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                             MATTHEW CHISHOLM AND ALEX COOPER


                              "An Anthology of Short Stories"

                                          Part I


                                     Matthew Chisholm


                                        Alex Cooper


           PART I. . . . . . . . . . . . . MOBILE PHONE

           PART II. . . . . . . . . . . .  THE CURIOUS CASE OF IAN MCGRAW

           PART III. . . . . . . . . . . . SNOW GLOBE

           PART IV. . . . . . . . . . . .  THE HOLIDAY

           PART V. . . . . . . . . . . . . KATHY KEYBOARDS

           PART VI. . . . . . . . . . . .  THE DREAM DISEASE

               ALEX COOPER'S

               M O B I L E   P H O N E

               - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

               FADE IN:

               INT. BEDROOM - NIGHT

               The moon glows through the open bedroom window illuminating a
               man in his bed. The wind blows lightly at the curtains 
               covering the window. The man is still lying on his back and
               the sheet is laying perfectly over him. When we take a closer
               look it seems as though heís not breathing. That is until his
               phone beside him rings.

               The phones ring gets louder as it cover the camera view. It
               consumes all other sounds and soon enough it wakes the man, he
               looks over to the phone.

	                        Shut up.

               The phone continues to ring.

	                        Shut Up!

               The phone suddenly stops ringing. The man looks extremely
               satisfied and closes his eyes to go back to sleep.

               The phone louder than ever rings again.

               The man opens his eyes and looks to the phone.

               EXT. ROAD SIDE PATH - NIGHT

               A hobo walks down the road with a trolley full of cans and his
               belongings. The clattering of the trolleys contents awakes 
               people in the houses he walks by and angry shouts come from 

                                                                CUT TO:

               A car is driving down the road with two teenage occupants, 
               they are laughing and joking around till one of them spot the
               hobo pushing along his trolley. He taps his friend on the 
               shoulder and points to the hobo, the other boy smiles.

                                     BOY 1
                         Lets swerve him, man.

                                     BOY 2

               The boy pushes down the accelerator a touch and the car speeds
               up, he then aligns his steering wheel. The car gets closer and 
               to the hobo until heís on feet away. The boy is just about to
               swerve out of the way of the hobo when something smashes into
               the windshield. The boy lets go of the wheel and shields his

               The car stays on course and the hobo sees the car coming for 
               him. Itís to late to get out of the way. The car smashes into
               the hobo. The hobo gets pushed forward into his trolley, the
               weak trolley wheels buckle as it hits a wall.

                                                                CUT TO:

               The man from before stands at his window, he stares down at 
               the crash in shock. He doesnít move till he hears a familiar

               A ringing sound shouts out from the crash. The phone lays on
               one of the unconscious boys sitting in the car.

               The man runs from his window and heads for the door. He 
               crashes out of his door and into the hallway. He gets back on
               his feet and runs to the elevator. He presses the button waits
               for a few moments then presses it again, again and again. He
               kicks the elevator door and runs for the stairs. Once the man
               is out of view the elevator door opens.

               The man runs down the steps missing every few steps, every
               time he time he gets down a flight he smashes into the wall.
               He runs down his final steps and runs out into the foyer.

               The man smashes through the front doors and runs to the crash
               site. The mobile phone sound isnít audible.

               There are a few people surrounding the crash. The man goes 
               from running to walking in seconds and approaches the crash 
               site casually.

                         What happened?

               A couple turns to the man.

                         We heard the hobo come down the 
                         street, my husband was yelling at 
                         him when this car came out of no
                         where and hit him.

                         Thereís two punk kids in the car,
                         the bastards must have been 
                         targeting him.

               The man puts on a shocked face and feels he should ask more

                         Are the kids still alive?

               The woman shrugs.

                         We donít know, we called the 
                         ambulance. Theyíll be here in a few
                         minutes. Do you know them?


                         The kids in the car.

               The man looks at the unconscious kids in the car and looks 
               back to the lady, shakes his head, meaning no. The sound of
               sirens can be heard in the distance.

                                                                CUT TO:

               The front seat of an ambulance. The driver roughly cuts street
               corners to get to the site. After a few sharp turns and
               screeches of the ambulance wheels the crash comes to view.

                                     AMBO 1

               The ambulance stops suddenly and the amboís run of the car and
               to the crash. One of the amboís is holding a safety kit ready
               to get to business. One heads for the hobo at the front of the
               car and the other for the two boys in the car.

               The ambo checks the hobo for a pulse.

                                     AMBO 1
                         He has no pulse. How are they?

               The other ambo checking the boys get interrupted by a very 
               familiar sound.

               The phone rings. The phone on the boys lap ring again and 
               again. The crowd surrounding the crash are all quite.

               The ambo picks up the phone and looks to his workmate. He 
               pushes the button and holds it to his ear.

                                     AMBO 2
                         Who are you looking for?

               There is a long pause as the ambo listens to the caller on 
               the mobile phone. Eventually he holds the phone to his chest 
               covering the receiver.

                                    AMBO 2
                         Is there a GRETCH present?

               GRETCH holds his breath, the couple stare at him, at his 
               pajamas, written is bold letters on his breast pocket is: 
               GRETCH ABRAMS.

                                                              FADE OUT:

                                      THE END.

               MATTHEW CHISHOLM'S

               T H E   C U R I O U S   C A S E   O F   I A N   M C G R A W

               - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

               FADE IN:

                              EXT. BORDERVILLE - DESERT - DAY

               Craning high and wide over a small town in the middle of
               the desert. The sun beams down, heat rippling on the horizon.

               SUPER:               BORDERVILLE, TEXAS                                           1872

                                                                CUT TO:


               IAN MCGRAW leant back in a barber's chair, being shaved by
               LESTER OSSANA, an elderly man. IAN is a strong man, well-built
               with smarts and deep green eyes. There are a few other people
               in the barber shop, none of whom are important.

                         I don't know what's happening to
                         this place, Lester. We got the
                         blacks in here, we got the Jews up
                         our asses. Heard this happened two
                         towns over, everyone was murdered
                         in a week. How bout that, huh?

                         Nasty business to be sure, Mr

                         Should not have gotten out of bed
                         this morning, Lester.

               LESTER finishes shaving IAN, and he gets up.

                         Well, well, well, what'll it be
                         this time, Lester?

                         Now, now, Mr McGraw, I told you,
                         your money's no good here.

               IAN smiles and walks out.

                                                                CUT TO:


               IAN walks out, puts on his hat, stares disapprovingly as
               two African-American men walk past, nod respectfully to him.
               He does not return the gesture.

               IAN lights up a cigar, takes in a huge drag and closes his
               eyes. He steps out into the street, nods as an old-timer
               walks past and continues on down the street.

               He stops in the middle of the road and stares down at his
               feet. An African-American woman walks past.

               P.O.V. FALLING OBJECT

               We come rocketing downwards from the heavens, towards the
               ground and land right at IAN's feet.

               EXT. BORDERVILLE - STREET

               Something large and rounds plummets down from the sky and
               lands inches in front of IAN, who jumps back, stumbles and
               falls down onto his back.

               People swarm, gathering around the small crater now formed
               in the middle of the street.

               IAN leans in over the crater, reaches in and pulls out. . .

               A SPACE HELMET

               Very modern, lens cracked in several places and some fresh
               blood smeared along the collar.

               CLOSE SHOT - IAN

               As he studies it with absolute bewilderment.

                         What in the Holy fuck. . .?

                                                                CUT TO:


               SHERIFF BILLY CROWE turns the space helmet over in his hands,
               then gently places it down in front of IAN.

                         I honestly don't know what to tell
                         you, Mr McGraw. I have never seen
                         anything like this in my whole life
                         but it sure as shit is strange.

                         This thing could have killed me,
                         Sheriff. It was inches away from my
                         goddamn face. I could have died.

                         What do you expect me to do, huh?
                         I can't arrest an inanimate object,
                         now can I?

                         I want something done.

                         Go home, Mr McGraw. Go and see your
                         wife. Get some sleep. You look

               IAN regards him curiously for a moment; then leaves.

                                                                CUT TO:


               Where MORGAN MCGRAW, IAN's moderately attractive wife, is
               doing the dishes.

               IAN enters through the backdoor. MORGAN drops everything,
               tears up and leaps into his arms, kissing him feverishly.

                         Oh my Dear Lord. . . I heard what
                         happened, Ian. I thought. . .

               She starts kissing him more and more passionately.

                         I could have lost you.

               He pushes her violently up against the wall, rips open her
               blouse and pushes her dress up. She moans as she struggles to
               undo his belt buckle, her feet push his pants down to around
               his ankles.

               IAN positions himself, attaches his lips firmly to hers and
               pushes himself inside her.

               The first thrust, the overwhelming pleasure of his entrance,
               makes her gasp, her back arches, head slamming against the
               wall. He groans, hips gyrating as he winces and gasps.

               MORGAN's legs wrap around his pelvis and he swings around,
               throwing her down onto the wooden dinner table. She groans,
               head tilted back - he's sweating now.

               He pushes hard up against her, becoming more and more vocal
               and forceful until. . .

               IAN cums.

               MORGAN cums.

               IAN collapses onto her, chest heaving up and down, completely
               exhausted, still inside of her.

               HOLD ON THIS.

                                                         FADE TO BLACK:

               EXT. BORDERVILLE - NIGHT

               The town is illuminated in the night, lights shining brightly
               in places.

                                                                CUT TO:

               INT. MCGRAW HOUSE - BEDROOM

               IAN and MORGAN, wrapped in each other's arms, still sleeping
               after their intense lovemaking.

                                                                CUT TO:

               INT. CROWE HOUSE - BEDROOM

               SHERIFF CROWE sound asleep with his young mistress.

                                                                CUT TO:

               INT. OSSANA HOUSE - BEDROOM

               LESTER asleep peacefully, his wife rolled over on her front
               next to him.

                                                                CUT TO:

               INT. MCGRAW HOUSE - BEDROOM

               Suddenly, out of nowhere, a huge, limp object hurtles through
               their roof and lands with a thump on the floor.

               MORGAN screams. IAN leaps up out of bed, surveys the damage.
               He looks over at the object that fell.


               Still in his silver spacesuit, blood all over his face, limp
               and dead, limbs bent at odd angles.

               Suddenly, there is a huge crash from outside.

               IAN races for the door.

                         Stay there!

               He races outside.

                                                                CUT TO:

               EXT. MCGRAW HOUSE - NIGHT

               IAN comes bursting out of the house to find that another
               astronaut has fallen through the porch roof and onto the deck
               where he lies, dead and horribly disfigured.

               A huge WHUMP from behind him, IAN spins around. A third
               astronaut, this time a woman, has fallen from the sky and
               landed hard on the ground.

               Two more land on the ground behind him and soon, there is a
               shower of dead bodies. IT'S RAINING ASTRONAUTS.

               MORGAN joins IAN out on the street, frantic and crying.

                         What's happening, Ian?

               He can't answer. More and more people have gathered, and the
               astronauts are falling in their dozens now. LESTER pushes his
               way through the crowds and joins IAN and MORGAN. They are
               joined by CROWE now, who all look on bewildered.

                                                                CUT TO:

               FALLING OBJECT'S P.O.V.

               Another astronaut comes falling, twisting and tumbling through
               the air before landing on the ground in front of IAN.

               He swings around, frantic now. He doesn't know what to do.

                                     WOMAN (O.S.)
                           Look out!

               Everyone looks skywards as AN ENORMOUS SHUTTLE comes rocketing
               downwards, hits the ground, taking many people with it,
               bounces along, demolishing buildings and finally comes to a
               rest with its tail pointed in the air.

               The townspeople gather around flabbergasted. No one says
               anything for the longest time, until. . .

                         I told you I shouldn't have gotten
                         out of bed. . .

               They stand in silence.

               We PULL BACK across the streaked and starry sky as the rain
               of astronauts continues around us.

                                                              FADE OUT:

                                         THE END.

               ALEX COOPER'S

               S N O W   G L O B E

               - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

               FADE IN:

               INT. LIVING ROOM - DAWN

               The living room is decorated with Christmas decorations; there
               is tinsel holding up cards around the walls and a huge 
               Christmas tree showcased in the middle of the room.

               A boy is at his knees in front of the Christmas tree, he picks 
               up his presents and looks at them but he makes no attempt to
               open them.

               He looks over his shoulder to the staircase for a moment but 
               then averts his attention back to his presents.

               He sees one present sticking out from all others so he picks 
               it up. He puts it in front of him and stares at it for a few
               moments with a Ďshould I open ití expression on his face. He
               peels on piece of sticky tape off of the presents wrapping, 
               then another and then another.

               The present stares up at him, he is amazed to find that the
               present is a snow globe. He picks up the globe and shakes it a
               few times to watch the snow fall over the globes items.

               Eventually he gets bored of his present and looks up at the 
               hall tree. Looking down from above the tree the kid looks 
               small and insignificant.

               The boy sees a candy cane on the tree, he puts down the snow
               globe and reaches for it, its just out of his reach, he tries
               again standing on his tip toes and just touches the end with
               the tip of his fingers.

               He tries again on his tiptoes and as he does he looks over his
               shoulders to the stairs. He stops reaching for the candy cane,
               picks up his now globe and walks to the bottom of the stairs;
               he stops and stares up into the darkness of the second floor 
               of the house.

               Very slowly and carefully he walks up the stairs making sure 
               heís holding on to the stair banister very tightly. When he 
               gets to the top he walks over to a door thatís slightly ajar.
               He uses one hand to push it open.

               From the view of the bed thatís facing the door we see light
               enter the room as the kid opens the door. A foot is seen above
               the covers of the bed sheets.

               The boy stands at the entrance of the room, the foot goes out
               of focus and the boy goes in focus.


               Focus goes back onto the man, there is no movement accept a 
               twitch of the foot.

               Focus on boy. The boy takes a small step forward.


               Focus on foot. Nothing happens, not even a twitch.

               Focus on the boy. He takes a bigger step forward.

                             (normal talking volume)

               Focus on man. The foot doesnít move but a small snore is

               Focus on boy. The boy takes a wide step forward and is now
               standing at the end of the bed, right next to the toe. He 
               cups his hands around his mouth and takes in a big breath.


               VIEW ON MAN, he wakes up with a fright and looks around the 
               room, no one is there. He notices light coming from down 
               stairs and decides to go investigate. Heís strong built and 
               only wearing boxer shorts.

               He scratches his head as he leaves his room. He stops and 
               looks down the hall to the stairs. He doesnít notice the snow
               globe sitting by the edge of the stairs top. He walks towards
               the stairs but doesnít walk down them. Instead he bends down
               and looks around the first floor. Nothing is there so he turns
               back to his room.

               As he turn the boy, now screaming, runs at him and pushes him
               with all force.

               The man balances on the stairs edge for a moment but then 
               loses balance and falls down the stair. Every hit a crack is 
               heard. The man tumbles down the stairs the most painful way
               possible. The man finally reaches the floor, he hits it with a
               thud and lies there breathing heavily and awkwardly.

               The boy watches from the top of the stairs, holding the snow
               globe, he begins to walk down. The camera follows him as he 
               does. When the boy gets to the bottom of the stair he puts 
               the snow globe by the man and walk back to the tree.

               The man coughs and opens his eyes slightly, directly across 
               from his chest is a snow globe he looks at it confused. He 
               hears the crushing of paper and looks to the tree and sees a
               boy opening a present. The boy looks at him smiling as the man               blacks out.

                                                              FADE OUT:

                                         THE END.

               MATTHEW CHISHOLM'S

               T H E   H O L I D A Y

               - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

               FADE IN:


               TITLE CARD:

               DAY ONE

                                                                CUT TO:


               A perfect pair of black sunglasses with a white Mickey Mouse
               insignia in the upper corner of the left lens. Everything else
               in the background is completely out of focus.

               Then, a distant, high-pitched squeaking is audible, becoming
               stronger and stronger until. . .

               JILL CRAWFORD

               wheels into frame. She is an elderly woman, possibly in her
               sixties with a healthy crop of greying hair and a thin build.
               She looks old, frail. She has a portable phone attached to
               her ear.

                         Yes, I realise that, Caroline. I
                         know. That's what I told him. But
                         you know Harry, never bloody
                         listens to a word anyone says.
                         Ah-huh, my plane leaves in a few
                         hours. I'm all packed and ready for
                         three amazing weeks in Florida. I
                         was thinking I should check out a
                         few of the homes up there. See if
                         the nurses make enough money for
                         them not to steal from me.
                         Well I have to go in sooner or
                         later, Caroline. I can't live on my
                         own forever and ever. Not with my
                         paralysis reaching these levels.
                         That reminds me, I haven't packed
                         my pills. They're still in the
                         bathroom. And before you ask, no I
                         haven't forgotten my sunglasses,
                         I'm looking right at them. They're
                         on top of the TV.
                         Yes, I'll have to let you go now.
                         I need to pack my pills before they
                         slip my mind again. All right, ta.

               She hangs up the phone, wheels across the lounge room and
               puts them down on the glass coffee table.

               Then, she begins wheeling herself back over to the television,
               which rests upon a rather tall credenza that has videos and
               other such paraphernalia contained inside. The top of the TV
               is too tall for JILL to reach on her own.

               She reaches up, her fingers falling too short, so she strains
               and struggles to reach, but still her fingers are too short to
               make the distance. JILL collapses in her chair.

               Frustrated, she reaches down the side of her chair and flicks
               the safety release, which locks the wheels in place.

               Shakily, JILL stands on the metal foot platforms at the base
               of her chair. She grips both sides of the television and uses
               them as leverage to pull herself up level with the top of the
               television. She stops here for a moment, allows herself to
               catch her breath. She's exhausted already. Then she reaches
               out, groping for the sunglasses.


               As it moves ever so slightly under her weight.


               JILL's fingers wrap around them tightly.


               As it SUDDENLY TIPS to its side.

               MEDIUM SHOT - JILL

               As she tumbles backwards, hits the ground, the wheelchair
               tips as well and lands on top of her, pinning her onto the
               floor of her lounge room, face-down and helpless.


               She winces through the pain, attempts to pull herself up.

               Finds she can't.

               JILL attempts to roll over onto her stomach.

               Finds she can't.

               She attempts to reach around and push the chair clear.

               Finds she can't.

               Eventually, she slumps forwards and breaths out. She looks

               JILL'S P.O.V.

               She looks from the ground, up to the telephone, then down to
               the Mickey Mouse sunglasses still in her hand.

               INT. JILL'S LOUNGE ROOM

               She begins getting worried; frantic.

                         Hello? Can anybody hear me? I need
                         help! Can somebody help me?

               She's frantic now, yelling and screaming, kicking, trying to
               do something, anything.

               And then, she gives up and cries.


               WE HEAR A PHONE RING.

               TITLE CARD:

               DAY TWO

                                                                CUT TO:

               INT. JILL'S LOUNGE ROOM - DAY

               Her phone is ringing. JILL looks up in hope.

               The phone rings out, then the beep of the machine.

                                     JILL'S VOICE
                         Hi, you've reached the home of Jill
                         Crawford. I am sorry that I'm not
                         here to take your call, but if you
                         would leave your contact details I
                         will get back to you as soon as I
                         possibly can. Thank you and have a
                         nice day.

               The beep. Immediately, JILL starts yelling.

               CLOSE SHOT - THE MACHINE

               Resting on the kitchen counter.

               JILL is in the background, out of focus.

                         Hey! Hey! Can you hear me? Help me!
                         Help me!

               Throughout the following, JILL will continue yell and scream
               in this manner.

                                   WOMAN'S VOICE
                         Hey, Jill, it's Marie, your stylist
                         and I know you're off on your big
                         holiday in Florida, you lucky bitch
                         but I was just calling to say. . .
                         . . . that our rescheduled time on
                         Tuesday the eight is not going to
                         work for me, so I'm afraid we'll
                         have to push it back to the tenth.
                         I'm sorry, but I'm afraid I've
                         double booked a couple of slots.
                         You had better be having up there
                         in the States. I'll see you when
                         you get back, bye.

               The beep as MARIE hangs up.

               CLOSE SHOT - JILL

               JILL is crying, desperately reaching out for the phone.

                         NOOOO! PLEASE! NOOOO!


               TITLE CARD:

               DAY THREE

                                                                CUT TO:

               INT. JILL'S LOUNGE ROOM

               JILL, on the floor, pinned under the wheelchair. Her skin is
               grey and pale, her lips are cracked and she is dehydrated.

               Suddenly, she begins shaking, sweating and hyperventilating.
               She looks more scared than ever as she utters two words:

                         Oh no. . .

               We SWING IN FAST and nail JILL with an ENORMOUS CLOSE UP.

               CLOSE SHOT - THE PILLS

               Sitting in the bathroom cabinet. Although we cannot see the
               exact prescription or condition what we can see is the label:



               TITLE CARD:

               EIGHTEEN DAYS LATER


               So close it has no boundaries. On the screen, the opening
               credits of the Channel Ten news are playing. Then, a MEDIUM
               shot of KELLY NESTER, the attractive news anchor.

                         In tragic news tonight, a sixty-six
                         year old woman is found dead in her
                         home after being pinned under her
                         wheelchair for three weeks.

               The shot cuts to the exterior of JILL's home as her body is
               wheeled out on a gurney.

                                     NESTER (V.O.)
                         Jill Crawford was packed and ready
                         for her dream trip to the U.S. A
                         trip she would never get to make.

               A medium shot of a woman, elderly, crying. At the bottom of
               the screen appears a presentation banner identifying the woman
               as CAROLINE MURPHY - BEST FRIEND.

                         I talked to her, only a few hours
                         before her plane left. She sounded
                         fine, she was excited about the
                         holiday. . .

               A cut to the interior of her home.

                                     NESTER (V.O.)
                         It is believed that Jill lived for
                         three to four days pinned under
                         her chair before suffering a heart
                         attack as a result of missing her
                         daily dosses of digitalis.

               A cut to a close shot of the bottle of digitalis.

                                     NESTER (V.O.)
                         This terrible tragedy has brought
                         out many tears in the community.

               A medium shot of MARIE, Aboriginal, also elderly and crying.

                         God I called her the day after her
                         plane left. I put a message on
                         Jill's machine. And to think she
                         was there, on the floor while I was
                         leaving that message. . .

               She breaks down into tears and burrows herself into a friend's
               shoulder and weeps.

                                     NESTER (V.O.)
                         The funeral will be held at the
                         Adelaide Royal Cemetery on Tuesday.
                         Kelly Nester, Ten News.

                                                           DISSOLVE TO:

               JILL'S BODY BAG

               As it is loaded onto the ambulance, which then pulls away
               from the house and down the street.


               The pair of sunglasses that ended a life, on the floor,
               staring directly at us, almost mockingly.

                                                              FADE OUT:

               ROLL END CREDITS.

               ALEX COOPER'S

               K A T H Y   K E Y B O A R D S

               - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

               FADE IN:

               CARL, a man dressed in black pants and a plain shirt walks 
               KATHY, a twenty year old blonde down the isle of a storage 

               The camera is walking with them, except in the next isle so
               every few seconds a block of shelves block the view.

                         Okay, Kathy today is your first 
                         day so I will be showing you how
                         everything works.

               KATHY struggles to keep up with CARLíS power walking.

                         Great, I actually have a question.

                         Well thatís what Iím here for, what
                         is your question?

                         What is... This room called?

                         This is the storage room.

                         Okay and why is it called that?

               CARL stops in his tracks and looks at KATHY with a pessimistic
               frown. He then uses his hand to show KATHY her working space.

                         Here is... your working space!

               In front of CARL and KATHY is a small desk with only a
               computer and a telephone sitting on it.

                         Right, do your and I share a work

                         What? This is YOUR work space.

                         Oh! So just hers, whereís mine?

               Again CARL just frowns and her, she smiles back with her 
               eyebrows raised metres above her brow. He walks to the desk
               and pulls out the seat.

                         Take a seat.

                         Will Your mind?

                         Sit down!

               The yell from CARL scares KATHY, and she jumps, but soon 
               recovers and walks over to the seat and sits in it.

               CARL then directs her attention to the contents of the desk.

                         This is your phone, and this is 
                         your computer.

                         Wow, she really owns a lot of stuff.

               CARL cracks and closes his eyes. He finds his centre and is 
               ready to continue.

                         This is yo-

                         Is this her keyboard to?

                         Thatís it.

               CARL grabs the keyboard.

                         Yes this is her keyboard, and if
                         youíll look at the back of it.

               KATHY moves her head closer to the keyboard and CARL swings it
               into her face. She falls of her seat and behind the desk.

               We slowly drift backwards down the hall watching CARL beat 
               KATHY who is unseen behind the desk. Screams of primal fury 
               come from CARL.

                                                                CUT TO:

               Close up on CARL, holding the blood cover keyboard over his 
               head, he is out of breath. His eyes are wide open as he stares

                                     YOUR (O.S.)
                         Uh, Carl. What are you doing?

               YOUR, a tall brunette stands metres away from the desk. CARL 
               lowers the keyboard, looks at it, then hides it behind his 

                         Oh Your, hi, um howís it going?


                                        THE END.

               MATTHEW CHISHOLM'S

               T H E   D R E A M   D I S E A S E

               - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

               FADE IN:

               INT. LESTER'S BEDROOM - NIGHT

               We OPEN ON an extremely close shot of a small DEVIL DOLL,
               his pitchfork held aloft in triumph, fangs beared and tail
               slithering around his leg.

                                     DOCTOR (O.S.)
                         I'm afraid that what we're dealing
                         with here is an extremely aggressive
                         string of fever. The Dream Disease
                         some people call it. Basically, your
                         son will have some pretty intense
                         dreams tonight, it would be best
                         not to move him.

               Continue pan down along a shelf, where there are computer
               games and DVD's stacked up in a row, there are some figurines
               of dragons, wizards and other paraphernalia. Swing across to
               a medium shot of LESTER BARRINGER, fourteen years old, asleep
               on his bed, sweating and shaking. Every now and then he lets
               out a fearful moan. His fists clench the bed sheets into a
               bunched up ball.

                                     DOCTOR (O.S.)
                         Unfortunately, there have only been
                         a few substantiated cases of this in
                         the United States since 1940, which
                         means that we don't have a clue what
                         causes it exactly.

               PAN away from LESTER, over to the doorway, where the DOCTOR
               and LORRAINE, LESTER's mother, speak quietly, both only ever
               seen in dark silhouette.

                         Well, is he, er. . . is he in any
                         danger or something?

                         Honestly, Mrs Barringer, we don't
                         Know. These dreams, triggered by the
                         fever can be psychologically tense.
                         Even mentally disturbing. One of the
                         victims diagnosed, a twenty year old
                         woman, was admitted to a psychiatric
                         institution for nine months. There
                         was a case where a young boy from
                         South East Asia had dreams so scary
                         he stayed awake for three days. Then
                         one night his parents slipped him a
                         sleeping pill and sent him to bed.
                         He seemed peaceful for several hours
                         until sometime in the middle of the
                         night when the parents were awoken
                         by their son's terrified screams.
                         They ran into his bedroom, where
                         he was found, thrashing and kicking
                         on his bed, still asleep.

                                     DOCTOR (CONT'D)
                         He was screaming. They tried to wake
                         him and, when they did, he slumped
                         onto the bed. He was just dead. That
                         was all there was to it.

                         Oh my God. . .

               CLOSE SHOT - LESTER

               As he tosses and turns, sweating in his sleep.

                                                                CUT TO:

               EXT. CITY - DAY (DREAM)

               The huge city skyscrapers reach up into the sky. The streets
               are not bitumen, but a gently flowing river of water.

               LESTER comes walking down the middle of one of the deep
               rivers, apparently unconcerned that he is walking on water.
               The bright sun blares down on him. He is wearing black with
               a red PITCHFORK insignia on the shirt.

               He looks up ahead and sees a bright red door sitting in the
               middle of the river, water gently lapping against the base of
               the frame. LESTER approaches guardedly.

               Suddenly, he hears a croak and looks down. Siting at his feet
               is a multi-coloured frog, whose skin changes colour as it
               moves. LESTER smiles down at it.


               The French accent is very strong.


                                     FROG                         You are being followed, no?

                         Yeah. It's coming for me.

                         Beware ze pitchfork, huh?

                         What do you mean?

                         You must go zrough ze door.

                         I'm scared.

                         You should be.

               LESTER apprehensively pushes the door open. Beyond the
               opening, he can see his own bedroom, dark figures moving
               about everywhere.

               He looks down at the frog, gives a weak smile.

                         Wish me luck.

                         You really don't want me to. You
                         know why you are 'ere.

               LESTER slowly steps through the door, it slams closed
               behind him. He steps into his bedroom, sees LORRAINE and the
               DOCTOR bent over his bed, where there is another LESTER.

                         Lester? Lester can you hear me?


               The LESTER on the bed opens his eyes. DOCTOR ignores this,
               starts giving him CPR, pounding on his chest.

                                     BED LESTER
                         Hey, Lester.

                         Er. . . hello.

                                     BED LESTER
                         You shouldn't be here.

                         I know.

                                     BED LESTER
                         This is a bad place.

                         I know.

                                     BED LESTER

               Suddenly, the door is blasted open and a huge SHADOW,
               wreathed in fire, explodes into the room with a mighty roar.
               LESTER screams and runs.

               We STEADICAM with him as he dives out of his room, into the
               corridor, flies down the stairs, the entire house behind him
               is bursting into flames.

               He reaches the front door, flings it open and steps out
               into. . .

                                                                CUT TO:

               EXT. DESERT - DAY

               LESTER looks around, there are rolling hills of blindingly
               white sand in every direction. The wind gently caresses his

               Suddenly, footsteps behind him. LESTER spins around and sees
               a MAN dressed in a tuxedo coming towards him.

                         Do you know-

                         Where you are?

               The same FRENCH voice.

                         Aren't you the frog?

                         Aren't you?

               LESTER pauses.

                         You're in ze wrong place. You're
                         running, running from what you've
                         no possible chance of escaping.
                         Beware ze pitchfork. Over there,
                         that is where you must go.

               He points to a large hill behind him. LESTER turns to look at
               it for a moment, then turns back. When he does, the MAN is
               completely naked with a multi-coloured frog sitting on top of
               his head. He smiles at LESTER and then, in an American woman's
               voice, says:

                         Have a nice day.

               Both he and the frog melt into a puddle of multi-coloured,
               phosphorous goo.

               Suddenly, a wave of BLACKNESS begins passing over the sand,
               turning every grain black, until it reaches LESTER's feet. He
               turns to run as the entire SANDFIELD shoots an enormous wave
               of thick RED BLOOD into the air.

               LESTER runs, pounding the sand with everything he has until
               he reaches the base of the enormous sand dune.

               He looks back, as the wave of blood hurtles towards him at an
               amazing speed. He screams and falls to his knees, looks behind
               him and makes his decision.

               LESTER begins climbing the enormous sand dune.

                                                           DISSOLVE TO:

               A MONTAGE OF LESTER

               Climbing, clawing, struggling, rising.

               EXT. SAND DUNE - DAY

               LESTER appears over the sand dune, looks over the crest of
               the hill and sees nothing but more desert, rolling on.

               He collapses onto the ground in a heap.

               CLOSE SHOT - LESTER

               As his head hits a solid patch of GREEN GRASS.

               He looks around, now completely un-exhausted, and rises,
               revealing that he is standing in the middle of an enormous
               field of green grass.

               Footsteps from behind him. LESTER spins around to see that
               THE DEVIL is moving towards him. He looks exactly like the old
               figurine seen in LESTER's bedroom.

               LESTER looks extremely confused.


                                     THE DEVIL
                         Yes. And no.

                         Who are you?

                                     THE DEVIL
                         I'm the devil.

                         Beware the pitchfork.

                                     THE DEVIL
                         There's nothing to be afraid of.

               LESTER looks behind him.

               He sees LORRAINE and DOCTOR bent over his bed, watching over
               him fearfully.

                                     THE DEVIL
                         They can never know, Lester. What
                         it is like to be who you are.

                         They'll never know?

                                     THE DEVIL
                         Never. Do you know why I have to do
                         this to you?

                         Yes. I'm scared.

                                     THE DEVIL
                         Fear is what lets you know you are
                         still alive. Let it go. You think
                         you know, why you're here? What is
                         coming next? Your journey is only
                         just beginning, Lester.

               THE DEVIL approaches him, raises his pitchfork.

                         Will it hurt?

                                     THE DEVIL
                         You already know.

               He plunges the pitchfork deep inside LESTER.

                                                                CUT TO:


               LESTER suddenly wakes up for a moment, chokes for air,
               begins convulsing and drops back onto his bed. All sound is
               lost as his eyes roll back in his head. DOCTOR drops onto
               his knees besides the bed, attempts to revive LESTER.

               LORRAINE stands in the doorway, completely horrified, she's
               crying uncontrollably.

               CLOSE SHOT - LESTER

               Pale. Motionless. Silent. 

                                                           DISSOLVE TO:


               The sun shining down on LESTER's tombstone, which reads
               "LESTER GORDON BARRINGER. 1992 - 2006."


               ROLL END CREDITS.

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