20 - Process
20 - Process
20 - Process
written by
Levin Menekse
INT. THE MULTIPURPOSE ROOM - DAY
VOLUNTEER 1 (O.S.)
Hello, my name is Anna and I’m so
glad you’re here today! Please
follow me!
PETER (O.S.)
“The Process may cause participants
to experience brief, temporary
episodes of mild psychosis--" Thank
God it’s only mild psychosis.
KIRSA
(O.S.)
Peter, it’s just fine print.
PETER
(O.S.)
“And some participants have
experienced unexplained suicidal or
destructive behavior--”
(beat)
This is the kind of shit they have
to play after a drug commercial in
case people off themselves.
We see them now, tucked into a corner, hunched over a few
pieces of paper. It's a health waiver.
They’re a study in contrast: She’s KIRSA REIN, graceful, a
queen in a past life, 38 years old. She's in her sleek power
suit, tastefully made up. She doesn't do casual.
He’s PETER REIN, 31, effortlessly hot but lacks any semblance
of grace, with his visible tattoos and wild facial hair. He's
wearing old jeans and a fitted t-shirt.
She’s picking lint and hair off of him as they talk.
KIRSA
I’m going to go out on a limb and
say I’m pretty sure we’re not going
to kill ourselves.
PETER
Doesn’t sound like a pleasant
experience, is all I’m saying.
3.
KIRSA
They’re not going to waterboard us.
They are a business, they have Yelp
reviews. They want repeat
customers, they want money.
PETER
They’re a cult, man. You can’t know
what they want.
He says that a bit too loud. Kirsa looks around.
She realizes they are the last ones left out here. A MATERNAL
VOLUNTEER, 60’s, waits for them by the door.
Kirsa smiles at her, then turns back to Peter, her voice low:
KIRSA
I know. I don’t get it either. But
Arthur’s obsessed with this thing.
It's all he talks about. And I’m
THIS close to making partner and if
I have to spend a weekend here to
assuage his worries that I'm not
living a “truthful" life, I'm
willing to do that. I know it's not
fair to you but I just need you to
be on my team. Please.
He thaws.
KIRSA (CONT’D)
Just think of it as a three day
couples get away. We'll have a room
to ourselves. Nary a screaming
child in sight.
KIRSA
I’ll serenade you with it.
She says the words with the exact sing-song cadence as the
first Volunteer we heard.
Once they step in, the Maternal Volunteer closes the doors
and LOCKS them. Both Kirsa and Peter take notice.
INT. CORRIDORS - DAY
MATERNAL VOLUNTEER
I can’t explain it to you see, it
would be like explaining a joke!
You have to experience it full on.
PETER
Can’t you give us a hint?
MATERNAL VOLUNTEER
How about this: Do you ever wish
you came with an instruction manual
for your body and your mind?
PETER
An instruction manual? Like for a
dishwasher?
5.
He’s fucking with her. Kirsa can’t help breaking a smile but
throws him a “cut it, please” glance.
MATERNAL VOLUNTEER
(serious, thankful)
Exactly. But for us. All of us.
She looks at them, intense. They manage a nod or two.
They turn a corner and face the MULTIPURPOSE ROOM.
CHIRPY VOLUNTEER
We had Aiden leading us, I’m pretty
sure you guys have him today. He's
the founder of all this, a real
miracle worker. He's just so great
at...
(pointing at his head)
Getting in there and cleaning out
the cobwebs.
(sees someone behind her)
Excuse me, I need to go set stuff
up. But oh this is going to be so
amazing for you! I know it!
Kirsa tries to morph her face into a convincing smile.
He walks off. Peter leans into Kirsa, whispers:
PETER
I sort of like my cobwebs...?
He's half joking but she can see he's freaked out.
Before Kirsa can reply, the Tall Volunteer extends two
brochures and a pair of name tags to them.
KIRSA
Thank you.
He points to a straw basket filled with cellphones.
TALL VOLUNTEER
Your phones.
Peter and Kirsa share a glance.
PETER
Uhh... Look man, we have a four
year old at home. Phones are sort
of mandatory.
TALL VOLUNTEER
Complete transformation requires
complete commitment.
KIRSA
Can we keep them if we switch them
off? We'll have breaks, I assume--
TALL VOLUNTEER
You have agreed to the Process.
This is part of that agreement.
Peter pulls her back, leans in.
7.
PETER
(whispering)
Kirs, this place has more red flags
than a Chinese Armada. Seriously,
we can still bolt.
But Kirsa overhears:
KIRSA
It’s okay. My parents will be happy
to get some quality time with Sam.
Peter full body sighs. Puts his phone into the basket.
TALL VOLUNTEER
Leave your bags here, we will take
them to your rooms.
Peter flashes a frustrated smile as he drops his backpack to
the ground, hard. Kirsa lets go of her rolling bag.
They look around for a chair to sit on. Thankfully, there are
two empty ones next to each other. They move to the chairs--
TALL VOLUNTEER (CONT’D)
You can’t sit together. You need to
focus on your own selves for--
Peter whips around, his frustration boiling over:
PETER
Yeah? That also part of our
"agreement"?
KIRSA
(reigning him in)
Peter.
8.
PETER
What?
KIRSA
Thank you for being on my team.
You're the best.
He can't help but smile. Kisses her.
PETER
Actually, you're the best.
Scientifically. As you know, I
studied bestology in college.
KIRSA
I'm going to have to disagree. I
have a PHD in bestology. From CERN.
PETER
CERN? That lab with black holes?
KIRSA
Yep. That one.
A VOLUNTEER brushes by them and pops them out of their
bubble. Kirsa sees all Volunteer are taking their places at
the edges of the room, their backs to the wall.
9.
Something BANGS behind her and makes Kirsa JUMP in her seat--
It’s the DOUBLE DOORS. They're closed now. The Tall Volunteer
stands before them. He puts a KEY into the lock and turns it.
The doors lock with a heavy CLICK.
He pockets the key and sits down behind his desk.
Kirsa looks at the closed, and now locked, doors.
AIDEN (O.S.)
Why the fuck are you here?
She sees the MAN on the stage, AIDEN CAUL. He’s big with
broad shoulders, dressed all in black. He might be in his
50’s or maybe older, but there is a ferocity to him that
makes you believe he can kill a bear with his bare hands.
AIDEN
Enlightenment.
(walking to her)
What's your name?
SHAVED HEAD
Aspen.
AIDEN
Aspen. What does that mean?
Enlightenment.
10.
ASPEN
No but I can, I know what--
Aiden
SIT THE FUCK DOWN!!!
Aspen sinks into her chair, scared.
Nothing moves for a long beat.
Then someone in the crowd SIGHS.
Kirsa knows that pronounced sigh. It’s Peter.
Aiden’s head snaps to Peter.
AIDEN (CONT’D)
You have something to say? What’s
your name?
Kirsa tenses, her eyes on Peter.
PETER
It’s on my name-tag
Aiden leans over Peter and RIPS away his name-tag. Crumples
it and drops it to the ground.
11.
AIDEN
I don’t see a name tag.
PETER
(annoyed, not intimidated)
Why are you so rude, man?
AIDEN
Because I have to be. Because if
I’m nice, you will go back to your
nice, dead life. I only have THREE
DAYS to resuscitate your aliveness.
THREE DAYS to TRANSFORM your ENTIRE
FUCKING LIFE and this is the ONLY
WAY I know how.
He disengages from Peter, starts stalking through the room.
AIDEN (CONT’D)
If it makes you feel more
comfortable, I don’t like shouting
at you. But I do it because
(even LOUDER)
YOUR! FUCKING! LIVES! ARE AT STAKE!
He stomps back to Peter.
AIDEN (CONT’D)
What is your name?
Peter sighs again, but sees Kirsa glancing at him.
PETER
(relenting)
Peter.
AIDEN
Why the fuck you are here, Peter?
PETER
(not sure, guessing)
Transformation...?
AIDEN
Transformation into what?
PETER
I don’t know, man.
(can’t help himself)
Into one of those wonderful
volunteers you got back there?
A few people snicker at that. Kirsa shakes her head, not
pleased. Aiden is stonefaced.
12.
AIDEN
I’ve been leading classes for seven
years, Peter. One thing never
changes: Class clowns turn out to
be the saddest people in the room.
Peter doesn’t know how to reply to that. It shuts him up.
AIDEN (CONT’D)
(to the room)
What’s the difference between a
caterpillar and a butterfly?
Nobody answers. Not after what happened to those who did.
Kirsa tightens in her seat. Aiden is coming her way.
AIDEN (CONT’D)
I’m sorry. My bad. It’s a big room,
I should speak up.
(SHOUTING)
WHAT IS THE DIFFERENCE BETWEEN A
CATERPILLAR AND A BUTTERFLY?!
Aiden locks eyes with Kirsa. Kirsa looks away, but it's too
late. He looms over her.
AIDEN (CONT’D)
What’s your name?
KIRSA
Kirsa.
AIDEN
Kirsa. What is the difference
between a caterpillar and a
butterfly?
Kirsa takes a long beat.
KIRSA
They're the same thing but
transformed.
AIDEN
Go on.
KIRSA
(after another beat)
The caterpillar doesn't become a
different thing when it's a
butterfly. It's still what it is.
More beautiful, but still the same.
13.
AIDEN
Yes. Good. Very good.
(to the crowd)
Transformation doesn't mean you
will become a different person. It
means you will become more You.
(eyes pointing at Kirsa)
Did you see that? She didn't spew
out a buzzword. She dug deeper.
(singling her out)
Thank you, Kirsa.
She nods back politely, pleased she aced the question. People
around her lean in to check out who she is.
Aiden takes a moment. Starts shouting again:
AIDEN (CONT’D)
To turn into a butterfly, the
caterpillar disintegrates into a
soup of its own organs! Then it
EATS ITSELF to transform into a
butterfly. It's disgusting but it's
the only fucking way.
He paces towards the platform, maintaining intense eye
contact with those near him.
AIDEN (CONT’D)
You think I’ve been rude? Harsh?
That’s nothing. You will hate me in
the next three days. I will hurt
you. I will psychically bleed you.
I will make you piss your pants, I
will make you vomit. Your entire
being will resist, you will want to
run out of here, you will want to
slug me. Memories you’ve been
repressing for decades will come
out and the pain will be so fucking
bad you will understand why you've
repressed them in the first place.
Kirsa holds his gaze. Takes that in.
AIDEN (CONT’D)
But when we're done... You will all
be butterflies.
There is genuine wonder on his face when he says that. Almost
as if he's... sexually turned on.
He climbs to the platform. Looks over everyone. Intimate.
14.
AIDEN (CONT’D)
(lighter)
You're probably thinking... Jesus
Christ. This shit sounds intense.
What did I get myself into?
That draws a wave of smiles. Some laughs.
AIDEN (CONT’D)
Folks, ninety-nine percent of
people who attend this class report
they experienced a profound and
lasting difference in the quality
of their lives. It’s not magic,
it’s technology and this technology
works. I have experienced it,
whoever recommended this class to
you has experienced it. You will
experience it.
He starts pacing around, pumping everyone up. Kirsa can feel
the energy of the room change. People like this Aiden.
AIDEN (CONT’D)
Give me three days. It’s a fucking
weekend for a permanent shift in
your life. It’s the best investment
you will ever make. All I’m asking
from you is to do it how it’s
supposed to be done. To commit to
it with your entire body and mind
and being. Are you open to that?
Are you going to do it?
(pumping them up)
Do you believe in the possibility
of a better life? A more truthful
life? If you’re willing to full-on
commit to that life, raise your
hand right fucking now!
One by one, everyone’s hands go up. Kirsa raises her hand
too, more out of obligation than anything.
She looks at Peter. His hands are on his lap.
She sees Aiden scanning the crowd. He sees Peter -- the only
one who doesn’t have his hand up -- and walks towards him.
Her eyes catch Peter’s. They bore into him. Do it.
He gives out a long sigh, then raises his hand.
AIDEN (CONT’D)
Well done. I'm proud of you.
(beat)
It’s time for a quick break. I
encourage you to talk with our
volunteers and learn about their
transformations.
It feels weird to have him stop talking. Nobody moves.
AIDEN (CONT’D)
(lighter)
I’d get up if I were you. You’re
not going to have many of these.
He’s charming again. Some people laugh.
Kirsa stands up, looking for Peter, but Peter is not where he
was sitting a moment ago.
MATERNAL VOLUNTEER (O.S.)
Kirsa! How are you?
Kirsa smiles at her but she's still looking for Peter.
KIRSA
Good. That was great. How are you?
MATERNAL VOLUNTEER
I’m truthful and grateful to share
this experience with you.
Kirsa nods a few times at that, not sure where to take the
conversation... but she sees Peter.
He’s at the far corner of the room, talking to a particularly
ATTRACTIVE VOLUNTEER in her late-twenties.
The Attractive Volunteer LAUGHS at something Peter said.
Something in Kirsa stirs.
KIRSA
Excuse me. I’ll be back.
She beelines towards Peter...
ACROSS THE ROOM
Kirsa hears them as she gets near:
PETER
Is The Process for-profit? Yes or
no? Simple question.
16.
ATTRACTIVE VOLUNTEER
It is, but none of the leaders are
in it for the money. Most of them
took huge pay cuts from their old
jobs to come work with us.
PETER
I’m gonna go ahead and silently nod
at that but I don’t know if it's
gonna be a truthful nod.
Attractive Volunteer chuckles at that.
Kirsa notices she’s even better looking up close: Her skin is
porcelain, her face is perfectly symmetrical. Her coiled
snake earrings and short hair give her an alternative look
that matches Peter’s. They could easily be a couple. Hell,
they look more like a couple than Kirsa and Peter.
She notices Kirsa. Sparks up. Aggressively happy.
ATTRACTIVE VOLUNTEER
Kirsa, I’m Maya! I’ve been wanting
to talk to you.
KIRSA
Any particular reason why?
MAYA
Arthur told me you were coming.
Kirsa's body language changes at the mention of Arthur.
KIRSA
How do you know Arthur?
MAYA
We’re doing AW together!
KIRSA
AW?
MAYA
Advanced Wisdom. It’s a third-tier
leadership course. We’re training
to be a course leader. Like Aiden.
KIRSA
That’s great. Congratulations.
(re: Peter)
I hope he’s not giving you too much
trouble. He likes being a rebel.
17.
MAYA
I don’t mind it at all, I was the
rebel in my intro course.
She smiles, broad. As if to say: "And look where I am now."
PETER
Well, fingers crossed.
Maya chuckles again. Either genuinely charmed by Peter or
acting charmed to sell him on the program, Kirsa can't tell.
AIDEN (O.S.)
Everyone back to your seats!
Aiden is up at the platform again. Ready to command.
AIDEN (CONT’D)
You’re safe. Visualize the child
you were. A happy child. Hopeful.
This is before the time you knew
you could be harmed.
Aiden stands up. Slowly starts pacing.
AIDEN (CONT’D)
From a time when all hopes and
dreams were possible.
(long beat)
I want you to ask yourself one
question: Am I happier now, as an
adult, or was I happier as a child?
He descends from the platform.
AIDEN (CONT’D)
You know the answer. You knew
before you asked it. It's in your
gut. It used to be better. And that
child... That child is disappointed
in who you have become. You've lost
something, haven't you? And you are
not okay anymore. Not like you
were. You’re a goddamn mess.
Now this voice morphs into something cruel. It gradually gets
higher in volume until he’s full on shouting.
AIDEN (CONT’D)
Look at that child. You had so much
promise. But you turned out to be a
DISAPPOINTMENT. You FAILED
yourself! You gave up on yourself!
You LET YOURSELF DIE!
A man to Kirsa’s right cracks, starts sobbing. More people
start crying. Whimpering like children.
Kirsa opens her eyes, weirded out. Not willing to go with it,
but keeping her head down, weathering it out.
Aiden is now shouting at the top of his lungs.
19.
AIDEN (CONT’D)
WHY? Because you got HURT and
instead of DEALING WITH IT you
started AVOIDING and LYING and that
stuck, and that’s why YOU AVOID
BEING TRUTHFUL AND LIE and you SAY
IT’S OKAY when you feel like YOU’RE
IN SO MUCH PAIN YOU WANT TO JUST
FUCKING DISAPPEAR, but that CHILD
knows and you KNOW and YOU CAN’T
AVOID IT ANYMORE! YOU KNOW!
More people are crying. Ugly, guttural crying. It’s a
cacophony of raw pain.
Kirsa is absolutely still. Her heart is beating fast. A sick
anxiety blossoming in her chest.
Aiden climbs onto the platform and CLAPS his hands.
AIDEN (CONT’D)
Open your eyes. Look at me.
Kirsa lifts her head, looks around. People wipe their eyes
and noses, red-faced.
Kirsa glances over at Peter, who looks dazed.
AIDEN (CONT’D)
I SAID LOOK AT ME.
He points to someone in the back.
AIDEN (CONT’D)
Stand up.
Kirsa, and everyone else, turn to find a woman in her 40’s, a
SOCIALITE type, who is still sobbing, make-up running.
AIDEN (CONT’D)
Why does your life not work?
SOCIALITE WOMAN
... I don’t know.
AIDEN
You know. You fucking know.
She starts breaking down.
SOCIALITE WOMAN
I don’t know if I love my husband.
20.
She starts crying. Vocalizing the words gave them weight she
couldn’t carry. Aiden looks at her, emphatic.
AIDEN
We’ll figure it out together, okay?
She nods back, her hands intertwined across her chest as if
in a prayer. Sits down.
He walks up to a big chalkboard at the front of the room, and
starts writing on it: “PERSONAL RELATIONSHIPS”
He points to a devastated OFFICE DRONE in an ironed white
shirt sitting in front of Kirsa. He stands up.
AIDEN (CONT’D)
Why does your life not work?
KIRSA
I can take more responsibility at
my work. I practice family law at
large firm and I want to make
partner but... But I always hold
myself back for some reason.
Aiden walks to the edge of the platform, staring her down.
Obviously dissatisfied with her composed answer.
AIDEN
Go on.
KIRSA
That's... that's it.
AIDEN
Kirsa. Did you do the exercise?
KIRSA
Yes.
AIDEN
It didn’t work for you?
KIRSA
It did.
AIDEN
Kirsa, everyone in this room can
tell you’re not being truthful.
(giving her an out)
Because sometimes it doesn’t work.
AIDEN
(final)
Trust me, Kirsa. You should leave,
there’s no use wasting either of
our time. I wish you the best.
AIDEN (CONT’D)
You. Why does your life not work?
Kirsa slowly sits back down. Admonished. A little humiliated.
AIDEN (CONT’D)
Well... That's progress.
Aiden underlines "Addiction."
AIDEN (CONT’D)
I’m going to let you go to bed now.
BUT, before you sleep, I want you
to do some simple homework: There’s
going to be a piece of paper in
your rooms. On the left side of
that paper, I want you to write the
first words you have spoken in this
life.
(MORE)
24.
AIDEN (CONT’D)
Then draw a line to the right side
of the page and write down the last
words you think you will speak
before you die if you keep living
the way you've been living. If you
don’t solve these problems you got.
Do not be a fucking coward. Be
truthful. If it’s not hard, if it’s
not uncomfortable, that’s how you
know you’re lying.
(soothing, almost tender)
You owe it to yourself.
Kirsa clocks the people around her nod, taking in the lesson.
She’s a bit creeped out by how in sync they are.
The Tall Volunteer unlocks the doors and swings them wide
open. People stand up, file out.
CHIRPY VOLUNTEER (O.S.)
(directing people)
If you're A to L, please come with
me. If you're M to Z...
PETER
Hey, beautiful.
KIRSA
(venting)
I feel like I’m being punished
because my life works. Excuse me
for loving my husband and not
sleeping with prostitutes.
(whispering to him)
And it is a little too cult-y.
PETER
Eh.
(she’s surprised by that)
It is intense but it’s basically AA
for sober people.
KIRSA
Do they mass hypnotize you in AA?
PETER
No. But, you know, some people need
that shit.
KIRSA
What people? People who sleep with
prostitutes?
That was too loud. She slinks a bit, checks to see if anyone
heard her. They haven't.
PETER
When you're in that kind of haze,
sometimes you need someone to knock
you down to see which side is up.
KIRSA
(whispering)
What they need is therapy, not an
unqualified autocratic dictator
screaming at them for hours.
PETER
I don't know, man... He's obviously
trained in some way. Plus, the
people in the program who helped me
the most are not therapists. I'd be
surprised if they even graduated
from high school, you know?
PETER
I should apparently, if it's you
doing the telling.
She slides out under his arm.
PETER (CONT’D)
Look, all I'm saying is that it
might be good for some people.
Maybe not for us but, I mean, Trent
fucking Reznor did this thing and
loved it. If a stone cold genius
benefited from it, you know...
KIRSA
Did Maya tell you that?
PETER
What?
KIRSA
You were talking. I assumed.
PETER
I read it on the little pamphlet
thing. What are you saying?
KIRSA
Nothing. Just...
PETER
I'm telling you, we can still
totally bolt if you want. I'm still
on your team.
KIRSA
No. I need to stay. Last thing I
need is this asshole telling Arthur
I'm a lost cause.
PETER
Cool. Well. Let me know if I can
improve your stay. Wink-wink.
PETER
Wow. You brought the...?
(she nods)
Groovy.
TALL VOLUNTEER
No.
She opens the door, it’s unlocked. Peter follows her in.
TALL VOLUNTEER (CONT’D)
(to Peter)
Your room is down the hall.
PETER
We’re staying together.
TALL VOLUNTEER
All rooms are singles.
KIRSA
(getting frustrated)
We’ll figure out a way to share the
bed. Thank you.
The Tall Volunteer steps towards Kirsa, cranes his neck down.
TALL VOLUNTEER
Your homework requires solitude.
KIRSA
(not backing down)
We'll put on headphones.
PETER
Maybe he’s got a point.
KIRSA
What?
PETER
I mean, we’re doing this thing,
might as well do it full on.
KIRSA
“Full on”?
PETER
When in Rome... We're here, let’s
see if we can get something out of
it, you know?
Kirsa can’t believe her ears.
TALL VOLUNTEER
(approving)
Peter, this way to your room.
PETER (CONT’D)
Good night.
KIRSA
Good night.
Kirsa watches as Peter is marched down to a room at the end
of the corridor by the Tall Volunteer.
It’s cramped. She goes for the sink. Washes her face.
Realizes there are no mirrors on the walls.
Kirsa raises her head and sees the Older Woman, in her late
60’s, fashionable, putting moisturizer on her face.
Aspen, the woman with a shaved head from earlier, chimes in.
ASPEN
I know, right? It’s like Orange is
the New Black in here.
The conversation is a breath of fresh air to Kirsa.
KIRSA
It’s worse. The warden on that show
is nicer than what we got.
She has scribbled down a dozen things ("I wish I was more
truthful." "I love my husband too much?" "Go fornicate with
thy bottom, you quack.") but they're all scratched out.
She pushes away from the desk, frustrated. Looks at the door.
30.
KIRSA
(thrown)
... I was going to, yes.
MAYA
I’m sorry, he can’t right now. He’s
meditating on the homework.
(before Kirsa can ask)
I’m helping him out with it.
KIRSA
Helping him out how?
MAYA
Getting him to be open to the
possibilities of transformation.
KIRSA
He asked for your help?
MAYA
No. But I needed it when I did my
intro course. He needs it too.
(before Kirsa can reply)
(MORE)
31.
MAYA (CONT’D)
Are you done with your own
homework?
KIRSA
... I’m working on it.
MAYA
You should go back to your room,
then. You shouldn’t be out here.
She delivers that with a friendly smile but it has the tinges
of a warning.
MAYA (CONT’D)
Oh, and Aiden is hard on everyone.
He told Arthur to leave in our
first day too. It was demoralizing
for him back then but we laugh
about it now.
Is she being genuinely supportive? Is she invoking Arthur’s
name to make Kirsa comply? Kirsa can't figure it out.
She turns away and starts walking back to her room. Her heels
hitting the ground, echoing in the silence.
From her luggage, she takes out a MOUTH GUARD and a SLEEPING
MASK. She lies down on the bed.
32.
AND SOMEONE KNOCKS ON THE DOOR, THREE TIMES like the start of
a fucking SWAT raid and the door is swung open.
CHIRPY VOLUNTEER
Wake up everyone! WAKEY-WAKEY!
Kirsa jumps from the bed. Takes off her mask. How long did
she sleep? Did she sleep at all?
She can hear all the Volunteers going down the corridor,
BANGING on doors and SHOUTING.
She steps out. Gently closes the door, trying to reclaim some
semblance of privacy.
She goes to her roller bag near the bed. Zips it open.
Inside are some clothes and other travel things. But she goes
straight for a little pocket inside the lid.
She palms the other pockets of the bag. Then rifles through
the clothes. Whatever she’s looking for is obviously fucking
vital. And it’s not there.
INT. CORRIDORS
It’s still dark. People are waking up, mumbling. It looks
like someone pulled the fire alarm at a hotel.
And then there’s Kirsa, exploding out of the room, more
animated than we’ve ever seen her.
33.
MAYA
(brightens up)
Kirsa!
KIRSA
There are things missing from my
roller bag.
MAYA
Oh, I’m so sorry to hear that.
What’s missing?
KIRSA
(she doesn't want to say)
Where is Peter?
MAYA
He already went down. He wanted to
get a head start on his
transformation.
A beat.
KIRSA
Do you people go through our bags?
MAYA
Well, there’s a security check.
Some people try to sneak in phones.
But I assure you--
KIRSA
It’s not a goddamn phone.
MAYA
Okay. But... What is it? I can’t
help you unless you tell me.
KIRSA
My Paxil.
MAYA
Is that some kind of medication?
KIRSA
For anxiety.
34.
MAYA
Oh. Mind-altering substances are
not allowed during the Process.
KIRSA
It’s medicine, not LSD.
Maya cocks her head a little. “If you say so.” Not
contradicting Kirsa but also not giving her anything.
KIRSA (CONT’D)
Did they take my pills from my
suitcase? Because I need them.
(dreading to say it)
Paxil withdrawals are... bad. Even
if I miss a single day. I have a
strict regimen, I take a pill first
thing in the morning which means I
haven’t taken it in a...
(realizes the severity)
What time is it?
MAYA
It’s the beginning of the second
session.
KIRSA
This is serious. What’s the time? I
need to know how long it’s been
since I’ve taken my last pill.
The lights above have been dimmed for today. More intimate.
A desk nearby has a bunch of plastic cups filled with what
looks like a green smoothie.
MATERNAL VOLUNTEER
Breakfast! Try it, it's yummy.
35.
Kirsa sees that the other smiling Volunteers are giving the
same pitch to the tired people streaming in.
KIRSA
(trying to get away)
I'll think about it.
Maternal Volunteer's smile fades for a second but then comes
back with a vengeance.
MATERNAL VOLUNTEER
If you wait, the spots might fill
and you might miss what could be
the best experience of your life!
KIRSA
(getting frustrated)
Thank you, maybe later.
KIRSA
(finally snapping)
I don't know. My brain?!
(walking away)
Excuse me.
The Maternal Volunteer steps back, whispers something under
her breath at Kirsa, perhaps a curse, and latches onto the
next tired, defenseless person coming into the room.
36.
Kirsa brightens when she sees an empty chair next to Lori and
Aspen. She walks towards them.
ASPEN
Oh no, I think we might be
"transforming" into basic bitches.
AIDEN
The thing is Lori, you’re much
closer to this...
(the “last words”)
...than to this.
(her “first words”)
I’m not saying that to hurt you,
you know that. It’s just the truth.
Lori forces a smile but she’s hit by that.
AIDEN (CONT’D)
Time is a resource and you don’t
have the resources to live
unconsciously anymore.
(MORE)
37.
AIDEN (CONT’D)
You need to call your son and tell
him the truth. You need to tell him
you love him. If you still think
that way about him being gay...
Don’t talk about that. He’s your
son. His sexuality is, what, a
small part of him. He’s your
fucking son. You love him more than
anyone else can ever love him.
LORI
(voice breaking)
I do. I do.
AIDEN
Say it after me: It’s too late for
me. I need to fucking live.
LORI
(a hoarse whisper)
It’s too late for me. I need to...
live.
AIDEN
Lori. Lori?
(gently, charming)
Lori, that’s not what I said, was
it? You missed a word there. Starts
with F? I say it a lot?
A gentle laughter rises from the audience around Kirsa.
LORI
It’s too late for me. I need to...
(meek)
fucking live.
AIDEN
Again.
LORI
I said it!
AIDEN
You gave birth to four children and
you squeak like a mouse!? I don’t
fucking buy it!
LORI
It’s too late for me. I need to
fucking live.
AIDEN
Again!
LORI
It’s too late for me--
AIDEN
Shout it! Top of your lungs!
LORI
(shouting)
It’s too late for me and--
AIDEN
LOUDER!
LORI
AND I NEED TO FUC--
AIDEN
NO! FROM THE START!
LORI
IT’S TOO LATE FOR ME--
AIDEN
LOUDER! LOUDER!
LORI
IT’S TOO LATE FOR ME AND I NEED TO
FUCKING LIVE!
AIDEN
(lovingly)
Get up. Get up.
AIDEN (CONT’D)
See how strong she is, folks?
Vulnerability is a strength. Don’t
let anyone tell you otherwise.
Two Volunteers come up and escort Lori back down the stairs.
AIDEN (CONT’D)
If you want to find Lori during the
break or after the session and tell
her how brave you think she is...
you should. She deserves that.
Lori nears her seat. Aspen gets up and gives her a hug.
ASPEN
You’re very brave.
Lori smiles through the tears.
AIDEN
Alright, who’s next?
(pointing)
Peter. Yes, you. Come up. Everyone
give him a hand, will you?
Peter stands up, uncomfortable. Trudges up to the stage as
everyone applauds.
Everyone except Kirsa.
AIDEN (CONT’D)
Share with us, Peter.
After a beat, Peter starts reading.
40.
PETER
My first word was: “Moose.” Or at
least that’s what my mama used to
say. I said moose before I said
mom, and she was so mad. She never
forgave me for it.
AIDEN
Poetic.
PETER
I meditated on it a lot. I wasn’t
being lazy. It felt right.
AIDEN
Why “shit”?
PETER
It’s ending, you know? There are
things I still want to do but I
don’t have the time.
AIDEN
Why don’t you do them now?
(Peter seems confused)
The things you want to do, why
don’t you do them now?
PETER
(after a brief pause)
I am doing them, I just want to do
more of--
AIDEN
Why’d you pause?
PETER
I considered your question, I
didn’t pause--
AIDEN
Peter. Everyone in the fucking room
saw you pause before you answered.
AIDEN (CONT’D)
Fine, let’s do it your way:
Everyone who saw him pause, raise
your hands.
Kirsa watches as everyone raises their hands. She doesn’t.
PETER
Seven, eight. Decent.
AIDEN
That’s not decent, Peter. That’s a
B- if it’s an eight. C- if it’s a
seven. That’s decent?
PETER
(attempt at humour)
I sucked at school, man. C- would
have made my mama thank God.
He’s good at it, some people chuckle but Aiden rolls through.
AIDEN
What’s missing? Why not a ten out
of ten?
PETER
Nobody is at a ten.
AIDEN
You were never at a ten?
PETER
When my son was born, maybe.
AIDEN
Then it creeped down to seven?
PETER
Don't say that like that's a weird
thing. That's how life works.
42.
AIDEN
You're at a C- and you’re an expert
on how life works?
Now Peter is getting pissed off.
PETER
Your life is a ten? A+? Being
you’re the life expert and all?
AIDEN
Of course it is.
PETER
(fuck you)
Right. ‘Cause you’re the butterfly.
AIDEN
Peter, how hard did your mother hit
you when she beat you?
All the air is sucked out of the room.
AIDEN
(without missing a beat)
You have a son. Are you married?
PETER
... yeah.
AIDEN
Rate your marriage for me.
(Peter is still paralyzed)
Is it “decent”? Six, seven. C-? C+?
PETER
(barely a whisper, still
thrown)
... Ten.
43.
AIDEN
It was the conviction in your voice
that really sold that.
AIDEN
(changing tracks)
You’re a photographer.
(re: Peter's surprise)
I Googled you. I Google everyone,
by the way. I do my homework, too.
PETER
Yearbook photographer. I do high
school yearbooks.
AIDEN
That’s an important distinction?
(Peter shrugs)
It is. You’re not an artist.
AIDEN (CONT’D)
Here I am digging for some deep...
(his voice trails off)
Peter, you’re just an average Joe
who hates his fucking job.
PETER
I don’t “hate” my jo--
AIDEN
All who think Peter hates his job
raise your hand.
PETER
What do you want me to say. It’s a
job, man. You hate it sometimes--
AIDEN
No. Stop resisting. You hate it all
the goddamn time.
(Peter is silent)
Do you know why? Because it’s a
betrayal of your being. You gave up
on your calling.
PETER
I didn’t give up anything. Don't
make it sound dramatic. I just...
wasn’t that good at it.
AIDEN
Tell me what you mean by that.
PETER
I mean not everyone gets to be...
you know. Some people become
craftsmen. No shame in that.
AIDEN
I wasn’t going to start on false
narratives until tonight but this
is such a perfect example.
Aiden (CONT’D)
What he said, that bullshit about
some people becoming craftsmen...
that’s his false narrative. That’s
what he tells himself to make sure
his dreams stay impossible and far
away. Hurts less that way.
PETER
I thought I deleted this shit.
AIDEN
You think this is bad?
PETER
It's just empty and edgy. It's like
My Chemical Romance in photographic
form.
(waving at the Volunteer)
Seriously, can you turn it off?
AIDEN
These are beautiful. Even you have
to admit: these show great
potential.
PETER
Everything and everyone has
potential. Potential doesn't mean
shit if it doesn't become
something.
46.
AIDEN
Why didn't it become something?
PETER
I don't know, man. Life.
Peter can’t help but look up at his past work. Dwarfed by the
life he left behind.
AIDEN (CONT’D)
"I wasn’t good at it," he says. "It
doesn't mean shit" he says. He
needs to be right. He needs to be
shit. Otherwise it means he's
responsible for his own hell.
(appealing to the crowd)
What do YOU say, folks? Is this guy
talented or what?
AIDEN (CONT’D)
The thing is, this isn’t only about
your aliveness. Do you understand?
Peter look up at him curiously.
AIDEN (CONT’D)
Are you prepared for the day you’re
going to have to tell your kid to
give up on his dreams?
AIDEN (CONT’D)
You know from personal experience
that unhappy parents make unhappy
children. Do you want to do that to
your kid? Do you want him to have
the kind of life you hate?
PETER
... no.
AIDEN
Are you going to continue your C-
life, Peter? Or do you want more?
PETER
... yes.
AIDEN
Yes, what?
PETER
Yes. I want more.
AIDEN
You want more, you have to take it.
(to a volunteer)
Let’s get this man a phone.
PETER
What?
AIDEN
You know what you have to do.
PETER
(after a beat)
You want me to quit?
48.
Kirsa grips the sides of the chair. Her eyes boring into
Peter's but they don't look at her anymore.
They look up at Aiden.
AIDEN
I want you to wake the fuck up. I
want you to commit to your
transformation.
AIDEN (CONT’D)
(so fucking sincere)
You said your last word on this
earth is going to be “shit”.
AIDEN (CONT’D)
Because you know you're wasting it.
AIDEN (CONT’D)
Tell me I’m wrong. Tell me “Aiden,
you’re talking outta your asshole
and you’re making me do this.”
KIRSA
Peter. Hang up.
(beat)
Peter. Hang up now!
KIRSA (CONT’D)
I'm sorry, but I had to say
something. I'm his wife.
AIDEN
(barely contained rage)
Here, you are Kirsa and he is
Peter. You are individuals. If you
cannot sit still and listen, you
have to leave the room until his
exercise is over.
KIRSA
I was only trying to help. He was
making a mistake and--
AIDEN
If you are still committed to your
transformation, leave the room and
someone will let you know when you
can come back in. If you are not,
talk to any of the volunteers for a
refund and go home.
MAYA
Come with me, Kirsa.
KIRSA
(powerless, to Peter)
Promise me you won't quit your job.
Peter nods weakly. She glares at him, wanting more than that.
PETER
Yeah. I promise. I won't.
AIDEN
Let's talk more about your
marriage, Peter. Truthfully.
Kirsa shoots one final look at them before the Tall Volunteer
escorts her out, shuts the door and locks it again.
INT. CORRIDORS
He leads her down the dark hallways.
KIRSA
How long am I going to be here?
KIRSA
Wait, do you know what time it is?
He doesn't answer. Closes the door, then locks it.
She looks for a light switch on the walls, but there is none.
The light bulb BUZZES even LOUDER somehow. As if the buzzing
is coming from inside her skull.
KIRSA
Shut up. Please.
51.
She takes DEEP BREATHS but the BUZZING persists and in a few
seconds, her DEEP BREATHS quicken. Anxiety taking over.
KIRSA (CONT’D)
You can breathe. If you're
speaking, it means you can breathe.
It does little. She goes to the door, tries to open it.
KIRSA (CONT’D)
Is anyone out there?
No answer.
PERSON 1
This square is red.
Now a chorus of people speak up. Ritualistic:
EVERYONE
That is true.
Kirsa puts her ear onto the wall. The voices get clearer.
MAYA
Mallory, you failed to sign up a
single person for the advanced
transformation class.
EVERYONE
That is true.
52.
MAYA
What else is true?
VOLUNTEER #1
You smell like a disgusting old
person.
MATERNAL VOLUNTEER
(her voice breaking)
That is true.
MAYA
Even the people who love you don't
like you.
MAYA (CONT’D)
Is that true or false?
AIDEN
Kirsa. Come up. Sit.
AIDEN (CONT’D)
Sit. Please.
AIDEN (CONT’D)
We talked for a little while with
Peter and one thing became crystal
clear: He loves you.
AIDEN
He did.
KIRSA
So then why?
AIDEN
I'd love to hear it from you too.
And the non-bullshit version,
please. We know what you usually
say to people. We already went down
that road with Peter. So, just give
us the truth.
KIRSA (CONT’D)
The owner of the laptop was a
wedding photographer. Peter went
into the computer, and saw all
these photographs of a couple who
had gotten married the day before.
They were all going to get lost
forever if he sold it to someone.
So he went back to the coffee shop
and tried to track this guy down.
That's why he got caught, because
he was trying to do the right
thing. Again, this was before he
was clean too. Imagine the will
power and selflessness that must
have taken. The simple goodness in
that. It made me fall for him. I
wanted to help him.
A long beat.
55.
AIDEN
So, in a way, you rescued him?
KIRSA
I don't know about that. But I saw
him, this wonderful person who was
lost and afraid, and he needed
stability, and love.
AIDEN
You make him sound like a cute
little puppy.
KIRSA
Excuse me?
AIDEN
You talk about Peter like a dog you
rescued from the pound.
KIRSA
Seriously?
(beat, then to Peter)
You got nothing to say about all
this?
Peter says nothing.
KIRSA (CONT’D)
(rising frustration)
Do you think I treat you like a
cute little puppy dog?
AIDEN
He can't speak. He took a temporary
vow of silence. If he speaks, he
will be removed. Here, you are
individuals, not husband and wife--
KIRSA
(curt)
I know.
(beat)
Okay, then, is that how he said he
feels, or is that your
"professional opinion"?
AIDEN
It's what he showed me. No matter
what I said, he refused to make
that call to his boss.
(MORE)
56.
AIDEN (CONT’D)
Even though he wanted to. Because
he promised you. You have him on a
short leash.
AIDEN (CONT’D)
You punish him to keep him there.
In his little place where he can't
get away from you.
KIRSA
And how am I punishing him?
AIDEN
He's living a C- life and you're
not letting him transform. That is
the definition of punishment.
KIRSA
The only thing I've done today is
stop him from making a huge life
decision without thinking it
through--
AIDEN
Do you always make Peter "think
things through" whenever he
disagrees with you? Does he need to
"think things through" until he
does agree with you?
AIDEN (CONT’D)
I see. You think you know what's
best for him.
KIRSA
Maybe I do. Because I've known him
for years, you've known him for a
day. I'm his wife.
AIDEN
“I’ve known him for years. I’m his
wife.”
(points to Kirsa)
Kirsa’s belief that time is how we
know someone is ignorant.
57.
AIDEN (CONT’D)
We don’t talk, really talk, with
the people closest to us, do we? We
speak, but most of the time it’s
nothing authentic, nothing
truthful.
(raising his hand)
Raise your hand folks if you feel
that the people who think they know
you--your partner, your mother,
your father, your brothers and
sisters--they don’t really know
you.
Peter doesn't, but averts his eyes when Kirsa looks at him.
AIDEN (CONT’D)
Kirsa thinks she knows her husband.
But we listened to Peter speak. He
has made himself known to us and--
KIRSA
This is ridiculous.
(turns to Peter)
You're just going to let him talk
about us like this? Or is this how
you actually feel?
KIRSA (CONT’D)
Peter! Look at me!
AIDEN
Bark, Peter! Roll over, Peter!
KIRSA
Oh my God! I knew this would be
crazy but this is crazy.
AIDEN
Let's talk about why Kirsa is
punishing Peter--
KIRSA
Punishing? I saved his life. I
helped him get clean, I helped him
get a job--
AIDEN
(to the crowd, lecturing)
"I saved his life." That's Kirsa's
false narrative. That's what she
tells herself when she is
challenged about their
relationship.
KIRSA
It's the truth!
AIDEN (CONT’D)
How long have you known Peter?
AIDEN (CONT’D)
(louder)
How long?
KIRSA
Four years.
AIDEN
How old is your son?
Kirsa just glares at Aiden.
AIDEN (CONT’D)
Four.
(beat)
(MORE)
59.
AIDEN (CONT’D)
You got together, got married and
had a child in the same year. Life
rushed you along and you gave in.
You told yourself and your family
it was fate. They must have told
you it was a mistake for you to
marry a junkie but you said, no,
it's not.
(a whisper that slithers
through the room)
But now you know they were right
and you were wrong. Look at what
you're stuck with. With a child
that derailed your career! With a
husband you have to take care of!
That’s why you punish Peter!
Because you made a mistake and you
HATE yourself for it!
Her eyes flare and she PUSHES Aiden back so hard that Aiden,
a giant of a man, STUMBLES BACK.
Kirsa glares at him, shaking with primal rage.
AIDEN (CONT’D)
If you thought I was wrong, you
could have just told me I’m wrong.
Why do you think you pushed me
instead, Kirsa?
KIRSA
Fuck you. You’re insane. This whole
thing is insane!
KIRSA (CONT’D)
Come on. We're leaving.
She grabs him by the arm. She pulls him up out of his chair.
AIDEN
I told you folks, didn’t I? You
will resist. You will hate me, you
will want to hit me... I said it.
Across the room, Kirsa and Peter get to the doors and she
pulls at the handle... except it doesn’t turn. Locked.
KIRSA
Open the doors.
AIDEN
I told you that you will kick and
scream. You'll want to leave. The
truth can do that to you.
AIDEN
If any of you want to leave, this
is your chance. You will get a full
refund, no questions asked.
However, if you choose to stay,
that means you’re committing to
stay until you are truly
transformed. Is that understood?
AIDEN
This introductory class runs from
Friday to Sunday.
He says it with some ambiguity, but the Older Man sits down.
Kirsa’s eyes are burning into the door, every cell in her
body commanding her to get the fuck out.
KIRSA
Open the door.
Then inserts the key into the door and turns it.
61.
AIDEN
Peter. One more thing, before you
go.
Aiden walks up to Peter and SLAPS him across the face, hard.
There are GASPS from the audience.
KIRSA
Get your hands off him!
But Aiden lunges at Peter and puts his hands at the sides of
Peter’s head, as if he’s going to wring his neck.
AIDEN
That hurt? That fucking hurt?
(Peter nods, scared)
That’s temporary pain, Peter. It’s
nothing. You won’t remember what it
felt like in ten minutes. But you
stay in this job buddy, you stay in
this life? You’ll know real fucking
pain. Slow, life-long pain that
will fucking rot whatever’s left of
your fucking soul and your kid’s.
KIRSA
Peter. Peter, we have to go.
KIRSA (CONT’D)
Peter, come on, let’s go back home.
AIDEN
You can speak now. You are released
from your vow of silence.
PETER
I can’t leave. I’m sorry.
KIRSA
(holding it together)
Peter, I know it feels hard right
now but it’s because of this place.
He’s brainwashing us and he's good
at it. Once we get home, you will
feel so much bett--
PETER
No.
(vomiting the words)
This is how I always feel. You’re
just seeing it for the first time.
Kirsa’s face falls, devastated.
AIDEN
You’re so brave, Peter.
KIRSA
Peter.
AIDEN
Isn’t he so brave, folks? That took
guts, didn’t it?
KIRSA
This psycho hit him and you’re
cheering? Think for yourself, he
will hit you too! We all need to
leave!
AIDEN
They committed to staying until the
end of their process, Kirsa.
Kirsa can sense people are unnerved by the way Aiden declared
that but not enough to stand up to him.
Aiden turns to Kirsa now, his arm still draped around Peter.
AIDEN (CONT’D)
You have not. Will you?
KIRSA
I can't leave you here.
AIDEN
Well, then, Kirsa. Are you
committed?
AIDEN
I need to hear you are committed.
The Tall Volunteer SLAMS the doors shut and LOCKS them.
Aiden waits for it to die down. Warm again. His voice softer.
AIDEN (CONT’D)
I know it wasn't easy but you
persevered. If anything, you now
know you are stronger than you
thought you were.
AIDEN (CONT’D)
At your rooms, you will find one of
these and a collection of pictures.
I want you to use them to show us
what your transformed life will
look like. You will pin them onto
your board. You will bring the
board with you to our next session
and present it to us as a totem to
your aliveness and we will unleash
your life onto you.
He stops for a long beat. Stares everyone down.
65.
AIDEN (CONT’D)
Make sure you believe in it. You
might have to bleed for it.
AIDEN (CONT’D)
Go now. Get some sleep.
MATERNAL VOLUNTEER
Oh, Aspen, I'm so happy for you.
What a breakthrough. I thought you
might be interested in signing up
for the next class...
The lights above are dim. Kirsa searches their faces in the
darkness for Peter, one after another. No luck.
KIRSA
Peter--
But Peter's not there. Maya is. She's making the bed.
MAYA
Oh, I'm sorry, it's just me. We
moved Peter to another room.
KIRSA
... Why?
MAYA
We had to separate you. We knew
you'd visit him. You're too close.
KIRSA
He's my husband.
MAYA
Here, he's Peter and you're Kirsa.
Two individuals focusing on your
own transformations--
Kirsa makes a sound that's half-laugh, half-scream.
KIRSA
Does he know you hid my Paxil? I
imagine he'd have trouble
"focusing" if he knew that.
MAYA
I didn't hide your Paxil, Kirsa. We
looked everywhere, you probably
forgot to bring it.
KIRSA
I need to know he's okay.
MAYA
He is okay. He is better than he
has ever been.
67.
KIRSA
How would you know? You've met him
yesterday.
MAYA
You get to know people quick here.
KIRSA
I don't know what that means. Does
it mean you tried to fuck him?
MAYA
Kirsa, you sound a little paranoid.
KIRSA
Do I?! Maybe MY FUCKING ANTI-
ANXIETY DRUGS COULD HAVE HELPED
WITH THAT!?!
MAYA
Arthur was the same way. He saw the
worst in people. It must be because
of what you do. You see people at
their worst. Even good people must
get nasty when they're going
through a divorce.
KIRSA (CONT’D)
My job is basically destroying
people's lives.
KIRSA (CONT’D)
I should go back to my room. I have
homework.
MAYA
Sure thing. See you next session!
She's happy Kirsa is getting on with the program.
INT. CORRIDORS -
Kirsa walks towards her room. But it's different now, she
doesn't seem lost. She knows exactly what she's doing.
KIRSA
Hey, it's Kirsa. I need you to do
me a favor and run me a name: Aiden
Caul. C-A-U-L. Founded an
organization called The Process.
It's an emergency.
(listens)
No, I don't. Sorry, they don't let
us know the time while we're here--
(listens)
Wait, what day is it? ...No,
that's-- but I slept. It can't be
Friday, we came here Friday
morning.
KIRSA (CONT’D)
These fuckers. They've been messing
with our sleep schedule.
(listens)
(MORE)
69.
KIRSA (CONT’D)
No. I'm fine. Did you get the name?
I want everything on him. Just say
it's for a potential client. I need
all the dirt you can get.
KIRSA
Thank you.
MAYA
I can't find my phone. Did you see
it anywhere?
AIDEN (O.S.)
You look like you finally
committed.
He's on the platform, beaming down at her like a prophet.
70.
KIRSA
You're right. I am committed.
AIDEN
Alright, how is everyone feeling?
AIDEN (CONT’D)
Like shit, huh?
(that draws some laughs)
You're meant to. It means you're
doing hard work. I know you feel
like death but trust me, you're
more alive than you've ever been.
(a beat, deliberating)
Let's start with something
different. Wake you all up.
(points to Kirsa)
Come up. Let's talk.
AIDEN (CONT’D)
What do you have for us?
Kirsa turns her board to the audience and to Aiden.
AIDEN (CONT’D)
That's your family.
71.
KIRSA
Peter and our baby Sam. I had the
photograph in my wallet.
AIDEN
You put them at the center.
KIRSA
Sorry, is that corny? My son is the
center of my universe. It becomes
that way when you have a kid.
(light banter)
Do you have children? I realized,
you know us better than most people
in our lives but we don't know
anything about you.
AIDEN
You're deflecting. This isn't about
me. This is about your aliveness.
KIRSA
This is going to be about you, a
little bit at least.
KIRSA (CONT’D)
This powerful, blinding light is
this program, the Process. The man
on the left is Peter. And this man
is you, his therapist.
(pointing)
You're the one on the right because
that one looks like a doctor.
Aiden is catching onto what she's doing.
KIRSA (CONT’D)
You are a doctor, right?
AIDEN
I never said I was.
KIRSA
I'm sorry. I was-- What we do, it
feels like a form of therapy and--
AIDEN
It's not therapy.
72.
KIRSA
You're not a therapist? I assumed.
AIDEN
Kirsa, it feels like we're talking
about everything except you.
KIRSA
Why don't we ever talk about you?
You take away our phones, lock us
in rooms, we even let you hit us.
But we have no idea who you are.
AIDEN
Kirsa, ever since the beginning of
this class you have been
slandering, deflecting, resisting--
KIRSA
You've done the same. And I know
why. I know who you are.
KIRSA (CONT’D)
You're an abusive, disgraced
therapist who drove his last
patient to commit suicide.
AIDEN
If you know of that incident, you
also know I was cleared.
KIRSA
Criminally. They still took away
your license for patient abuse.
Because of your experimental
therapy "technology" which is
basically what we have been doing
here. Isn't that true, Aiden?
AIDEN
He was a troubled man.
KIRSA
Five of your ex-colleagues
testified that the Process was the
reason Warren Rich killed himself.
73.
AIDEN
They did.
KIRSA (CONT’D)
This boy put his trust in Aiden and
he killed him. We should not make
the same mistake.
KIRSA (CONT’D)
Scroll down and you can read all
about it.
AIDEN
When Warren was twelve, he drank an
entire bottle of Drano. And when
that didn't kill him, he jumped
from a sixth store window onto
concrete. He couldn't talk after
that, which made things worse. He
came into my care after his sixth
suicide attempt.
Suddenly, he's almost at the edge of tears.
74.
AIDEN (CONT’D)
That is not an excuse. He was in my
responsibility. I should have done
better by him.
AIDEN (CONT’D)
I was a young man, the Process was
primitive and I didn't trust
myself. When Warren pushed back
against the Process, I decided to
stop and go back to what we'd tried
before... More therapy.
AIDEN (CONT’D)
Warren is the reason why I expanded
the Process. Because I saw that
providing him with gentle guidance
and coping strategies was not
enough.
He pauses for a long while. Making sure everyone takes a look
at Warren's face, to see what he has lost.
AIDEN (CONT’D)
If I need to push you to
resuscitate your aliveness, I WILL.
I don't want you to cope, I want
you to live. You are free to ask
for your money back or call me a
quack after we're done with your
graduation. But until then, you are
mine.
(final)
I lost him. I will not lose you.
AIDEN (CONT’D)
Let's take a quick break. I will be
here to take all the questions you
might have.
She sees Peter emerge from the crowd, walks towards her.
Maya is on his heels but he turns around, strict:
PETER
I want to talk to her alone.
Maya wants to argue but he's resolved. He walks up to Kirsa.
PETER (CONT’D)
Hey. You're alright?
She shakes her head. No.
PETER
Your Paxil? The fuck.
KIRSA
I've been trying to tell you but
they've been keeping us apart.
PETER
Well, fuck, how are you holding up?
KIRSA
Like I'm under a heavy, invisible
blanket of needles.
PETER
Jesus.
PETER (CONT’D)
You saw this coming.
(shaken)
You stayed because of me. I pulled
you into my shit again.
PETER (CONT’D)
I regretted staying the moment you
decided to stay, you know.
KIRSA
Why?
He doesn't go on for the longest time.
PETER
Aiden was right about a lot of
things. My mother, you know. How I
feel about my work at the studio--
KIRSA
You don't hate your work, Peter--
PETER
I do. He was right on that. He
allowed me to come out and say it.
KIRSA
He attacked you--
PETER
Kirs, can I finish?
PETER (CONT’D)
He was right about everything when
it came to me.
(beat)
So I was like... What else is he
right about, you know?
KIRSA
He was wrong about plenty things.
PETER
I guess. He was wrong about one
thing at least. You saved my life.
That’s the truth.
(beat)
That’s why I could never ask why we
got married so quickly. I think I
was afraid you’d tell me.
KIRSA
I married you because I love you.
77.
PETER
Man, I was so not marriage material
back then.
KIRSA
To me, you were.
He lifts his head a little. Wanting more.
KIRSA (CONT’D)
Do you remember when you helped
Lauren move out of her place?
PETER
Lauren... Lauren my ex?
KIRSA
She got you addicted to poison. She
hurt you so bad. But you helped her
when she needed you. You got her
into the program. You never, ever
called her a bitch or a cunt, which
is so rare, trust me. You didn't
hate someone you had so much cause
to hate and most people are so
petty and terrible. Every day I see
them spend thousands of dollars
just to screw over their exes. Over
some worthless trinket they don’t
even want. But you... You don't
hurt people even when you're hurt.
I wanted to be with you, Peter. How
can I not? You're the best.
KIRSA
I wanted to lock your ass down, you
idiot.
PETER
(smiling)
My ass. That’s the reason?
KIRSA
You bet your ass it is.
AIDEN
Alright, recess over. Let's work.
PETER
Why?
AIDEN
Tell us about it.
AIDEN (CONT’D)
Fuck it, you know what it's about.
You did the work. I can tell.
(beat)
Everyone come with me. Peter, you
go over there.
Kirsa stays with Peter, holding his hand. Aiden sees it.
AIDEN (CONT’D)
Kirsa, he's not going to float away
if you let go of his hand.
Kirsa doesn't reply.
AIDEN (CONT’D)
What do you think is so wrong with
him that you don't trust him to
make his own decisions?
79.
PETER
Go. Let's just get this over with.
KIRSA
No. He's being vindictive, he's
punishing me through you.
PETER
He's going to do that either way.
KIRSA
Peter, he's a bully. He's not going
to magically stop. We have to stand
up to him together.
AIDEN
(to the Volunteers)
Do it.
She doesn't even look at Aiden, she walks by him and blends
into the crowd.
At the other end of the room, the Volunteers leave Peter near
the doors, next to the Tall Volunteer.
AIDEN (CONT’D)
Peter!
Aiden walks to a wall near the crowd and hangs Peter's board
onto a nail there. Looks over it.
AIDEN (CONT’D)
You did this board truthfully, I
can tell. I don't know what these
mean, but you do. This is what you
want your new life to be.
80.
AIDEN (CONT’D)
So come and get it.
PETER
What?
AIDEN
Nobody is going to just give it to
you. You need to come and get it.
AIDEN (CONT’D)
Keep him away from his board.
AIDEN (CONT’D)
(to Peter)
See, this is not some bullshit
Oprah vision board. You need to
fucking fight for it if you want
your life to change. Your life
won't change just because you feel
bad about it. Addicts know drugs
are bad for them but it doesn't
stop them from using. You know
that, Peter. So, if you want to
start living, you need to fight.
You will only change when the pain
of staying the same becomes larger
than the pain of changing.
(to the crowd)
You are the obstacle. You are the
pain. Unless he has it in him to
break through you, then he will
never change. Do it for him.
PETER
Yo gang, I'll give you a dollar
each if you let me through?
AIDEN
Your jokes won't work. We all saw
you, Peter. We know who you are.
PETER
No, actually, you don't.
AIDEN
We know you're unhappy. We know
your dreams matter to you. We know
you want to start living again.
PETER
By touching a board?
AIDEN
You need to start somewhere. Go.
PETER
Okay guys, stop it. This is stupid.
AIDEN
Do you enjoy being pushed around?
Do you like not trying? Maybe
that's why you liked drugs. Your
life sucks but it's not because of
you, it's because of the drugs.
Perfect, easy scapegoat.
(pointing at Kirsa)
You know she controls you because
you cede control over to her.
Peter raises both hands into the air and flips Aiden off.
AIDEN (CONT’D)
Did you want to come here and try
out the Process, Peter?
PETER
You kidding me? Fuck no.
AIDEN
But you're here. She made you.
82.
PETER
Yeah, that's called a compromise.
It's something grown-ups do when
they're in a relationship.
AIDEN
Compromise only works if both sides
are telling the truth. Otherwise,
it's manipulation. Would you agree?
AIDEN (CONT’D)
Your wife told you Arthur, her
boss, gave her two tickets: one for
her and one for you. You had to
come, or risk being rude to her
boss. Is that correct?
PETER
Are you telling me it's not?
AIDEN
Arthur only gave her one ticket.
She bought yours. It wasn't a
compromise. It was manipulation.
She made you come here.
AIDEN (CONT’D)
Ask her.
KIRSA
We're not your playthings. We're
not going to--
PETER
Is what he's saying true?
KIRSA
You're playing his game, Peter.
PETER
I want to play. Answer me.
83.
KIRSA
We'll talk about it when we get
home. Okay?
Peter starts laughing in disbelief.
KIRSA
I'm sorry.
PETER
Why would you lie to me!? What the
fuck is wrong with you?
(better question)
What the fuck is wrong with us?
KIRSA
There's nothing wrong.
AIDEN
I'll tell you what is wrong: She
doesn't respect you.
PETER
Shut your fucking mouth, man!
KIRSA
I'm sorry. You know you would've
come anyway. I didn't want to
argue. That's all.
PETER
"That's all"? That's your defense?
You're supposed to be a lawyer!
KIRSA
Peter. Think, he's trying to get
into your head--
PETER
And here I was, feeling fucked up I
made you stay!
(someone pushes him back)
(MORE)
84.
PETER (CONT’D)
What did I say before?! Do you want
me to fucking hit you?
AIDEN
Remember how you told us she
doesn't trust you with women? I
think it's a clue.
KIRSA
That's not true at all.
AIDEN
She doesn't trust you, Peter.
What's a relationship without
trust? What's a relationship
without respect--
Peter loses it, lunges towards the three men. To shut Aiden
up. To keep himself from hearing Aiden.
PETER
All I need to do is touch the
fucking board? I'll touch the
fucking board! Let me through!
They push him back. But this time, he pushes back. Hard.
AIDEN
(to the crowd)
They need help. He's waking up.
Additional men and women join in, helping to keep Peter away.
PETER
Let me THROUGH!! LET ME THROUGH!
He's in it now, elbowing his way, flailing his limbs, trying
to make a way for himself, boring a way through--
Peter is still pushing through sweat and tears but the crowd
is still a barrier-- Peter pushes and pushes--
AIDEN
Physical pain is temporary, Peter!
Transformation is forever!
The back of Peter's right hand gets caught in someone's belt
and the skin bleeds and the blood blends with the sweat--
AIDEN (CONT’D)
YOUR LIFE DOESN'T WORK ON ITS OWN!
YOU HAVE TO MAKE IT WORK!
Kirsa.
KIRSA
Peter.
KIRSA
You can't see what's happening?
He's manipulating you. Peter!
KIRSA (CONT’D)
Peter--
PETER
LET GO OF ME!
And then his eyes meet hers, and slowly, it sinks in what
he's just done.
Kirsa looks away. Notices all eyes are on her. The
participants. The Volunteers. Aiden.
PETER (CONT’D)
Kirsa. Kirs. I'm so sorry.
KIRSA
(to the Tall Volunteer)
Open the doors.
TALL VOLUNTEER
You committed to staying until the
end.
KIRSA
LET ME GO!!
TALL VOLUNTEER
You committed.
And Peter catches up, tries to put his hand over her shoulder
but she tears away from his grip, tries her best to be
composed as she commands the Volunteers to--
KIRSA
OPEN THE--
87.
But she can't even finish the finish the sentence. The words
are choking her, she's WHEEZING and she CAN'T STAND.
She slowly sinks into the ground, on her hands. She starts to
cry, in the midst of a full blown anxiety attack. Paralyzed.
She tries to get up but her vision begins to wobble and tilt.
Her limbs go weak, and she can only look up at the ceiling
and Peter comes into view, his face aching with concern--
PETER
Shit, she's-- She's having an
anxiety attack.
AIDEN
It's okay, Peter. She'll be okay.
(leaning down onto Kirsa)
We'll take good care of her.
FADE TO:
She climbs out of the bed but her limbs are heavy and she
stumbles towards the wall. Something is wrong.
Undeterred, she presses on. Labors her way to the door.
MAYA
You're up!
KIRSA
Where... What's going on?
88.
Kirsa can hardly stand up. Maya puts the smoothie onto the
bedside table, then helps her stand.
MAYA
Let's get you back to bed.
KIRSA
... Where is Peter?
MAYA
Oh, he went back home. He's taking
care of Baby Sam. I'll tell him you
woke up.
KIRSA
... He left?
MAYA
Yeah, he graduated the other day!
KIRSA
When?
MAYA
You're still in the class, Kirsa!
You know I can't tell you that.
KIRSA
What... What day is it?
KIRSA (CONT’D)
Is the course over?
MAYA
Not for you.
89.
KIRSA
... no?
MAYA
You committed to staying until you
transformed. You remember.
KIRSA
Maya, listen to me. I want to
leave. If you stop me, it's a clear
cut case of kidnapping and
imprisonment. In California, that's
sixteen to twenty years in prison.
MAYA
But you committed.
KIRSA (CONT’D)
What... what... was in that...
Maya pulls Kirsa up to the bed.
MAYA
Just some natural stuff to help
your body get rid of the drugs you
put into it all these years. It
will help you regain your
equilibrium.
Kirsa can't speak now. Her body sinking into the bed.
90.
MAYA (CONT’D)
Don't worry. It's all organic and
plant based.
AIDEN
Easy. You're fine. You're safe.
KIRSA
(slurring)
What do you want from me?
AIDEN
You are here because there are no
distractions and you can meditate
better on your exercises.
KIRSA
I don't want to do any more
exercises. I want to go home.
AIDEN
You will. Soon.
He takes out a pen and grabs a note pad from the desk.
AIDEN (CONT’D)
For your next exercise, I want you
to write down what you want your
obituary to be. How you want people
to remember you.
He offers them to her. She doesn't take them.
KIRSA
Someone will know I'm missing.
91.
AIDEN
You have to face this head on.
There is no way out except through.
KIRSA
When they know I'm missing, they'll
come for you. They'll know I'm--
AIDEN
Peter already knows. Arthur already
knows. They're both supporting you.
KIRSA
I don't believe you.
AIDEN
Truth doesn't change depending on
whether if you believe it or not.
KIRSA
I don't believe you! I DON'T
BELIEVE YOU!
She throws the pen and paper back at Aiden, losing control,
and tries to claw at his face-- Except she starts shaking,
anxiety gripping her again, her body betraying her at the
worst moment, her heart pounding, choking on her words....
KIRSA (CONT’D)
I don't... believe...
He stays with her, hushing her, consoling her as she has her
attack and she can only look at him with absolute horror in
her eyes-- She blinks and--
92.
She can see the door if she cocks her head to the right.
She takes a deep breath. Very, very carefully steps up.
It's hard. She's wobbly but she's going to get out of that
fucking door one way or another--
Her legs fail her, she collapses but covers her face with her
hands as she hits the ground. She crawls on her elbows.
She's by the door now. She reaches for the door knob and
pulls herself up. It takes everything in her power just to
stay standing, her legs wobbling--
She turns the knob and pushes--
MAYA
What are you doing out of bed?
KIRSA
Don't fucking touch me.
MAYA
(pulling her up)
Kirsa. You should do your exercise.
MAYA (CONT’D)
There you go. I'll be leaving now
and you will too if you focus on
finishing your exercises. Okay?
93.
MAYA (CONT’D)
Oh and is there anything you want
me to tell Peter? Any message?
Kirsa's voice is so small.
KIRSA
... Peter?
MAYA
He's looking for a new job and Sam
is a handful, so I help him around
the house. He can't cook, can he?
She says that as if she expected Kirsa to laugh along.
KIRSA
... You've been in my house?
Maya leaves. Kirsa looks down onto the pen and paper.
She slowly writes out a word. She nods off--
INT. KIRSA'S ROOM - LATER
Kirsa opens her eyes again, now on her hands and knees on the
ground. She is staring down at a bucket filled with greenish
vomit. She wipes fresh puke off the corners of her mouth.
She sees Aiden sitting at the foot of the bed, reading
Kirsa's "obituary". He seems lost in thought.
Her legs wobble under her weight but she can stand.
She tries to appear composed. Stand up straight.
KIRSA
I tried to be brave. And open.
KIRSA
You don't understand...
95.
AIDEN
You're tired, Kirsa. Maybe you
should go to bed.
KIRSA
(starting to cry)
Let me go.... Please... let me go.
Aiden looks at her, then leaves. Locks the door after him.
She starts crying, heaving, her ears RINGING--
INT. KIRSA'S ROOM
KIRSA
How many third tier members are
there?
MAYA
Not many. It's a struggle to climb
that high, let me tell you. Even
Arthur isn't there yet.
KIRSA
Good.
She has an intense look in her eyes. From Maya's POV, Kirsa's
face is upside down and it makes it especially unnerving.
MAYA
Can you put your head down, so I
can...
(pointing at the pad)
You can work on your exercise.
She grabs the notepad from the desk. She gives it to Kirsa,
looking around for something--
MAYA (CONT’D)
Huh. I can't find the pen.
KIRSA
I know where it is.
Maya turns to Kirsa, puzzled--
Some of the green ooze overflows and mixes with the blood
running down her face--
Kirsa struggles toward the door. Her eyelids droop-- But she
SLAPS herself in the face to stay away. Once. Twice. Hard.
Tries the keys... First one doesn't fit. She tries another--
Hears Maya GRUMBLE on the ground, waking up--
Kirsa's eyes are closing-- She SLAPS herself-- Doesn't work.
INT. CORRIDORS -
She STABS HERSELF in the leg again with the pen.
Deep, powerful stabs. Pain waking her up. Keeping her alive.
MAYA
(low)
Heeelp.
Kirsa stumbles down the dark corridor, into the maze--
MAYA (CONT’D)
(clearer)
HELP! SOMEBODY HELP!
Kirsa spots The Tall Volunteer appear at the other end of the
corridor. He sees her.
She starts crying softly, defeated. Her eyelids drop and she
lets them. Surrendering...
Peter just looks at her. Feeling for her but not speaking.
KIRSA (CONT’D)
You knew and you did nothing. They
weren't lying.
He doesn't answer.
But that's an answer in itself. Her eyes tear up with ANGER.
So much ANGER. Her entire body is shaking. ENRAGED.
KIRSA (CONT’D)
You're weak. You're worthless. I
never should have married you.
Peter steps back. His face falls.
Kirsa realizes the gravity of the words she just said. She
wants to take them back but it's too late.
FOOTSTEPS come up behind her but they are measured, not the
frantic footsteps of her pursuers.
His voice breaks at the end and everyone hugs him to know
he's loved here. Even Aiden gets into the hug.
Kirsa limps away from the room. Her legs still aching with
hurt, her body and soul broken.
AIDEN (O.S.)
Kirsa.
She whips back around, faces him. They are alone.
101.
KIRSA
I will sue you. I will take down
this entire organization.
AIDEN (CONT’D)
I gave you so many chances to
leave, Kirsa. I ordered you to
leave. But you didn't. Because you
knew, deep down, you needed to find
out who you really are. And you
did. That's what we gave you.
Nothing less, nothing more.
KIRSA
That wasn't me saying those things.
AIDEN
Who was it then?
KIRSA
You. You drugged me. You said I
hated him again and again until it
took root in my mind.
AIDEN
The Process is designed to unearth
thoughts, not create them. It
can't. I wish it could.
KIRSA
Bullshit.
AIDEN
Being in an altered state gives
people permission to say what they
are really feeling inside.
KIRSA
No, no, you did something more.
Some kind of neuro-linguistic
programming or mind control--
102.
AIDEN
Kirsa. Those things aren't real.
(comforting, simply)
I know you are in denial now, but
in time you will see that this was
a good thing.
KIRSA
A good thing?
AIDEN
Yes. You were incompatible.
(beat)
Your marriage would have slowly
collapsed over the years, ending in
a bitter divorce that would have
hurt you, Peter and your child.
This hurts too, but you ripped off
the band-aid and it will get
better. It might not feel like it
now, but you will soon realize we
saved you from long years of pain.
She can't even conjure a reply. Disgusted beyond words.
She looks for Peter in one of the lines and finds him.
KIRSA
Peter.
He looks like he aged ten years. She offers him the backpack.
KIRSA (CONT’D)
Let's go home.
KIRSA
I was drugged. You know what that's
like. I wasn't myself.
Peter doesn't react. Not buying it.
KIRSA (CONT’D)
You can't sign up. If you're going
to find a new job, you need to save
your money, not spend it on--
PETER
It's free if you volunteer.
Kirsa glances at the Maternal Volunteer smiling goodbyes to
those who are leaving like an air hostess after a flight.
KIRSA
Remember when Aiden kicked me out
when I stopped your from calling
your boss? They put me into a room
and I heard things. These people
don't live a good life.
104.
PETER (CONT’D)
Just do me a favor and never tell
him you regretted having him.
(speaking from experience)
That tends to fuck people up.
KIRSA
I'm not-- Of course I don't regret
having him, why would you say that?
PETER
I don't know anymore.
He's not even angry. He's just lost. It speaks to the fact
that what they used to have might be now irrecoverable.
The line steps up and it's Peter's turn and he doesn't look
enthusiastic about signing up but it's clear he'd rather be
in here with these people than be out there with Kirsa.
No. It's Maya. She extends Kirsa her phone. She takes it.
MAYA
We found this too.
It's her Paxil bottle. She grabs it.
MAYA (CONT’D)
If you still love him... It might
work. I've seen it work.
She walks back to the building, leaving the glass doors open
for Kirsa if she wants to come back in.
Kirsa sits there. She can see Peter talking with the
volunteers, shaking their hands and embracing them, now as
equals, ready to morph into one of them...
FADE TO BLACK.