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Dreamscape, Part 1

Posted on May 26, 2010 at 3:41 PM

INT.  A BUILDING.  TRENT is sitting at a table.  JEWEL enters and walks over to his table; she sits and proceeds to scold him.


JEWEL

Don’t run.  Just face it.


TRENT

Right.


 

Suddenly the room changes, the lighting grows very dim and dark, a blue glow overtakes the room.  We know something is afoot, but not sure of what to expect.  TRENT begins to panic.


 

JEWEL

Stay calm.  Focus.


 

We hear a big noise on one side of the room, TRENT turns and looks into the darkness from which the noise came, nothing to see.  He turns around to see a gun in his face.  THE MAN stands over the table with a gun in his hand and pointed in TRENT’S face.  THE MAN has no visible facial features and when he speaks the voice is masked.  CAMERA does a pan around and we are no longer in the room with the table and chairs, instead we are in a hallway.  THE MAN still pointing gun in TRENT’S face, JEWEL reaches to clinch onto TRENT’S arm, he pulls back and runs.  This motion pulls JEWEL into the line of fire, she gives THE MAN a shove, he falls back with gun.  CLOSE-UP on TRENT as he is running down hall, in background we see JEWEL’S struggle, she breaks away and begins to run, THE MAN leaps to his feet.  JEWEL runs towards the wall and vanishes into it.  THE MAN then turns his attention to TRENT at the end of the hall, TRENT turns corner and we see THE MAN no more.  


 

ANOTHER HALLWAY, TRENT comes running into it, looks around, sees a MEN’S RESTROOM and goes through the door.  Inside the restroom, TRENT makes sure the door shuts, he then makes his way to the stall at the far end of the room.  He enters the stall, locks it, and positions himself so that his back is against the wall and his feet are jammed against the door.


TRENT

(whispers to self)  This isn’t real.  It’s just a dream.  Just a dream.  Just a dream.


 

We hear the sound of the restroom door swinging open and footfalls entering.  TRENT stops making a sound, we then hear the footfalls walk up to the first stall and the door swings open, startling TRENT.  The next door swings open, banging against the stall wall.  TRENT looks down and sees THE MAN’S feet walk up on the outside of his stall.  Slight pause, then bam!  The door gets smacked hard, it barely budges because TRENT has it jammed.  TRENT is now freaking out.  THE MAN hits the door again, hard.  TRENT’S legs are getting hit hard, so he’s in pain every time this happens.  THE MAN waits for a moment, his feet still just on the other side of the door.  The tension continues building for TRENT.  Suddenly, THE MAN appears inside the stall in between the legs of TRENT, gun aimed at his forehead.


 

TRENT

(pounding his temples with his hands)  Wake up, wake up, wake up!


THE MAN

You are mine.


TRENT

(pounding temples insanely)  Wake up!  WAKE UP!


 

THE MAN starts to pull trigger, TRENT’S left foot slips off the door thus sending his body spiraling towards the floor face first.  QUICK CUT.


 

INT.  TRENT’S BEDROOM, NIGHT.  TRENT is in the motion of falling off the left side of his bed, face first.  He lands on the floor.  He immediately comes to and reaches out in front of himself.


 

TRENT

No!  Give me that!  (grabs his phone off his nightstand, holding it like a gun)  Yeah, punk, yeah!  (looks at phone, in aggravation he throws it across the bed)


 

TRENT yells in frustration, the CAMERA quickly pans left as he is yelling and pounding his fists down.  FADE TO BLACK.


 

WHITE LETTERS appear on screen reading, “THREE MONTHS AGO.”  FADE UP FROM BLACK.


 

INT.  A RESTAURANT, DAYTIME.  TRENT walks over and sits down at a table with his food.  He starts to eat, looks up and sees JEWEL sitting by herself at a table.  TRENT gets a very disgruntled look on his face and begins to stare in disbelief.  FLASHBACK to a short sequence of JEWEL from THE DREAM.  


 

BACK TO PRESENT.  JEWEL finishes eating, then gets up and leaves.  He watches her go, then looks at the food in his hand and drops it.  He’s a little too distraught to eat now.  FADE TO BLACK.


 

TRENT VOICE OVER

You remember that dream I told you about?


 

FADE UP FROM BLACK.


 

INT.  TRENT’S LIVING ROOM.  JET sits on the edge of the couch, TRENT in a recliner.  


TRENT

You know, the one with the girl and the… the man… the man with no face.


JET

Yeah, what about.it?


TRENT

Jet, you’re a good friend and… being a psychiatrist, from that stand point, I want to ask you something.


 

JET

Okay, Trent.


TRENT

I saw the girl today.


JET

I don’t get it.


TRENT

The girl in the dream, I saw her today.  But, I’d never seen her before.


JET

Sure ya had.  Dreams are made up of what’s up there.  (taps his head and points to TRENT)  You probably met her in passing and her image got imbedded away up in your brain and you just don’t remember.  That’s it, that’s all.


 

TRENT

(shakes head)  No, I’d never seen her before.  Never.


JET

Trent.  You’ve been having this nightmare for years, you just want an explanation.  I understand, I use to have reoccurring nightmares and I hated it.  But the fact is, there is no explanation.  It just does what it does and then eventually it will go away of its own free will.  It’s like when you break up with someone; you want to forget how good of a kisser they were.  But, no matter how hard you try to forget, you remember, then eventually, time passes and you forget.  You move on.  You definitely don’t wait around for an explanation of why it was so good.  You’d never get over it that way.


TRENT

(thinks)  It’s not the same.


 

FADE TO BLACK.


 

INT.  THE RESTAURANT.  TRENT ENTERS and sits to eat.  A MONTAGE of sequences of TRENT eating at the restaurant, day after day.  He is hoping to run into JEWEL again.  Finally, MALACHI, an older gentleman comes over to TRENT’S table and sits.


 

TRENT

Can I help you?


 

MALACHI

(very honestly)  Yes. (beat)  I am a friend of the woman from your dreams.  


 

TRENT turns and looks in disbelief.


 

MALACHI

(pulls a card out of his pocket and writes on the back)  Her name is Jewel.  This is her address.  (hands TRENT the card)  Come by tonight, seven o’clock, we’ll have a chat.  The three of us.   (stands and walks away)


 

TRENT sits in disbelief as MALACHI walks out.  He picks up his coffee and takes a sip.  FADE TO BLACK.


 

FADE UP FROM BLACK.  


 

INT.  TRENT’S LIVING ROOM, THAT NIGHT.  TRENT is sitting in his recliner, looking at the address on the card.  He flips it over and it reads, “MALACHI JONES:  DREAM ANALYST.”  


 

TRENT

You’ll get mugged.  (thinks)  Yep. (thinks, then pulls his wallet out and begins to take out cash, credit cards and social security card)  Well, they won’t get anything.


 

TRENT finishes, then puts wallet back in his pocket and walks off-camera.  FADE TO BLACK.

 

INT.  APARTMENT HALLWAY.  TRENT is walking down hall, his cell phone rings, he stops and answers it.


 

 

TRENT

Hey.


JET

(on phone)  Where are you?


TRENT

Out.


JET

No joke.  I’m at your place.


TRENT

Oh, is it Friday night?


 

THE DOOR TRENT was going to opens and out steps JEWEL, she motions for TRENT to come here.


 

JET

Umm… yeah.


TRENT

Sorry, Jet, something came up.  I gotta go.


JET

Trent—


 

TRENT hangs up on JET and walks up to JEWEL.  JEWEL glares at TRENT, not amused by his presence.


 

JEWEL

Get inside.


 

TRENT walks through the door.  He walks into the apartment, CAMERA follows TRENT into the apartment, PANS left to view MALACHI sitting down, he rises at the sight of TRENT and shakes his hand and sits back down.


 

MALACHI

I was afraid you wouldn’t come.


TRENT

Well, I did.  What now?


 

JEWEL enters and sits down.  TRENT is still standing.


 

JEWEL

Sit.


 

THEY all sits in awkward silence.  JEWEL and MALACHI are watching TRENT, TRENT passes looks from one to the other.  JEWEL looks with disgust, MALACHI with a gleam.


 

MALACHI

The day has come.


TRENT

What, T.G.I.F.?


JEWEL

Don’t get your hopes, Malachi.


MALACHI

Trent, this is Jewel… she’s a little angry with you at the moment.


TRENT

(turns and looks at JEWEL)  What did I ever do to you?  I don’t even know you.


 

JEWEL

You never do anything and it is that which I hate about you.  Rotten coward.


TRENT

That was fun.  (to MALACHI)  What’s up?  Why am I here?


MALACHI

Why did you come?


TRENT

What do you want with me?


MALACHI

Surely, you remember Jewel from your dream?  Aren’t you curious?  Don’t you want an explanation?


TRENT

(pause)  Yes.


 

QUICK CUT.


 

INT.  A PUBLIC BATHROOM.  TRENT enters and goes into a stall.


 

MALACHI VOICE OVER

From just babes, we are told that dreams are surreal.  That they are just knowledge, memories, emotions, and/or desires tucked away in the brain coming out to play in our unconscious.


 

CLOSE-UP of TRENT’S face.  The sound of the door opening and shortly after this we hear squeaks.  TRENT listens.


 

CUT to CLOSE-UP of HAND wiping the mirror with a rag, this is what causes the squeaking.  


 

MALACHI

You are here, because you want an explanation.  Trent, the fact is that when we dream, then are we in the real world.  When our bodies go to sleep, our spirits awaken.


 

CUT back to STALL.  TRENT flushes toilet and walks to stall door and opens the door.  No one else is in the restroom, TRENT is taken back.  We still hear some squeaking, then it finishes and we hear footfalls walk by the camera and then the door opens and shuts by itself.  TRENT stands at the stall and watches in shock.


 

QUICK CUT.


 

INT.  TRENT’S BEDROOM, CLOSE-UP.  TRENT is asleep, he slowly awakes and has the same look of shock.  


 

CROSS-DISSOLVE.


 

INT.  JEWEL’S APARTMENT.  CLOSE-UP of MALACHI.


 

MALACHI

We all must wake up.


 

WIDE-SHOT.


 

TRENT

That’s it?  That’s your explanation?  Comic book themes.


JEWEL

I hope The Man gets you.  I hope he steals your soul.


 

MALACHI

(correcting)  Jewel.


TRENT

How do you know my dreams?


JEWEL

Because I’m there.


TRENT

(stands)  Look, I have a pretty good idea of how you found out about my dreams and it’s not funny.  This ends now.  I never want to see your faces again.  And if I do, I’ll get restraining orders.


 

TRENT leaves and slams the door behind him.  FADE TO BLACK.


 

FADE UP FROM BLACK.  


 

EXT. STREET, DAYTIME.  WIDE-ANGLE.  TRENT is walking down sidewalk, carrying a briefcase.  CUT to CLOSE-UP of TRENT.  CUT back to WIDE-ANGLE, this time no briefcase is in his hand.  He walks into the restaurant.  CUT.


 

INT. RESTAURANT.  TRENT is sitting at the bar, drinking a coffee, and looking straight ahead.  A STRANGER turns and speaks to him.


 

STRANGER

I had a dream last night.  It was so weird.


TRENT

Okay… good for you. (drinks)


 

STRANGER

(dead serious)  Who are you running from?


TRENT

(turns to STRANGER) Excuse me?


STRANGER

Who are you running from?


TRENT

Does it look like I’m running from someone?  (turns and looks straight ahead again)  ‘Cuz I think I’m sitting still.  


STRANGER

A lack of faith is an open door.


TRENT

You know what—


 

TRENT turns to look STRANGER in the face and tell him off.  To his surprise, STRANGER is no longer sitting next to him.  He has vanished.  This is a dream.  CROSS-DISSOLVE.


 

INT. JET’S DOOR.  TRENT’S hand knocks on it.  DOOR OPENS, JET stand inside with door open.  


 

JET

Trent, buddy, you blew me off the other night.


CAMERA pans left to CLOSE-UP of TRENT.


TRENT

You do this to all your patients?


 

QUICK CUT.

 

INT. JET’S KITCHEN, MOMENTS LATER.  TRENT and JET are arguing over an island or counter.


 

TRENT

Oh, come on, how else could they have known?


JET

I don’t know.  But, I’m telling you I never told a soul.


TRENT

You can stop the gag now.  It’s not funny.  I’m not falling for your stupid joke.  


JET

I cannot believe we’re actually having this conversation.


TRENT

Well, we wouldn’t be, if you would have had a little respect.


JET

Would you listen to yourself?  Look at the facts, even if I did do this, how did I get a girl that looked identical to the girl in your dreams?  Consider that, how would I even know what she looks like?


 

PAUSE.


TRENT

(the anger has passed and has been replaced with confusion)  You have a point.


JET

You know it.


TRENT

(disbelief leads to irritation)  You’re not off the hook, yet.


 

TRENT storms off.  JET walks after him.  THE CAMERA pursues.


 

 

JET

Oh, right, what—a lucky guess?  You’ve never even described what she looks like?  I wouldn’t even know where to start!


 

We are now in the LIVING ROOM.  TRENT ignores JET and storms out the door.  JET stands in his living room and sighs, then smiles and laughs.  FADE TO BLACK.


 

FADE UP FROM BLACK.


 

INT. TRENT’S BEDROOM, NIGHT.  TRENT is staring at something off-screen.  CUT.


 

WIDE-ANGLE of TRENT’S BED from his perspective.  


 

CUT back to TRENT; slowly pan in on TRENT for CLOSE-UP.


 

MALACHI VOICE OVER

The fact is that when we dream, then are we in the real world.  When our bodies go to sleep, our spirits awaken… we all must wake up.


 

CROSS-DISSOLVE to CLOSE-UP of TRENT’S pillow.  TRENT lays down on pillow and stares at ceiling.  He lays there for a while, wide awake.


 

TRENT

Psych.  (moans)


 

TRENT gets out of bed.  CUT.


 

INT. TRENT’S LIVING ROOM.  TRENT sits on the couch; he is staying up watching TV.  He is watching BREAKFAST AT TIFFANY’S.  A scene plays out as he watches.


 

HOLLY

He's all right!  Aren't you, cat?  Poor old cat!  Poor slob!  Poor slob without a name!  The way I see it I haven't got the right to give him one.  We don't belong to each other.  We just took up one day by the river.  I don't want to own anything until I find a place where me and things go together.  I'm not sure where that is but I know what it is like.  It's like Tiffany's.


PAUL

Tiffany's?  You mean the jewelry store?


HOLLY

That's right.  I'm just CRAZY about Tiffany's!


 

TRENT is dosing off.


 

HOLLY

Listen, you know those days when you get the mean reds?


PAUL

The mean reds, you mean like the blues?


HOLLY

No.  The blues are because you're getting fat and maybe it's been raining too long, you're just sad that's all. The mean reds are horrible.  Suddenly you're afraid and you don't know what you're afraid of.  Do you ever get that feeling?


PAUL

Sure.

 

HOLLY

Well, when I get it the only thing that does any good is to jump in a cab and go to Tiffany's.  Calms me down right away.  The quietness and the proud look of it; nothing very bad could happen to you there.  If I could find a real-life place that'd make me feel like Tiffany's, then - then I'd buy some furniture and give the cat a name!


 

TRENT falls asleep.  FADE TO BLACK.


 

EXT.  DAYTIME, AN OUTDOOR CAFE.


 

JEWEL

Some people dream of having a big swimming pool.  With me; it’s closets.


TRENT

What’s in people’s minds is not what’s in my mind.  I just do my thing.


JEWEL

Sure.


TRENT

And who are you anyway?


JEWEL

Just a nobody, I guess.  At least I'm not a moron.


TRENT

You mean like me?


JEWEL

Yeah, like you.  Don't you ever care?


TRENT

What's in it for me?


JEWEL

Caring?


TRENT

Yeah, caring.


JEWEL

Well, you know, the usual... people like you, you like people, the world is a better place.  You know, caring?


TRENT

Sure.


JEWEL

Oh, now you're sure.


TRENT

Sure, I guess.


JEWEL

You can't be sure and be guessing, you know?


TRENT

This is absurd.


JEWEL

At least it's not a nightmare. (beat)  Why do you run so?


TRENT

What?


JEWEL

Why do you run?  In the nightmare, I mean.


TRENT

Guess I don't care.


JEWEL

Or care too much about yourself.


TRENT

Sounds like you got it all figured out.


JEWEL

I do!  You're the one that's confused, remember?  So why don't you buckup and quit being such a snob.


TRENT

And care?


JEWEL

Yeah.  And care.


 

WAKES UP.  ALL we hear is BREAKFAST AT TIFFANY’S playing out on the TV


 

PAUL

You know what's wrong with you, Miss Whoever-you-are?  You're chicken, you've got no guts.  You're afraid to stick out your chin and say, "Okay, life's a fact, people do fall in love, people do belong to each other, because that's the only chance anybody's got for real happiness."  You call yourself a free spirit, a "wild thing," and you're terrified somebody's gonna stick you in a cage.  Well baby, you're already in that cage.  You built it yourself.  And it's not bounded in the west by Tulip, Texas, or in the east by Somali-land.  It's wherever you go.  Because no matter where you run, you just end up running into yourself.

 

...

...

...


I've been toying with this script idea since 2005, and this is as far as I've gotten.  I really destest the opening sequence nightmare, and think that will change drastically, but not sure to what end yet.

Categories: Sci-Fi, Fantasy, Nathan Weaver, Script

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1 Comment

Reply Phil Neale
6:57 AM on May 28, 2010 
Hey, it reads ok to me.

Never read a script before, so this was all new, but seeing the camera directions and scene pans and shifts put a whole new perspective on it.

Can't really offer any critique, as I don't have the experience that you do,. but it sounds good.