SCRIPT TITLE

Written by

Name of First Writer

Based on, If Any

Address
Phone Number
BLACK

KATHERINE (V.O.)
This is merely a song.

WHITE

A flash of white color and of city landscapes.

Paris

New York

Singapore

Warsaw

London.

BLACK

KATHERINE (V.O.)
The ages of 13 to 24 were the most
difficult for me. Maybe I am not as
pretty anymore.

INT. NEW YORKER OFFICE AREA - DAY

Katherine, a gorgeous woman, 25, in flattering clothes and in

a glowing, attractive prime, walks through an office.

Men notice.

Women try not to.

A 30 year old, ex-frat man tries to walk next to her, but she
is busy on the phone.

Katherine is determined.

INT. BOSSES OFFICE - DAY

KATHERINE
I am sorry. I need to move on.

She is speaking to her boss, GEORGE, a sharp, greying, very

respectful and successful man. This is the New Yorker after
all.

GEORGE
Is it more money? We might be able
 2.

KATHERINE
No. Ha. No.

GEORGE
Can you tell me why?

KATHERINE
I feel like I should.

GEORGE
Ah yes, you are too good for this
type of thing. You will create your
own way. One moment.

He dials the phone

GEORGE (CONT’D)
Jane. Jane, yeah, do you have a
moment? Yeah, kindof yeah. Yeah.

They sit there in silence and waiting as Jane walks in.

Jane is a stressed, 50 year old, once beautiful woman, who

has given everything to everything. She has reserved nothing.
She is terse and all business. This is where Katherine could
be someday.

JANE
Hi George.

George works for Jane.

GEORGE
Jane, I am about to lose one of our
best, Katherine here.

JANE
No honey. I can’t allow it. How
much?

KATHERINE
Not the -

GEORGE
It’s not the money Jane.

JANE
Ah you need a promotion. Give me a
few days and I can get you
something you want.

KATHERINE
Thank you so much. It makes me feel
very valuable.
(MORE)
 3.

KATHERINE (CONT'D)
But I need to pursue something
totally different for a while.

JANE
Why?

KATHERINE
Because I feel like it.

JANE
Oh?

Jane is totally confused.

JANE (CONT’D)
Ok. Huh.

GEORGE
I understand. It is too easy. Too
defined. I was a fighter pilot for
some years, traveled and then only
became a writer. You have to feel
out the best thing available one
step at a time.

JANE
Well, I know a hundred who would
kill to be here and it is really
disrespectful to just leave.

GEORGE
Nah.

Katherine gets up to go.

KATHERINE
Thanks so much.

EXT. CITY - DAY

Katherine is walking home. She has a box with her of stuff.

INT. HOME - DAY

It is her small house. Alone. No boyfriend. No pictures on

the wall of family or friends. It has a bedroom for her. And
it is all relatively modern.

She drops her box of office memorabilia and goes to her

backyard.
 4.

EXT. HOME GARDEN - DAY

There, she has a garden. A patio. A hammock.

Some girls are sitting there. One is smoking, JANE, also

young and pretty, one is reading, BEVERLY.

KATHERINE
Girls!

JANE
How did it go?

KATHERINE
Great!

JANE
You are

BEVERLY
FREEEEE

KATHERINE
Freee!!!!

JANE
Free

Beverly opens a bottle of champagne.

BEVERLY
To what is next!

JANE
Yay!

KATHERINE
Ok, Ok. Thank you girls for your
support.

BEVERLY
I just want to live in your place
while you are gone.

JANE
Yeah, while you find yourself.

BEVERLY
Very brave.
 5.

KATHERINE
Not that brave. Believe me.

INT. ART MUSEUM OPENING - DAY

A gallery is there. A lot of art. An artist - FRANKIE (male

or female) is standing next to his work explaining it to
someone when Katherine walks up and interrupt.

FRANKIE
So, you can see that it is about
both limitation and the surprise of
the infinite and unexpected.

KATHERINE
Well, we are infinite.

FRANKIE
Our natural world - that we
formulate - it is, um, only with
our present understanding - an
approximation of reality.

KATHERINE
Precisely. But everyones reality is
different. Maybe time is slower for
me, or I live more than you.

FRANKIE
Which changes the dynamic of
reality. For example - how do we
explain healers - so much
documented proof of someone
speaking and someone getting
healed.

KATHERINE
Yes, but that is only part of your
reality. You see, no construct can
define that.

Frankie motions to the other parts of the painting.

FRANKIE
So you see, how I express that here
- the rigidity in the lines and the
formula - this is what we expect.
 6.

FRANKIE (CONT’D)
And here - the unexpected. The
unknown.

KATHERINE
Yes, I see.

EXT. ART MUSEUM OPENING - LATE AFTERNOON

People are smoking outside.

FRANKIE is smoking and with her, is GEORGE, he has a suit on,

and seems misplaced in the art world.

KATHERINE walks out as though to leave.

FRANKIE
Hey, what was your name.

KATHERINE
Katherine.

GEORGE
K or C ... well, K of course.

KATHERINE
Why of course

GEORGE
Because you are, um a creative.

KATHERINE
K.

She brushes her hair off her face with her left hand.

GEORGE
Left handed too. Come get a drink
with us.

FRANKIE
Yes please. Please

INT. CAFE - NIGHT

It is a bar, wine bar, cafe. They have some wine, maybe. A DJ

is playing music. A new guy, EDWIN is there.

EDWIN
You see, reality is not what it
seems. Why do you think you see
with your eyes?
 7.

KATHERINE
My eyes, of course I see with my
eyes.

EDWIN
How do you know that people who are
blind - it is because of their
eyes?

KATHERINE
Well, science ...

EDWIN
No, just the causal natural
observation, but maybe it is just a
construct - a “law” based on what
has been observed. But not the
whole formula.

GEORGE
What if, we could see what is under
the table without looking at it.

KATHERINE
Yeah, well, that is possible I am
sure.

GEORGE
How is it possible that people know
each other before they have met, or
have dreams about each other. You
have had deja vu, right?

KATHERINE
Of course.

GEORGE
And it is a faint memory of what
is. It is something we can trust.
Do you trust it. What do you trust.

KATHERINE
I trust what I feel at the moment.
Moment to moment.

FRANKIE
And where did that trust in feeling
lead you?

KATHERINE
I’ll be right back.

She goes to the bathroom.

 8.

INT. BATHROOM - SHOTS -

Music plays as we see her in many bathrooms in many outfits -

at the mirror. Crying.

Every stage is shown.

Walking in.

Shaking lightly.

Tears coming out.

Looking at herself.

Trying not to cry.

Crying.

EXT. DESERT - DAY

This the desert. Middle of nowhere.

Katherine is sitting there looking at a rock.

She is in a trance.

She is looking at the rock. She is seeing the rock. She sees
more. She looks at how it is composed. What it is connected
to.

Water starts pouring out of the rock. And now a stream. Now a
river washes her and carries her down and away.

EXT. OCEANFRONT - DAY

She is in utter joy ...

The river empties and she is in the ocean.

Swimming. She swims to shore.

The light is bright. She turns around and looks. There is a

man there and he is walking along the beach.

He stops and starts digging.

KATHERINE
What are you digging for.

MAN
I saw a watch down there.
 9.

KATHERINE
Do you have a metal detector.

MAN
No.

KATHERINE
Oh.

MAN
Will you help?

KATHERINE
I am busy.

She walks away.

EXT. FLASHBACKS - DAY

She is walking away from many events.

A yoga class

A church

A man proposing

A group that is meditating

A raging party

INT. CAFE - DAY

She sits back down with FRANKIE, GEORGE and EDWIN.

It might be the same cafe, same arrangement, or maybe

different. Maybe they are outside. It is hard to tell.

She looks like she has stopped crying.

KATHERINE
So,

GEORGE
What makes you want to live the
most.

KATHERINE
I think it is the possibilities of
each moment.
 10.

GEORGE
How is that?

KATHERINE
When you are fully aware that a
moment can change everything - and
giving yourself to that moment.

FRANKIE
I have been there. It is a dark
road. Can you not see the future?
You must learn to create a future
bigger than the moment. Get a
vision, close your eyes and see
what you want.

KATHERINE
I’ll be right back.

She gets up and walks outside.

EXT. CAFE - DAY

She lights up a cigarette.

Montage of her lighting a cigarette after many challenging

events.

A young man is trying to put his arm around her and she walks
out and lights a cigarette.

She runs out of an apartment and lights a cigarette.

She is at school and an exam gets handed out - cigarette

We look down and the pack is empty.

She is shocked.

She looks up from the cigarettes and she is in a forest.

EXT. FOREST - DAY

She looks around.

Wind is blowing through trees.

It sounds like they are saying something.

TREES
Absorb.
 11.

She looks and wonders who is talking, but the whisper of the
trees flows through.

TREES (CONT’D)
Absorb.

She sits next a tree and falls asleep.

EXT. SPACE - DAY

We are in outer space, at a star, far away, as light from it,

travels.

It has a sound - like a song - and information.

It is a wave as well.

As it approaches the earth it passes the sun and into the

earth and now her, and is one of the many rays that land
there and near her.

She has fallen asleep - she wakes up and she is looking

inside her home.

INT. HOME - DAY

She is looking in a window as she sees herself crying.

Outside she says to herself:

KATHERINE
It is ok. It is ok.

EXT. FOREST - DAY

Katherine looks up and we can tell that she has a slight

energetic glow.

INT. NEW YORKER OFFICE - DAY

Katherine is editing an essay that some writer has written.

In her office, she has put together articles and they are
pasted on her walls.

One article about a monk who levitated, and is caught on

video doing it.

One article about someone healing someone and a limb growing

out of them.
 12.

One article about a man who claims to be 900 years old.

One about a guy who can see without his eyes .

Katherine is looking at them when GEORGE walks in.

GEORGE
Hi.

KATHERINE
Hi.

GEORGE
Oh, that one, got into your head
huh.

KATHERINE
Yeah, what if it is possible.

GEORGE
Well, these are fiction writers, I
mean, glad you did your research,
but

KATHERINE
Yeah, it is not just the research,
it, well, there is some science
here too it. Recent experiments in
the time gravity and energy
spectrum are -

GEORGE
That is pop science. I mean,
mostly.

KATHERINE
You know what they say - though -
science progresses one death at a
time. The old gatekeepers don’t
want their papers thrown away while
they are alive.

GEORGE
Yeah, maybe.

KATHERINE
We are maybe living out old science
with our beliefs. Maybe the
ancients were closer to the truths
we are unraveling.

GEORGE
Maybe.
 13.

KATHERINE
Maybe.

GEORGE
Well, good luck. I am heading home.
My wife is sick.

KATHERINE
Well, just look your wife in the
eye and tell her to be perfectly
well, so that she believes it and
tell me what happens.

GEORGE
Ha.

KATHERINE
Do it. Like an actor.

GEORGE
Ok, for you.

KATHERINE
For me!

GEORGE
Ha. Goodnight.

INT. OFFICE - NIGHT

Katherine is smoking and pacing. It clears her head. She

takes a few puffs and throws the cigarette out the window.

KATHERINE (V.O.)
Why am I anxious?

She is pacing around.

KATHERINE (V.O.)
I think it started, well, forever
ago.

KATHERINE (V.O.)
What is better than anxiety?

She turns back to insider her personal office. To work more.

No one is around, or maybe one person walks by and complains
about the smoke.

She lights another and walks into her office smoking.

 14.

INT. NEW YORKER OFFICE - NIGHT

Katherine is reading an article on the wall. We transition

into the article.

She narrates for us.

KATHERINE (V.O.)
The monks of Tibet often levitate.
Levitate?

EXT. TIBET - DAY

She is imagining this, so it doesn’t have to be in Tibet, it

can be in a forest, or grand canyon, or anywhere.

We see a young guy start to levitate and make it several feet

in the air.

KATHERINE (V.O.)
They do this to learn how to focus
and hear the sounds of nature.
Sounds we create as well.

Near the guy, a lot of monks are chanting and some are
blowing horns.

KATHERINE (V.O.)
We are all sound.

INT. NEW YORKER OFFICE - DAY

The phone rings. Two phones ring now. Her office phone and
her cell phone.

She looks at the cell

“Johnathan” it has a note by it “asshole”

She clicks it off, and picks up her office phone.

JOHNATHAN
Katherine.

KATHERINE
Johnathan? Did you just call my
other line too.

JOHNATHAN
Well, both, you know, at the same
time, I can feel what you feel -
 15.

She hangs up the phone.

It rings again. And the other rings.

She looks back at an article. It is a medial article

“oneness”.

INT. HOSPITAL - DAY

We see a man getting a huge vial of blood drawn out of him.

They put the blood in another room and monitor it, while they
electrocute the guy.

KATHERINE (V.O.)
So the blood in the other room
released the same response as the
blood in the body.

We see a guy waking up from surgery.

KATHERINE (V.O.)
We previously thought memory and
communication was in the brain, but
it looks like every cell, separate
or not, communicates to the other.
This is why after a transplant or
blood transfusion, the recipient
has new memories.

KATHERINE (V.O.)
And why lovers - who exchange
fluids - are connected. A oneness
is created.

EXT. GAS STATION - DAY

Johnathan, the guy on the other line, holding a cell phone in

one hand and pay phone in the other, hangs up the phone.

He is sad.

He texts.

“i love you” to Katherine.

INT. OFFICE - DAY

She is sad after reading the article and gets the text. She
is happy for a second.
 16.

EXT. GAS STATION - DAY

He is happy.

INT. OFFICE - DAY

She deletes the text.

EXT. GAS STATION - DAY

He knows it and feels it. He is sad again

INT. OFFICE - DAY

Katherine keeps reading.

EXT . TIBET - DAY

Katherine is now in the jungle and she walks out to watch the
man levitating. She is not super surprised or anything. She
comes up to him.

KATHERINE
Is this just focus?

MONK
No.

KATHERINE
Then what?

MONK
Ah, you see don’t you

Katherine is now levitating with him.

KATHERINE
But how?

As she falls...

MONK
It is just an experience. Nothing
more. Reach out

INT. OFFICE - DAY

KATHERINE
Reach out to what is available.
 17.

She stretches her hand out and it goes through the wall. She
walks into the wall and.

INT. NEW YORKER - DAY

It is the morning and she is walking in...

She walks by George’s office. He runs out to grab her.

GEORGE
Hey

KATHERINE
Hey

GEORGE
That worked. She is fine. She, uh,
it was a big deal.

KATHERINE
Good for you.

GEORGE
I had to tell her she was healed
for like 2 hours until she believed
me and it worked.

KATHERINE
Great.

GEORGE
Yeah.

She walks into her office.

Katherine closes the door.

She sits down and cries.