LOGLINE
An immortal recluse who has spent centuries waiting to die rescues a mother and daughter from a crash, then faces the cruel possibility that saving the child may give him a reason to live again.
Immortality remains a sentence, not a gift. The turn is smaller and more honest than redemption: responsibility gives Walter’s desire to die competition.
THE MOVIE
For Walter Bain, immortality is not the fantasy. Death is. He has spent centuries waiting for the thing every other person fears.
Then he rescues a mother and daughter from a crash. He cannot save the mother. He saves the girl. Three months later, Walter arrives to take responsibility for her. The act does not cure his desire to die. It gives that desire competition. That distinction is the movie.
WHO IT FOLLOWS
An immortal man whose death wish finally meets a competing obligation.
The child he saves, carrying a future he did not ask to enter.
The mother he cannot save and the promise surviving her creates.
Leave an email. the script and the pitch packet open immediately.
I keep a record of who opens the files so I know who has read what. Your address is never sold, listed, or shared.
Mythic rules, plainly stated, and the people who have to live inside them.
A door, an exchange rate, and a lifetime spent arguing with both.
A lonely repairman discovers a door where the dead can be reclaimed at the cost of twenty-five living years per hour; after bringing four family members back, he spends a lifetime trying to defeat the one loss the bargain cannot undo.
OPEN ITThe other short written to be shot rather than explained.
In humanity’s final hours, a dying man crosses a silent landscape to his family’s graves, recording the life they shared for whatever might one day find the ruins.
OPEN IT