosity is life. And life was meant tobe lived.

EXILED INCOGNITOAnd how can you truly live with a truththat you wished you had not known in thefirst place? The mere existence of thiscommunity should suffice to prove howpainful our truth can be. But yet, you

mortals still seek us out.

CHARLESWhy do you chose to exile yourselves?

EXILED INCOGNITOIts like throwing yourself off a cliff.Its not the rock that awaits you, butdeath.

CHARLESWe have a woman in one of those comas, or

whatever it is you do to people.

EXILED INCOGNITOIs that why you have come? In the faint

hope that we might do something about it?

Charles looks at the Incognito, expecting an answer.

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EXILED INCOGNITO (CONTD)You have come in vain. We were strippedfrom that power when we chose exile.

(pause)

For that you will need to face yourfears. When you no longer fear theothers, you will be able to meet themface to face.

CHARLESBut certainly, if you gave us someguidance or perhaps--

EXILED INCOGNITO(interrupting)

If you are here it is only because you

already know everything, or believe youknow, when in fact you know nothing andyet already too much.

Two other EXILES pass them by carrying plates covered

with white cloths, and go inside a house next to them.

The house, just like all others, has no doors or glass on

the windows.

The Exiled Incognito stands up and politely pointstowards the house.

EXILED INCOGNITO (CONTD)But enough analytical conjugations fornow. You must be tired and hungry.

INT. EXILED INCOGNITOS HOUSE / NIGHT

The inside of the house is extremely minimalistic.

There is only one wooden table with a few chairs

surrounding it in the middle of the room.

On the table is a collection of square shaped plates with

several types of raw meat on them.

The table has, however a strange shape, a random

combination of curves and straight lines.

Both Exiles sit at their respective chairs, straight and

motionless.

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CHARLESListen to him, Virgil. You still havethat stupid idea on your head.

VIRGILJust because theyre stuck here, doesnt

mean we cant escape.

EXILED INCOGNITODoes the truth not bother you?

VIRGILOf course. Everything is false andartificial, orchestrated and staged.

EXILED INCOGNITO

If that is the case, it is not for us toknow.(looks at Charles)

Neither is the responsibility tointervene. Not anymore.

Charles stands up.

CHARLESSo there is nothing you will do about the

woman?

EXILED INCOGNITOFace the others, if you can, and your

most heartened desires will be granted.

Charles walks away from the table, towards the exit.

EXILED INCOGNITO (CONTD)Though the time will come when adifficult decision will have to be madefrom your part.

Virgil follows.


Charles enters the driver side of the car.

Virgil sits at the passenger seat.

Charles turns around and looks at the back seat.

Zelda is still peacefully sleeping.

CHARLESSo what are we to do now?

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VIRGILYou are asking me? We have long passed mylimitations. You now know as much as Ido. I have no idea where to go from here.

CHARLES(staring at Zelda)

Then its time we step up.

Charles starts the engine.

EXT. OUTSKIRTS / NIGHT

Charless car is speeding towards the city.

He passes by a POLICE CAR parked near the road.

The police car starts its siren and chases him.

Charles pulls his car over.

INT. CHARLESS CAR / CONTINUOUS

Two POLICE OFFICERS exit the car, a MAN and a WOMAN.

They walk towards the car.

Each one takes one side of the car.

The male Officer leans against the car, holding an

enforcement bat and threatningly tapping it on his other

hand.

Virgil looks at him for a second.

The male Officer looks back at him with a mean yellow

smile.

The female Police Officer approaches the driver side.

VIRGIL(lowering his voice)

Are you crazy? Well be caught!

CHARLESRelax and follow my lead.

The Police Officer is now outside Charless window.

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She has short blonde hair and is wearing a black leather

uniform with dark sun glasses and black leather gloves.

The male Officer dresses similarly.

She knocks on the window.

Charles rolls down the window with a silly smile on his

face.

CHARLES (CONTD)Evenin officer. What seems to be thetrouble?

POLICE OFFICERDont get spiffy with me. You know very

well what the problem is.(holding out her hand)

Documents.

Charles reaches for an old shoe box under his seat and

takes his documents off of it.

He hands them over to the female Officer, who yanks them

off his hand.

While she is browsing through the documents, she notices

Zelda lying on the back seat.

POLICE OFFICER (CONTD)Whats wrong with your lady friend?

CHARLESA little bit too much to drink. You knowhow women are...

She gives him a cold, threatening look.

Charles draws an idiotic smile.

POLICE OFFICERThere dont seem to be many bars from

where youre coming.

CHARLESMore than you imagine. You should take a

look around there, when youre off dutythat is.

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POLICE OFFICERYou dont look too good either. Are yousure you should be driving?

CHARLESI didnt have that much to drink.

The Police Officer stares at him silent and seriously.

POLICE OFFICERI see... Im gonna let you off with a

warning. Theres a motel up front. Stopthere for the rest of the night.

Charles, with a smirk smile, salutes her.

CHARLESWill do, maam.

She hands him his documents and walks back to the police

car.

The other Officer does the same.

VIRGILNow I see. We show them where we are and

let them come for us.

CHARLESTook your long enough.

VIRGILDo you think it will work?

CHARLESOnly one way to find out.

EXT. ROAD MOTEL PARKING LOT / NIGHT

Charless car pulls over in front of an old road motel.

The motel appears to be in extremely bad shape, falling

apart.

INT. MOTEL RECEPTION / NIGHT

The door swings open. A bell rings.

Charles and Virgil walk in.

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Charles is holding Zelda around his neck, her feet

dragging through the floor as they walk towards the

reception desk.

The room is made of wood, as is the reception desk, all

stained and rotten.

Behind the desk is a MAN reading a newspaper.

The Receptionist is unshaved and dirty looking.

He does not lift his eyes from the paper as Charles,

Zelda and Virgil walk in.

Tired and annoyed, Charles rings on the bell on top of

the desk once, twice, three times.

The Receptionist slowly looks up from the paper with an

empty, zombie like expression, void of any emotion.

RECEPTIONIST(grumpy)

What?

CHARLESWed like two rooms please.

The Receptionist hands them a sign in book and a pen.

Charles signs his own name.

Virgil, however, signs a false name.

The Receptionist reaches for two of the keys hanged

behind him, dropping them on the desk.

Charles picks them up and they walk away.

VIRGIL(whispering)

Why did you sign your real name? Theyllfind us right away.

CHARLES

Thats the idea, isnt it?

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INT. MOTEL CORRIDOR / NIGHT

Charles and Virgil stand in front of two doors, Charles

still dragging Zelda around.

The corridor is dark, ill-lightened. The wallpaper is

ancient and degraded as well. Some pieces of it are

ripped off.

Charles hands Virgil one of the keys.

CHARLESYou take that room, well be in this one.

Virgil takes the little round mirror from his pocket and

gives it to Charles.

VIRGILHere, take it. It may come in handy.

Charles takes the mirror.

INT. MOTEL ROOM / NIGHT

Charles lowers Zelda on the bed gently.

The room appearance isnt too different from the rest of

the motel.

Theres a small TV in front of the bed, which Charles

tries to switch on, but doesnt seem to work.

Tired, he sits back on a couch next to the bed.

Catching up on his breath, he looks at Zelda, admiring

her beauty as she sleeps, until he slowly closes his

eyes, only to fall asleep himself.

FADE TO BLACK.

RANDOM, FAST PASSED FLASHES OF CHARLESS PREVIOUS DREAMS.

CHARLES AND ZELDA ON THE GREEN FIELD.

CHARLES BEHIND THE WHEEL OF THE CAR, DRIVING ACROSS AGREEN LANDSCAPE.

A TRUCK CRASHING INTO THE CAR AT HIGH SPEED.

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With effort he turns his head back.

He tries harder and breaks free from his invisible

bindings.

Raging, he runs towards the Incognitos, ready to attack.

Incognito #1 faces Charles.

Charles is stopped abruptly and levitated.

The Incognito moves his head left and Charles is slammed

against the wall.

CHARLESYou will not take her.

The Incognito moves his head right and Charles is again

slammed into the other side of the room.

Charles is badly beaten and weak.

The Incognito slams him into the ground and Charles falls

unconscious.

FADE TO BLACK.

INT. MOTEL ROOM / MOMENTS LATER

Charles opens his eyes.

He looks disoriented. When he realizes what has happened,

he looks around for Zelda and the Incognitos, but themotel is empty and silent.

INT. MOTEL CORRIDOR / CONTINUOUS

As he runs pass Virgils room, the door is open and the

place is a wreck.

Virgil is gone.

EXT. OUTSKIRTS / NIGHT

Charless car is speeding straight back into town.

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EXT. HOSPITAL / NIGHT

Charles looks up, astonished with the magnitude of the

gigantic building.

The hospital is made of white stone, with large pillars

supporting it. It has a strange, German expressionism

appearance.

Charles approaches the large double doors.

INT. HOSPITAL ENTRANCE / NIGHT

Charles walks in through the large doors leading to an

enormous hallway. A huge gallery made of white stone. The

ceiling is supported by large stone pillars.

Around the room there are PEOPLE walking around in

hospital robes. Some yawn, laugh, cry. Others simply sit

in chairs rocking themselves.

There isnt any medical staff around.

Charles passes by them, towards a rectangular vertical

billboard in the center of the gallery.

The billboard has a drawing of a human figure divided

into sections. Each section represents a floor of the

hospital and the part of the human body that floor is

responsible for treating.

Charles focuses his attention to the top floor,

represented by the human head.

He looks around and sees an elevator located at one end

of the room.

INT. HOSPITAL ELEVATOR / LATER

The elevators interior is completely made of metal.Charles sees another, smaller, representation of the

human body, where the button panel should be.

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He presses on the head, that lights up, and the elevator

moves.

INT. HOSPITAL HALLWAY / NIGHT

The elevator door opens. Charles exits and finds himself

in another hallway, similar to the one before. This one

is completely empty and has an endless corridor connected

to it.

Charles hears distant moans coming from the corridor.

INT. 1ST HOSPITAL CORRIDOR / NIGHT

There are several rooms without doors along the corridor.

The ceiling has some lights, most of them turned off and

a few flicker.

As Charles passes the rooms, he sees patients lying in

beds with bandages covering their heads and faces

completely.

He is bothered by the smell in the air.

The corridor finally ends with another set of heavy

looking double doors.

On them there is an oversized warning reading No

trespassing. Authorized personnel only.

INT. 2ND CORRIDOR / NIGHT

Once Charles passes the doors, they swing shut in a loud

raucous that echoes throughout the corridor.

This corridor is identical to the previous one, with the

exception that the rooms now have doors.

Absolute silence.

The moans are clear now. They seem to come from one of

the doors.

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Charles tries to open the door, but it wont open, so he

breaks it down.

INT. HOSPITAL MIRROR ROOM / NIGHT

Charles enters the room and finds himself inside a room

with mirrors, each one about the size of a person.

There seems to be SILHOUETTES moving inside of them.

Some stand still, others try to smash the glass down.

Suddenly, Charles hears Zeldas voice.

ZELDA (O.S.)Charles, help me.

He approaches one of the mirrors and sees that behind it

is Zelda.

She moves her lips, but no sound comes out.

From another mirror, Charles hears another familiarvoice.

MARY (O.S.)Save me.

Next to Zeldas mirror is another where his wife, Mary,

is locked inside.

Charles is confused. Doesnt know which way to turn to.

They keep repeating the same thing over and over again.

Charles picks up a chair and hits Zeldas mirror with it,

trying to break it down.

The image from Marys mirror fades away until it

disappears.

Charles continues hitting the mirror, but the mirror

wont budge.

Tired, he drops the chair.

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On one of the typing machines he sees his name and

Zeldas being typed in, but the ink breaks down and slips

into the jar before he has the chance to read what iswritten on it.


Right after leaving the room, Charles hears sounds of

someone closing in from the end of corridor and goes back

in.

INT. TYPEWRITER ROOM / NIGHT

Charles approaches one of the Patients and removes his

white coat. The Patient offers no resistance, and

continues to type as Charles does this.


The sounds are near.

Charles quickly lies on an empty movable bed, face turned

to the wall, just like all the other patients.

The sounds, very near now, suddenly stop.

An uncomfortable silence falls over the corridor.

Charles, nervous, quietly reaches for the small round

mirror in his pocket.

He adjusts it so it can reflect whatever is going on

behind him.

In the reflection he sees TWO TALL FIGURES, INCOGNITOS,

wearing long white coats with very long collars covering

their heads and blue rubber gloves, standing near one of

the Patients.

One is holding a big glass jar with an ink like black

liquid in it.

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The other Incognito leans over the patient and drops some

of the black liquid into his ear.

After doing this, both of them silently leave, slowly

gliding across the floor.

A few seconds pass and the Incognitos are gone.

He jumps out of the bed and approaches the Patient they

where attending to.

His eyes are wide open. Charles waves his hands, but the

Patient still slumbers.

He is then startled by a voice behind him.

ADAM (O.S.)Dont waste your time. He wont remembera thing in a couple of hours.

He turns around and sees a scrawny looking man, ADAM,

wearing the same hospital clothes, sitting up on his bed.

Adam looks familiar to Charles.

CHARLESDont I know you?

ADAMI dunno. Do you?

CHARLESYoure that drunk.

ADAM(confused)I am?

CHARLES(surprised)

Shouldnt you be asleep?

ADAM(confused)

I think so, but it seems my medication isdoing the opposite of what it should bedoing.

CHARLESDo you remember how you got here?

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Adam falls silent for a moment, trying to remember.

ADAM

(confused)I... I dont know... I cant remember.(pause)

But I know you have to follow me now.

Adam slips into a trance for a second.

ADAM (CONTD)What was I saying?

CHARLES

You were saying I had to follow you.

ADAMRight... Right...

Adam suddenly swings from a passive stance to a more

dynamic one.

ADAM (CONTD)Quickly, quickly. Come with me.

INT. HOSPITAL HALLWAY / NIGHT

Adam takes Charles back to the hallway, towards the

elevator.

Adam walks with a fast pace and Charles follows him,

carefully looking in all directions.

They reach the elevator and Adam presses the button once,

but the door doesnt open.

Adam presses the button again and again and again, each

time more furiously that at some point he is banging his

hand on the button.

Charles grabs his arm.

CHARLESCalm... down.

Adam calms down.

ADAMBy the way, do you know where we are?

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CHARLESWhat kind of question is that? This is ahospital, isnt it?

ADAMNo, no, not that.

CHARLESWhat then?

ADAMThat this is Hell. That were in Hell.

CHARLES(trying to be funny)

I know what you mean. This place... its

pretty intimidating.

Adam laughs desperately and takes his hands to his mouth,

trying to silence his laughter.

ADAM(smiling)

No, no. I mean this whole place. Thiswhole reality... is Hell.

CHARLES(more serious)

Why do you say that?

ADAM(confused)

What?

CHARLES(slightly irritated)

That were in Hell.

ADAMOh. Yes, yes. Its this place. Its a

pretty intimidating, isnt it?

Charles looks annoyed.

The elevator finally arrives and the doors open wide.

CHARLESIts about time --

Adam goes in the elevator, signaling to Charles.

ADAMCome, come. You must follow me now.

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INT. HOSPITAL ELEVATOR / NIGHT

As soon as Charles and Adam get in the elevator, Adam

furiously grabs the button panel, trying to break it

open.

He removes the panel and looks at it closely, as if

looking for something.

ADAM(without moving his eyes fromthe panel)

Behind us. Theyre always behind us.

Startled, Charles looks behind him, but no one else is

there.

It is then that Charles realizes Adam is talking about

the panel.

Adam flips the panel and behind it there is a

representation of another human body, this one seen from

behind.

Adam presses on the back of the figure and the elevator

suddenly begins to descend rapidly.

After a long drop, the elevator comes to a slow halt and

the doors open.

Right when they were about to leave the elevator, Adam

falls to the ground, unconscious.

After a few seconds Adam comes to.

CHARLESAre you alright?

ADAM(dizzy, confused)

Where am I? What am I doing here?

CHARLESI was following you. You were taking me

somewhere.

ADAMWhat?... Where?

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CHARLESYou told me to follow you. Dont youremember?

ADAM(getting up)

You must be mistaken. All I remember isbeing at the hospital entrance with apsychotic breakdown.

(pause)I dont know how I got in this elevator.

CHARLESOkay, listen. Go back up and find anurse. Forget you ever saw me.

Adam, still confused, nods.

INT. 3RD CORRIDOR / NIGHT

As the elevator door closes, Charles finds himself in a

third corridor, this one different from all others.

The corridor is tight and dark, claustrophobic. The walls

are green and seem to be falling over Charles.

Charles reaches the end of the corridor. A huge iron

double door stands in his path.

INT. LECTURE ROOM / NIGHT

As Charles pushes open the gigantic metallic doors, a

great room is revealed to him.

It is a circular room with an operating table in themiddle. Around it, dozens of strange chairs perfectly

aligned, much like a medicine lecture room.

In each seat is a Incognito, watching the procedure

taking place.

The Incognitos sitting around the room are wearing long

white lab coats with long collars.

Their faces can now be seen.

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Each one seems to have a facial apparatus attached to

their heads, an oversized circular magnifying glass over

one of their eyes, giving them the unique characteristicsfound only among those of their cast, the WATCHERS.

On the table, in the center of the room, Charles sees

Zelda, still unconscious, with a white sheet over her

body.

Around her are three other Incognitos, performing some

sort of procedure.

These Incognitos belong to a different cast, the

SPEAKERS. They are wearing the same outfit as all the

others, however the facial apparatus is different: all

three have a rectangular shaped magnifying glass over

their mouths.

Right after Charles opens the door, all Watchers

simultaneously turn their eyes towards him, staring at

him with their intimidating oversized eyes distorted bythe magnifying glasses.

A second later, the Speaker who stands in the middle

raises his head and turns around, facing Charles.

1ST SPEAKERAh... Mr. Branch. Perfect timing asusual. We were just discussing your case.Please... do come in.

Charles carefully walks in, looking in all directions.

Yet, the Watchers simply follow him with their eyes as he

comes forth.

CHARLESYouve been expecting me?

1ST SPEAKERIndeed we have, Mr. Branch.

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CHARLES(smiling)

I think you didnt anticipate me walkingthrough this door, no more than you

anticipated me evading you in the firstplace.

2ND SPEAKERBread crumbs, Mr. Branch. Bread crumbs tolead you where you were suppose to be.

CHARLESYoure saying all of this has beenstaged? For what purpose? Why not simplytake me, just like all the others?

1ST SPEAKERWe needed you to come to us of your ownfree will.

3RD SPEAKERAnd you have done so, according to ourown expectations.

1ST SPEAKERBut tell us, Mr. Branch. Why did youcome?

CHARLESI thought you might have known that bynow. All knowing as you claim to be --

2ND SPEAKERWe are intimately familiar with humanconditioning and behavior.

CHARLESThen why do you need me to answer that

what you already know?

1ST SPEAKER

Indulge us. Could it have been because ofthe woman?


1ST SPEAKER (CONTD)Still, you do not know her. You believeyou do, but you do not. You have no

memory, no recollection of her. And yetyou still came. Is it possible you couldhave loved someone you do not know?

CHARLESI came to save her from you.

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1ST SPEAKERAnd what lead you to believe that she

would require your help? Have you everconsidered that none of you would have

been in this situation, should you nothave been so persistent in your quest?

CHARLESEnough. I want you to release her.

2ND SPEAKERRegardless of what you may think orbelieve, Mr. Branch, we do not do thisunless it was not necessary.

CHARLES

Kidnapping people, making them disappearand erasing their memories. You call thisnecessary?

1ST SPEAKERBut of course. Your humanconscientiousness cannot maintain itsbalance and integrity once it hasuncovered certain knowledge. Although itthrives on curiosity, sometimes, the mindcomes to realize truths that it cannotunderstand or comprehend.

CHARLESAnd what knowledge do you believe I haveuncovered?

1ST SPEAKERPer say, you know nothing. But still youbelieve you do. And what you know, orbelieve you know, was enough knowledge toturn the world you knew inside out and itno longer allows you to live your lifepeacefully.

CHARLESTo live like a zombie, mindless,oblivious of what goes on, is that whatyou call peaceful living?

3RD SPEAKERCertainly, Mr. Branch. You of all peopleshould have realized that by now.

CHARLESI must admit that ever since I found outabout you, that you control my life, I

havent had a moments rest.

2ND SPEAKERWe are not symphony maestros. You arefree to live your own lives.

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92/97

We only provide our assistance to thosewho require it.

CHARLES

So is the human being so evil that ittakes only his own existence to justifythe creation of a hell?

1ST SPEAKERNo, Mr. Branch. The human being is onlypessimistic enough to believe in suchplace.

Charles walks closer to the Incognitos and the table

where Zelda is lying.

The three Speakers look at each other for a moment,

turning their attention back to Charles afterwards.

1ST SPEAKER (CONTD)Do you see that door there, Mr. Branch?

The 1st Speaker points to a door located on the other

side of the room, opposite to the large metal doors. It

is a normal wooden door.

2ND SPEAKERBeyond that door is the opposite of thisreality.

1ST SPEAKERWould you like to see, Mr. Branch?

The 1st Speaker signals to Charles with his hand for him

to go on ahead.

Charles walks towards the door. The three Speakers followhim closely.

When they reach the wooden door, Charles reaches for the

knob, but seems reluctant.

2ND SPEAKEROpen it, Mr. Branch.

Charles turns the knob and opens the door, which

screeches as it opens.

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93/97

INT. OBLIVION / NIGHT

The door opens wide and Charles sees nothing more than an

immense darkness, an ultimate emptiness. The only

existing light comes through the door from the lecture

room.

He walks in, not going too far from the door. The three

Speakers stay behind, observing.

No sound is heard. An immense silence overwhelms him. Not

the sound of his breath or his footsteps. He tries to

talk, but he does not hear himself.

CHARLES(moving his lips)

Hello?(moving his lips, yelling)

Hello?!

Charles screams, but still no sound comes from his mouth.

He becomes petrified with such deep vacuum, and walking

backwards, returns to the lecture room.

INT. LECTURE ROOM / NIGHT

Charles has an expression of both shock and surprise.

T