1) The document is a short story that follows a couple, Anne and John, living in 1956. Anne begins experiencing strange events and lost time. 2) When Anne tells John about her experiences, he insists she is just imagining things. However, Anne's experiences continue, and she starts to believe she is going crazy. 3) In the climax, Anne wakes up in a modern hospital room with John as an elderly dying man. She realizes they have been living in a figment, and the people in the room are their future children.

1. FIGMENT
Written by
Peter Stass
25-45 23rd St. Astoria, NY 11102
347-725-5209
Peterstass@hotmail.com

2. NOTE: The following is in BLACK AND WHITE except where noted.
The screen is BLACK. Then from the darkness, a lamp appears.
This is followed by a dresser, an end table, etc. , as a
bedroom begins to take shape. The furnishings are 50's era. A
bed appears, and then a sleeping couple. The man first.
And then the woman.
An ALARM goes off.
INT. BEDROOM - MORNING
ANNE (mid 20’s) reaches over and turns it off. She's been up
all night. But she has a delicate beauty.
JOHN (20’s) slowly stirs. He’s a handsome man who seems older
than he is the way men in old movies always do.
JOHN
How do you feel?
ANNE
(feels her stomach)
Still a little sick.
JOHN
Be sure and call me after you see
the doctor.
He gives her a kiss and climbs out of bed.
INT. KITCHEN - MOMENTS LATER
A wall calendar tells us that it is December of 1956.
Anne sets the table for she and John as he enters dressed for
the office, except for his striped tie which he struggles to
knot.
Anne comes over to help him. He could do it himself but he
prefers the way she does it. And she likes that he prefers
it. It’s a daily routine.
INT. KITCHEN - MOMENTS LATER
Anne picks at her cornflakes as John eats a breakfast of ham,
eggs and coffee.

3. JOHN
Half the time I just walk around
the office feeling like a fool.
ANNE
You’ve only been there a few weeks.
They can’t expect you to know
everything.
JOHN
I just really want to make a good
impression, you know?
(beat)
We’ve been married over a year now.
And there are so many things I want
to do for us. A better apartment.
Nicer furniture. A car would be
great.
ANNE
Be patient, John. These things take
time.
(beat)
You know this is all new for me
too. Sometimes, I wonder if I’ve
lived up to your expectations.
JOHN
Every day I wake up next to you, I
just thank God I’m alive.
Anne laughs. Then she sees the sincerity in his face.
ANNE
You're serious. Is everything okay?
JOHN
(beat)
It's fine.
He looks at his watch.
JOHN (CONT’D)
Look at the time. I better go.
He gets up, grabs a paper bag lunch off the kitchen counter
and Anne follows him out.
INT. APARTMENT DOORWAY - MOMENTS LATER
Anne walks John to the door, pulling on his overcoat.
2.

4. JOHN
Don't forget to call.
ANNE
I won't.
She gives him a kiss. He puts on his fedora hat and leaves.
Anne gets a thought and opens the door again.
ANNE (CONT’D)
John, I'm sorry I--
Anne's words catch in her throat as she sees a bottomless,
endless VOID beyond the edge of the door. Her voice ECHOES
into it.
She SCREAMS and shuts the door, backing away fearfully.
A second later, John comes rushing in.
JOHN
Anne! What happened?
ANNE
I opened the door and there was
nothing. Just...nothing.
JOHN
What do you mean?
ANNE
It was like a void. An endless
void.
JOHN
But honey...
He opens the door, showing her the hallway.
JOHN (CONT’D)
...there's nothing out there but
the hallway.
ANNE
But it felt so real.
She comes to the doorway and looks out.
JOHN
Should I stay home? Go to the
doctor with you?
3.

5. ANNE
No, no, John. You go to work. I'll
be fine.
JOHN
Are you sure?
ANNE
Yes. I must have imagined it.
JOHN
It's a pretty strange thing to
imagine.
ANNE
It's the only explanation.
(She forces a smile)
Go ahead. You'll be late.
Reluctantly, he leaves.
INT. LIVING ROOM - LATER
John enters in a state of panic.
JOHN
Anne?
He sees a little Christmas tree set up in the corner with
lights.
Light music drifts from the kitchen.
INT. KITCHEN - CONTINUOUS
John runs in to find Anne pulling a roast out of the oven.
She turns to him and smiles.
ANNE
How was your day?
JOHN
My day? I've been calling you all
day. Did you go to the doctor?
ANNE
Yes.
JOHN
Well, what did he say?
4.

6. ANNE
That I should tell you in person
that you're going to be a father!
John exclaims in delight and picks her up off the ground.
ANNE (CONT’D)
Oh, John. My stomach.
JOHN
Right!
(putting her back down)
Wouldn't want you to puke all over
me and spoil the moment!
She laughs with embarrassment and they kiss.
INT. LIVING ROOM - LATER
Anne stands before the Christmas tree in a pretty dress as
John fusses with something off camera.
He runs into the frame and crouches down at her belly,
pointing to it and mugging towards the camera. Anne makes a
face of coy surprise and a flashbulb pops, capturing the
moment.
INT. LIVING ROOM - LATER
Anne sits in John's lap in a recliner as the listen to The
Platter's "My Prayer" on the radio. Their minds race with
thoughts of the future. (NOTE TO PRODUCTION: a lesser known
song will do just as well.)
The song comes to an end and the DJ's voice comes on.
DJ
That was The Platters with 'My
Prayer'. Next up, it's Patience and
Prudence with 'Tonight You Belong
To Me'.
John and Anne look at each other and giggle like teenagers.
INT. BEDROOM - LATER
John and Anne sleep.
Suddenly, Anne is awakened by the sound of WHISPERED VOICES.
5.

7. She looks up to see the darkened outlines of TWO FIGURES at
the foot of the bed.
She SCREAMS and reaches for the lamp.
The light comes on and she turns back. They're gone.
John stares at her in a panic.
JOHN
What is it?
ANNE
There were people in here.
JOHN
Where?
ANNE
At the foot of the bed. They were
just here!
John goes out into the living room and she follows.
ANNE (CONT’D)
Wait!
INT. LIVING ROOM - CONTINUOUS
John looks around. It's empty. He turns on the lights.
Nothing.
ANNE
I swear I saw them. I--
JOHN
Maybe you had a bad dream.
ANNE
No, it wasn't a dream. It felt so
real.
(beat)
Just like before.
John looks at her patiently.
JOHN
Honey, I think you just had a bad
dream.
(firmly)
In fact, I'm sure of it. Now come
on. Let's go to bed.
6.

8. He takes her by the hand and leads her back to the bedroom.
But her eyes are so unsure, lost.
INT. BEDROOM - MORNING
The alarm clock RINGS. SEVEN O’CLOCK. Anne reaches over and
turns it off. She looks unrested, as in the first scene.
John stirs and turns to her.
JOHN
How do you feel?
ANNE
(feels her stomach)
Still a little sick.
JOHN
Be sure and call me after you seen
the doctor.
ANNE
(beat)
What do you mean?
JOHN
Your doctor's appointment. Call me
after and tell me what he says.
ANNE
(beat)
But my appointment was yesterday.
JOHN
(firmly)
No, it's not. It's today. Remember?
Anne thinks for a moment. Then shakes her head and laughs at
herself.
ANNE
Of course. It is today. Sorry.
INT. KITCHEN - MOMENTS LATER
Anne sets the table as John enters dressed for work, except
for his striped tie which he has yet to knot.
She comes over and helps him with it, though she seems
preoccupied.
7.

9. INT. KITCHEN - MOMENTS LATER
Anne picks at her cornflakes while John eats a hearty
breakfast of ham, eggs and coffee.
JOHN
Half the time I just walk around
the office feeling like a fool.
ANNE
Well, you've only been there a few
weeks. They can't expect you to--
She looks puzzled.
JOHN
What is it?
ANNE
Didn't we just have this
conversation yesterday?
JOHN
I don't think so.
ANNE
There's something about it that
feels so familiar.
JOHN
You mean like déjà vu?
ANNE
No. All morning it's been like
this. Like I always know what's
coming next.
JOHN
(beat)
Well, I guess we have been in a
kind of routine. Are you bored?
ANNE
No. Not bored. Just...confused.
JOHN
Well, I think you'll feel better
after you've seen the doctor.
He looks at his watch.
JOHN (CONT’D)
Look at the time. I better go.
8.

10. He grabs a brown bag lunch off the kitchen counter and she
follows him out.
INT. APARTMENT DOORWAY - CONTINUOUS
Anne walks John to the door and he pulls on his coat and
fedora.
JOHN
Don't forget to call.
ANNE
I won't.
He gives her a kiss and leaves.
After the door closes, she stares at it for a beat.
She reaches out for the doorknob, holding it for a moment
with a mixture of dread and wonder.
Finally, she whips open the door.
Outside is the hallway, just as it should be. She laughs to
herself and closes the door.
INT. LIVING ROOM - LATER
John enters in a panic.
JOHN
Anne?
He sees a little Christmas tree with lights on it and hears
music coming softly from the kitchen.
INT. KITCHEN - CONTINUOUS
John enters as Anne takes a roast out of the oven.
She turns to him in shock and SCREAMS, dropping the roast to
the floor.
She stares at it like it's a foreign object, then around at
John, the room and her dress.
JOHN
What is it, honey?
9.

11. ANNE
I don't know how I got here! A
second ago, I was saying goodbye to
you at the door and the next thing
I know, I've got this platter in my
hand! Wearing a different dress! In
a different room! Oh, John! What's
happening to me?
She grabs her head and starts to cry.
He rushes over and holds her.
JOHN
You're okay, baby. You're okay. You
went to the doctor today and you
got some special news, remember?
She looks at him, desperate and confused. He looks her firmly
in the eye.
JOHN (CONT’D)
You got some special news!
Suddenly, a light of realization seems to bloom in her eyes.
ANNE
Of course! We're having a baby!
John, you're going to be a father!
JOHN
Oh, that's great news, baby. That's
great news!
He kisses her and she is comforted, her eyes moistening with
tears of joy. He seems comforted also, as if some dreadful
tragedy has been avoided.
INT. LIVING ROOM - CONTINUOUS
John snaps the same picture as before of he and Anne, in the
same silly poses as before. But there's some part of her
which seems distracted.
INT. LIVING ROOM - LATER
Anne sits in John’s lap in a recliner watching the lights as
‘My Prayer’ plays again on the radio. He looks blissful, but
she still seems distracted.
The song comes to an end and the DJ comes on.
10.

12. DJ
That was 'My Prayer' by The
Platters. Next up is Patience And
Prudence with 'Tonight You Belong
To Me'.
Anne gets up.
ANNE
It's just like yesterday, don't you
see? The music! The photograph! The
roast! There's something going on
here! I don't know what it is but
there's something going on!
(beat)
My God, I'm going crazy.
John gets up.
JOHN
You’re not crazy. Your body’s going
through something new. Something it
doesn’t understand. The mind can
play all kinds of tricks on you.
(beat)
I’ve had feelings like this too
lately.
She turns to him hopefully.
ANNE
And the voices at night. Have you
heard them too?
He nods.
ANNE (CONT’D)
Why didn't you say something? Why
did you let me feel I was all
alone?
JOHN
I was afraid of losing you.
ANNE
You'll never lose me.
JOHN
Do you promise?
ANNE
Of course. I love you.
11.

13. JOHN
I love you too, Anne. More than
anything.
ANNE
Well, what are we gonna do?
JOHN
I think the key is to just...focus
on this moment. The way we feel
right now. The music. The tree.
Everything in this room. Just make
it as real as possible.
They close their eyes and concentrate. After a few moments,
she smiles.
ANNE
You're right, John. It's working. I
feel much better now.
He embraces her.
INT. BEDROOM - LATER
John and Anne sleep. Once again, she is slowly wakened by the
sound of WHISPERED VOICES and sees the DARKENED FIGURES at
the foot of the bed.
She closes her eyes tightly.
ANNE
(to herself)
It isn't real. It isn't real. It
isn't real.
The voices silent.
Anne opens her eyes to see to find the light on, the figures
more visible now, a MAN and WOMAN (40's) with sad
expressions. The room itself is now unrecognizable, with the
fixtures and furnishings of a modern hospital room.
Anne reaches for John.
But finds in his place a DYING OLD MAN in a hospital gown.
She SCREAMS and staggers out of bed.
ANNE (CONT’D)
Who are you people?! What's
happening?!
12.

14. They do not seem to be able to hear her and she runs out.
INT. HOSPITAL CORRIDOR - CONTINUOUS
It is dark and shadowy, with many passages leading off in
different directions. Anne looks around in fright. She hears
strange intercom noises from somewhere in the distance.
Anne looks back at the door she just emerged from and it is
unrecognizable.
Then it opens and John bursts from it, looking around.
JOHN
Anne! Come back!
But she no longer trusts him. She starts to retreat.
JOHN (CONT’D)
Come back or it'll all go away!
He lunges for her and she tears away from his grip and runs,
turning several corners. The halls are lined with room, but
all of them are closed and dark.
Finally, at the end of one passage, she sees a room with the
door halfway open. A dim, fluorescent light spills out.
There is something dreadful about the room, but she's afraid
to turn back too.
She hears John gaining on her and goes to the room.
INT. MODERN DAY HOSPICE ROOM - CONTINUOUS
Peering in, anne sees the room she awoke to back in her
apartment. It is in COLOR, though she remains in BLACK &
WHITE.
The same man and woman stand at the foot of a hospital bed.
In the bed is the same dying old man, hooked up to an oxygen
mask and an IV. He tosses and turns, as if having a
nightmare.
MAN
It's been like this the past few
days.
WOMAN
He's fighting it.
13.

15. MAN
He keeps mentioning mom's name.
It's as if he can see her.
Beside the old man is a bedside table filled with ‘get well’
cards and flowers.
In the midst of all these is a framed photograph. It is the
one John took of he and Anne by the Christmas tree, now aged
and cracked.
Anne looks more closely at the Dying Old Man and makes a
sudden realization.
He opens his eyes and seems to look right at her. She shrinks
away in fear. The man and woman follow his gaze, though it
becomes clear they can't see her.
JOHN (O.S.)
Anne.
Anne turns in shock to see John standing beside her,
breathlessly.
JOHN (CONT’D)
What is this? Who are these people?
Anne enters the room, taking a better look at the man and
woman.
ANNE
They're our children, John. Look at
them. They look like us.
John fearfully turns his gaze to the man in the bed.
ANNE (CONT’D)
And that's you.
John turns away angrily.
JOHN
No!
(beat)
This is some kind of illusion. A
bad dream!
ANNE
We're the illusion, John. Look at
the photo!
She points to the picture.
14.

16. ANNE (CONT’D)
It's the one we took last night.
And every night! We're just
memories of the past. Your past!
She points to the old man.
ANNE (CONT’D)
This is your reality!
John starts to run but she grabs a hold of him.
ANNE (CONT’D)
You're dying, John. So you're
thinking back on your fondest
memories and wrapping yourself up
in them to protect you from this.
To help you cope with the end.
JOHN
(beat)
But if I die, all those memories go
with me. My beliefs. My feelings.
Everything I've ever done will be
for nothing.
ANNE
That’s not true, John. Those things
live on in them.
She gestures towards the man and woman.
ANNE (CONT’D)
And every other life you've ever
touched.
JOHN
And what happens to me?
ANNE
You move on. Just like I did a few
years ago, remember? My body grew
old and tired and I moved on.
JOHN
What was it like?
ANNE
It's impossible to describe. You'll
just have to see for yourself.
(beat)
But I'll go with you if it'll make
it easier.
15.

17. She reaches out and he looks at her hand.
ANNE (CONT’D)
Come on, John. Let's go home.
(beat)
For real, this time.
Slowly, he takes her hand.
John takes a final glance around the room at his son and
daughter, the framed photo on the bedside table, then back to
Anne, and smiles.
Together, they go out and start to descend down the hallway.
Slowly, the image begins to fade until they disappear.
FADE OUT
16.