Script

EXT. STREET - DAY #1# dir. Manuel Lentz

Darkness. A distant, muffled hum. A horn blares and sticks. Light bleeds in, blurry. On the ground. A face leans in: WILL. His breath fogs in the cold. He leans over us, his expression tight with urgency. Something looms above us, blocking part of the sky.

WILL

(gentle, steady)

Hey. You okay? Just hold on for me.

He reaches past us, straining, trying to move something. Whatever it is, it won't budge. His jaw clenches. A flicker of frustration. His hands grip tighter, pull harder. No use. A moment. Then, resolve hardens behind his eyes.

WILL

(softer, regretful)

I'm sorry.

He reaches straight towards us. A sound plays: THE HUM starts, low and rising. It snaps to silence on the cut.

HARD CUT TO:

INT. SHOP - DAY #2# dir. Thomas Mook, Manuel Lentz

A delicate, uncertain hand reaches for a carton of milk. It belongs to HANNAH. She pauses, frowning. Outside, a car horn blares. She flinches. Her breath catches for half a second. Through the shop window, a car speeds past. Gone. Hannah exhales, steadying herself. Her fingers tighten around the milk.

At the checkout, the CASHIER barely looks up, mechanically scanning Hannah's items. Beep. Beep. Hannah swipes her card and pays.

She grabs her bag, pushes her cart forward, then rounds a corner, distracted. CLANG! She slams straight into LILY.

HANNAH

I'm so sorry!

Lily steadies herself, brushing it off.

LILY

That's alright.

Hannah stops. Takes her in.

HANNAH

Lily?

LILY

Hey!

Before Lily can react, Hannah wraps her in a tight hug. Lily stiffens, then feels Hannah shaking. Her tone softens.

LILY

Babe, are you alright?

CUT TO:

INT. COFFEE SHOP - DAY #3# dir. Thomas Mook, Manuel Lentz

Muted afternoon light filters through the windows. The low hum of espresso machines. Soft conversation in the background. Hannah sits across from Lily, hands curled around a barely touched coffee, her grocery bag on the ground. She stirs her coffee absentmindedly, gaze unfocused. Lily watches her carefully.

LILY

You died?

HANNAH

It felt so real, too. Not like a daydream. More like I have some sort of brain tumour.

LILY

Don't talk like that.

HANNAH

Next thing I know, I'm picking up milk.

Lily nods, absorbing that. A beat.

LILY

You know what happened right before that?

HANNAH

That's the thing, I thought I did. I remember everything that happened this morning. I remember leaving home, I remember driving my car.

She pauses. A small crease forms between her brows.

HANNAH

I thought I remembered the accident. The only thing I don't remember is how I got to the supermarket.

She looks up at Lily now. Something unspoken between them.

LILY

It sounds like your blackouts are getting worse.

HANNAH

What blackouts?

LILY

The ones you told me about? It's been happening for a while.

HANNAH

I don't know what you're talking about.

LILY

(gentle)

Maybe see a doctor just in case.

HANNAH

Yeah.

(shifting gears)

Hey, did you change your hair? I like it.

LILY

Really? It's been like this for a while.

Hannah looks out the window, absentmindedly stirring her coffee.

HANNAH

Some guy tried to save me.

(looks at Lily)

Said he was sorry.

They sit there quietly for a moment.

CUT TO:

EXT. GARDEN PATH - DAY #4# dir. Thomas Mook, Manuel Lentz

A narrow garden path. Sunlight filters through the leaves, dappling the walkway. Hannah walks slowly, holding her grocery bag up to her chest. The weight shifts as she adjusts her grip. Birdsong. The distant hum of a car passing. Ordinary sounds. But she’s still distracted, her mind elsewhere. She reaches her front door. Keys jingle as she pulls them from her pocket, slides one into the lock. A small hesitation. She pushes the door open.

INT. JOSH'S HOUSE - DAY #5# dir. Thomas Mook, Manuel Lentz

The door clicks shut behind her. She steps inside, shoes padding softly against the hardwood floor. The house feels… still. She moves down the hallway, the grocery bag rustling as she shifts it in her arms. She walks into—

INT. KITCHEN - DAY #6# dir. Thomas Mook, Manuel Lentz

A warm, lived-in space. Sunlight spills through the window, catching dust in the air. Hannah sets the grocery bag down on the counter and begins unpacking. Then, behind her:

JOSH

(O.S.)

Hello?

She freezes. Turns. JOSH stands in the doorway. Handsome, casually dressed, but tense. Hannah doesn't notice. She keeps unpacking.

HANNAH

Hey. I got us groceries.

Josh doesn't move. A long beat. Finally, Hannah stops. Looks at him.

HANNAH

Are you alright?

Silence. Then Josh speaks.

JOSH

Who are you?

Hannah stops cold. She searches his face, waiting for the joke.

HANNAH

I'm sorry, what?

JOSH

Who are you? What are you doing in my house?

HANNAH

Your house? Are we having this conversation again?

JOSH

I'm serious.

HANNAH

You're seriously asking me who I am?

JOSH

Yeah.

A chill runs through her.

HANNAH

(at a loss)

Okay. Um. I am your girlfriend, Hannah, who is seriously freaked out right now.

JOSH

You're not my girlfriend.

HANNAH

This isn't funny.

JOSH

I'm not being funny. You need to leave.

HANNAH

What's going on?

JOSH

Do you need help?

HANNAH

Do *I* need help?

A pulse of panic hits her.

JOSH

We can talk about this, but I need you to-

HANNAH

(getting increasingly upset)

What's there to talk about? Why are you acting like this?

JOSH

Please leave.

HANNAH

(in tears)

Josh. It's me.

JOSH

How do you know my name?

HANNAH

Of course I know your na-

JOSH

(angrily)

Get out! Get out!

Hannah stumbles back, her breath unsteady, hands trembling. Josh takes a step forward. She flinches. Turns. Bolts for the door.

CUT TO:

EXT. GARDEN PATH - DAY #7# dir. Manuel Lentz

Hannah bursts out of the house, nearly tripping over the threshold. She doesn't stop. Her hand fumbles into her pocket, ripping out her phone. She looks at it oddly for a moment, as if it isn't quite right, but she has other things to worry about. With shaky fingers, she swipes. Dials. It goes to voicemail immediately.

HANNAH

Lily? Call me back, please. I need you to call me back. I... I went home after we had coffee and Josh is pretending he doesn't recognise me. It's so fucking cruel. It's not like him. I wanted to tell him about the car crash. I mean the dream. I don't know what I mean. Why aren't you picking up? I need you to pick up because I'm losing my mind.

She speeds up.

HANNAH

I haven't done anything wrong. Why would he do that? I'm not crazy. And that thing about the tumour was a joke. I meant it as a joke. Please, I need your help, ple-

Someone grabs Hannah's shoulder from behind and spins her around. It's Will, the man from the car crash.

WILL

Hannah! Hannah, hang up.

HANNAH

Who are you?

WILL

Hannah, listen to me. You need to hang up.

Hannah's breath is ragged, unsteady.

HANNAH

(in full panic)

I need to call someone. I need to-

WILL

I was there at the crash.

Hannah stops cold. Her face freezes mid-sentence. She stares at him. Not moving. Not breathing.

SMASH CUT TO:

INT. CAFE - DAY #8# dir. Manuel Lentz

A coffee cup clinks against the table as the waitress puts it down. Hannah leans back in her chair, arms crossed. The panic has burned off into something colder.

HANNAH

You're a time traveller.

WILL

Yup.

Hannah lets out a breath, then laughs. Short. Brittle. Will watches, calm, patient.

WILL

What day do you think it is today?

HANNAH

(still laughing)

Please. My head's been fucked with enough.

WILL

Humour me.

Her smile falters as something in his tone chips away at her certainty.

HANNAH

It's a Wednesday.

WILL

It's a Friday. Which year?

HANNAH

This is ridiculous.

WILL

Which year?

HANNAH

2025.

WILL

It's Friday, May 4th, 2018.

HANNAH

You're crazy.

WILL

I'm crazy? How's *your* day been going?

HANNAH

I'm dying. It's the only explanation. The car hit me and I'm dying.

WILL

You're not dying. I took care of that.

HANNAH

Look, thanks for... whatever this was, but I have to go-

WILL

Home?

Her mouth hangs open. No words.

WILL

I'm guessing in 2018 that wasn't your home.

HANNAH

This morning, after I dreamt of the crash, I had coffee with my friend. Everything was normal.

WILL

Everything?

Hannah realises.

WILL

You wouldn't believe the routine of some people. A good friendship is timeless. You wouldn't even know you were in the past, just small stuff like-

HANNAH

Her hair. 2018.

Will sighs. He stands up, walks over to another table and grabs a newspaper. He throws it down in front of Hannah. She reads it incredulously.

WILL

That's the nice thing about time travel. It's very easy to prove.

HANNAH

This is insane.

WILL

Yeah. It's insane.

HANNAH

(flustered, losing it again)

Why are we even having this conversation? And why are we at a cafe? I was just *at* a cafe.

WILL

I wanted coffee. Listen. You remember the crash. You know I'm telling the truth. I needed to take you back with me. I'm sorry it took so long for me to find you.

HANNAH

How did you find me, anyway?

He hesitates; doesn’t answer.

WILL

It's kind of like an imprint. And I knew you wouldn't be far.

HANNAH

And even if any of this is true, why did you make me travel through time with you? Why couldn't you just go back a few minutes and stop me from crossing the street?

WILL

I don't have that kind of control. You were dying. I saved you.

HANNAH

Saved me? You put me in some crazy alternate universe where Josh and I don't know each other.

WILL

I'm getting to that. But you need to calm down so you can hear what I'm about to tell you. Look, you're not in an alternate universe. I told you. You're back in time. What's this guy's name, Josh? You guys just haven't met yet.

HANNAH

But we did.

Now it's Will's turn to be surprised.

HANNAH

We did. We met a year ago. I mean... a year ago right now. So what happened?

WILL

(pondering)

I don't know.

HANNAH

Look. Will, was it?

Will nods.

HANNAH

Will, say for a second I do believe you and your batshit insane explanation... Can you help me?

WILL

I think so.

HANNAH

That's not inspiring confidence.

WILL

Something must have changed before this moment. But I took you straight back here.

HANNAH

Maybe it's something you're going to do later?

Will sighs and grabs some sugar from the table. He starts unscrewing the bottle.

WILL

Alright, time for the explanation. It's going to be weirder than you think. Starting with the basics: you are not you. You are you in 2018.

Hannah runs her fingers through her hair, discovering her own different hairstyle.

WILL

We don't physically travel. When we go back, we hijack our own consciousness.

HANNAH

(humouring him)

So what happens to our 2018 selves?

WILL

Best I can tell, they black out.

HANNAH

But I don't remember ever blacking out.

WILL

That's because this is your first trip.

HANNAH

That makes no sense.

WILL

Look.

He pours out sugar over the table and fashions it into a straight line with his fingers.

WILL

This is time. A straight line, right? Now, let's say my consciousness jumps back five years.

(moves some sugar)

What happens when I throw myself off a building?

He brushes away the sugar beyond that point.

WILL

Even if I could let my mind time travel before I hit the ground, I wouldn't live in the future, which means I have nowhere to jump to anymore. But I *can* go further back into the past and stop myself.

Will brushes back the sugar, restoring the timeline.

WILL

How, you ask?

He pulls a bag up from below the table and extracts a folder filled to the brim with paper and pictures.

WILL

I leave myself notes. Since 2018 me blacks out whenever I visit, I need to keep him up to date. In turn, he keeps me up to date on where and when I am.

Hannah reaches over and tries to grab a photograph from the pile, but Will snags it back and gives her a look.

HANNAH

But wouldn't you remember visiting yourself?

WILL

Here's where it gets weirder.

He takes the sugar and adds a second line below the first.

WILL

The top line is this timeline. The bottom line is us. We can change time in any way we want, as long as we have our bodies to jump into. Meanwhile, though, our consciousness runs on its own timeline. That doesn't change just because we're changing events around us. That's why there are two versions of you. A 2018 version that has never met Josh, and then there's you, knowing that something has changed. Our job...

He brushes one line of sugar into another.

WILL

Is to align this timeline with your past so everyone can live happily ever after. Except in this new timeline, you don't get hit by a car and die. In this timeline, you get blackouts and don't know why. Meanwhile, you and I - our 2025 versions - we live on.

Causality is something humans experience, not something that actually exists. It's just our way of moving down what we think is a one way street.

HANNAH

So why did you bring me back all the way to 2018?

WILL

I needed to explain to you what was happening, and right now you and I - that is to say, you and I then - live in the same city.

HANNAH

Okay. So can we go back to the present now?

WILL

And do what? You won't be with Josh in the present. You'll just be that crazy lady that walked into his home. Not to mention, something has already changed.

HANNAH

I still think I'm dying. I'm dying on that street and all of this is just oxygen leaving my brain right before I snuff it.

WILL

I understand. It's exactly how I felt.

HANNAH

You did? How did you-

WILL

Become a time traveller? Same as you. Someone touched me. Told me the basics. He had the same story. It's turtles all the way down.

HANNAH

And where is he now?

Will looks over to another table. A glass falls and crashes; he doesn’t flinch and turns back to Hannah.

WILL

You mean when?

HANNAH

(sighs)

This is the craziest shit I've ever heard.

WILL

You want my help or not?

HANNAH

Of course I want your help. But what do we do?

WILL

(thinking)

You mentioned meeting Josh about a year ago. Do you remember the date?

HANNAH

I think so. It was May 2017.

WILL

I'm in town then, too. That's good.

HANNAH

Why?

WILL

Because I'm coming with you. It might take me a little while to find you. What's the address?

HANNAH

It's not in your book?

WILL

We haven't made the jump yet, so it never happened. It will have happened once we do.

HANNAH

You're butchering the English language.

WILL

It's not built for this kind of stuff.

HANNAH

(scoffs, but surrenders to the idea)

Half of me still thinks you're full of shit.

WILL

Which half?

HANNAH

The 2025 one.

WILL

Now you're starting to get it.

EXT. ALLEYWAY - DAY #9# dir. Manuel Lentz

Will and Hannah walk with purpose through the narrow alley. The walls are worn, covered in old tags and peeling posters. Hannah keeps an eye on their surroundings, while Will moves like he’s done this before.

HANNAH

So how precise is this trip supposed to be?

WILL

I can narrow it down to the day. I'll launch us both, just like last time, but there's no guarantee we end up at exactly the same moment.

HANNAH

Why not?

WILL

The earth moves through the galaxy at 200 kilometres a second. I'm doing the best I can.

HANNAH

How do I find you?

WILL

I'll find you. Remember the plan?

HANNAH

Verify the date and time, then meet Josh the same way I did the first time around.

WILL

Right, so you meet at the park, around one o'clock. One last thing. The trip will be disorienting. We have no idea what you'll be doing when you're jumping into yourself, so be careful.

Hannah nods. She looks at him doubtfully, even scared.

HANNAH

What if I fail?

WILL

Then we try again and again until we succeed.

She nods, braces herself.

HANNAH

Okay. I'm ready. So how does this work?

Will extends his arm.

WILL

Well... I just touch you like thi-

THE HUM builds.

HARD CUT TO:

INT. DOCTOR'S OFFICE - DAY #10# dir. Thomas Mook, Manuel Lentz Fri 1 May

Hannah in the exam chair, still. The door opens; DR. PULASKI enters.

DR. PULASKI

Sorry about that. So where were we?

She stalls, searching.

DR. PULASKI

You were telling me about the blackouts.

Hannah realises.

HANNAH

Right. They seem to be happening more often now.

DR. PULASKI

Well, you have no history of seizures or heart problems. Have you been feeling overly stressed lately?

HANNAH

Define lately.

DR. PULASKI

We can run some tests, check your blood pressure. How does that sound?

Hannah nods and the doctor moves out of frame. Hannah scans the room, hunting the time. A wall clock: 12:23.

The doctor moves into view; Hannah’s face tightens.

DR. PULASKI

Sit still and relax, please?

Hannah nods again and tries to be polite to get it over with, because her eyes betray the truth: she's already running out of time.

EXT. DOCTOR'S OFFICE - DAY #11# dir. Manuel Lentz Wed 23 Sep

Hannah bursts out the door and into the street. There's still time, but barely. She takes off down the sidewalk, dodging slow walkers, slipping between couples, her breath quick but controlled.

Jelke Ludolphij: Find suitably 'Doctor's office' feeling exterior. Or can this just be a generic street shot (AKA, how much do we see of her actually coming out of the door)? 09 Sep

EXT. CITY STREET - DAY #12# dir. Manuel Lentz Wed 23 Sep

She moves fast, past storefronts and blurred faces. She makes a turn towards her destination, then: SMACK. She collides full force into someone. A firm grip catches her shoulders, steadying her. Will looks at her, startled.

WILL

Whoa.

Hannah is almost ready to move on but recognises him at the last instant.

HANNAH

Will! I was just at the doctor's. There's no time left.

WILL

What?

HANNAH

The park's only a few minutes away. Josh is grabbing a table right now, understand?

WILL

(smiling awkwardly)

I'm sorry, do I know you?

HANNAH

This isn't funny.

WILL

I agree. You nearly knocked me over.

HANNAH

Look, I'll be ready to-

Hannah suddenly stops and realises what's going on. This isn't her Will. An awkward silence hovers between them for a moment. Then:

WILL

You called me Will.

HANNAH

No, I didn't.

WILL

Yes, you did.

HANNAH

I don't know you.

WILL

Hey, I don't know you either. But I heard you say my name.

HANNAH

Look, I've gotta go.

WILL

Hey!

Hannah runs off. He calls after her.

WILL

Don't make me come find you!

EXT. CITY PARK CAFE - DAY #13# dir. Thomas Mook, Manuel Lentz Sun 12 Jul

Tree shade dapples the café terrace. The air hums with distant chatter, the rustle of leaves, the occasional bark of a dog. Sunlight filters through.

Still in a rush, Hannah walks down the path at a brisk pace until she arrives at a clearing that has a small terrace in front of a cafe. She looks around frantically for Josh. When she does finally spot him, she visibly relaxes: she's on time. She takes a few deep breaths, then sits down at the free table opposite his.

She exhales; shoulders drop. A waiter takes her order and she looks around for a bit before finally focusing on Josh, who's reading a book. He looks up, returns her gaze, and smiles.

HANNAH

Flannery O'Connor.

JOSH

Excuse me?

HANNAH

Your book.

He looks at the cover. The book is *Everything That Rises Must Converge*.

JOSH

Oh, yeah. I forgot who I was reading.

HANNAH

I love her. No one seems to read her anymore.

JOSH

Yeah? I'm always running behind.

HANNAH

(laughing)

Didn't she die like sixty years ago?

JOSH

(smiling)

What's a few years here and there?

HANNAH

I'm Hannah.

JOSH

Josh.

Hannah smiles, holding onto the moment, forcing normalcy. The weight of it lands. Strain, fear, loneliness. The mask slips. Her breath catches, her smile falters, and before she can stop it, she breaks.

Josh seems at a loss for words, then gets up, moves to Hannah's table, and kneels next to her.

JOSH

Hey. Are you okay?

HANNAH

It's been a really strange day.

He leans close. He doesn’t know her, but the familiarity is there. She holds his gaze. Then someone steps into the frame.

JULIA is striking, late twenties, effortlessly put together, her hair swept back. She offers a polite smile.

JULIA

Hi. Sorry I'm late.

Josh straightens up beside Julia.

JOSH

Hey.

He kisses her.

Hannah registers what’s happening. The nightmare isn't over. Josh and Julia sit down at their table. He gives Hannah an apologetic smile and decides to move on with the conversation.

JOSH

This is Hannah.

JULIA

Nice to meet you, Hannah.

JOSH

(indicating the book)

She knows who Flannery O'Connor is.

JULIA

Oh. A kindred spirit.

Hannah forces a small smile, but Julia tilts her head, picking up on something.

JULIA

You look like you've seen a ghost.

Hannah's breath catches. She recovers quickly, but Julia notices.

JULIA

(concerned)

Are you alright?

Hannah swallows hard, nodding. A waiter approaches with her coffee.

JOSH

Hannah wasn't feeling well.

JULIA

Oh. I'm sorry.

HANNAH

(keeping it together)

That's fine. I'm better already.

JULIA

Nauseous?

HANNAH

Blackouts. They come and go.

JULIA

(nods, then to Josh)

Speaking of coming and going...

JOSH

Right. Movie time.

He grabs some money from his wallet and puts it on the table. Hannah watches them rise.

JULIA

Hannah, right? Hope the rest of your day is nicer.

JOSH

Nice to meet you.

Hannah steadies herself. Forces a breath. Then, with all her power, she smiles and raises her cup.

HANNAH

(soft but unwavering)

You too.

She drinks. Casual. Controlled. The shake only shows when the cup returns to the saucer. Julia gives a polite nod, and they turn to leave. Only then does Hannah tremble as she sets the cup down. Her breath shudders. The second they're gone, she bolts.

EXT. CITY PARK - DAY #14# dir. Manuel Lentz Wed 23 Sep

Hannah storms down a path away from the crowds. She walks fast, eyes forward, hands clenched at her sides. Her breathing is uneven, frustration building with every step. She wipes at her face, willing herself to stay composed.

WILL (O.S.)

Hannah? Hannah!

She ignores him and quickens her pace.

Then, a hand on her shoulder. She whirls around, shoving him off.

HANNAH

Don't touch me!

Will stops, startled. Hannah stands there, breathing hard, struggling to keep it together.

HANNAH

You lied to me! You said we could fix things.

WILL

We can!

HANNAH

It's already different! Even now it's already different.

WILL

We'll need to go further back-

HANNAH

No! We've done enough. I just want to go home.

WILL

Hannah-

HANNAH

You don't even know what you're doing, do you?

Will hesitates.

HANNAH

(losing it)

What is this to you, anyway? Why do you care so much? Just let me go home.

WILL

Please. I'm trying to help you get your life back. What we need to do-

HANNAH

What we need to do? What we need to do? You don't know what's going either! You have no idea what's changed or why and you're just dragging me along on this ridiculous quest. This is a nightmare. I want to wake up. I just want to wake up.

WILL

We don't-

HANNAH

Didn't you hear me? Use your superpower! Fix at least one thing! I want to go home.

WILL

Hannah.

HANNAH

I WANT TO GO HOME!

THE HUM builds.

HARD CUT TO:

EXT. STREET - DAY #15# dir. Manuel Lentz

Close up on Hannah: a distant, hollow look. Sound bleeds in: traffic, footsteps, the city hum creeping back into focus.

A wider view: the same street as the opening. The same moment. Dazed, unsteady, she takes a step forward—

A hand yanks her back. A car blurs past. The rush of air stirs her hair. The moment hangs heavy. This time, she’s saved. Heart pounding, she finally turns — eyes wide, breath unsteady.

It’s Will.

EXT. FRONT STEPS - SUNSET #16# dir. Manuel Lentz

The sun hangs low, casting long shadows across the quiet street. Low sun on the steps; warm on Hannah. She has her knees drawn up, arms resting loosely on them. Will walks up, concerned. She looks at him for a moment, then gets distracted when she hears a distant car horn. He walks up the steps, then leans back slightly, gaze thoughtful.

WILL

Trying to wrap your mind around it?

HANNAH

He was with someone else. It makes no sense. You told me it was the first time I ever travelled. So why were things already different?

WILL

We must have changed something. Something small. Butterfly effect.

HANNAH

But without knowing what it is, how do we fix it?

WILL

We don't. That original timeline is lost forever. But it doesn't have to mean you've lost Josh.

HANNAH

What are you saying?

WILL

(suddenly)

Do you believe in destiny?

HANNAH

Why?

WILL

(reflecting)

I used to. Kismet, karma, fate. Whatever you call it. That there's a reason why things happen. But when you've seen the things I've seen...

(to Hannah)

You get to make your own story. If we can't change that meeting at the park, we can change something else. Even make you guys meet earlier. Become childhood sweethearts.

HANNAH

You're scaring me.

WILL

It's comforting to live with the illusion that the universe has some grand design for you. That you're a character in a story. And it's scary when you realise you're actually, finally in control. Don't throw that gift away.

Hannah thinks for a moment.

HANNAH

I saw you.

WILL

What?

HANNAH

Right before I met Josh. I ran into you. Earlier you.

WILL

That's impossible. We've never met.

HANNAH

Or maybe you just don't remember.

(sighs)

We're not as in control as we like to think we are. We're people with mushy brains taking on the space time continuum.

WILL

Maybe. But for a shot at happiness... isn't that worth it?

Hannah looks out into the street.

HANNAH

Funny. I'm back where I belong, I guess. In the grand scheme of things, nothing's changed. And yet...

WILL

And yet.

HANNAH

Alright. I'm going to try again. But you're going to have to teach me how to travel.

WILL

I'm not sure I have to anymore.

Hannah looks at him, confused.

WILL

I didn't pull you back here. You did.

Hannah goes still. The words don’t land all at once. Her breath catches, her fingers press lightly against the step beneath her. Grounding herself. A flicker of something unsettled in her eyes, but she doesn’t speak.

Wind stirs the street, rustling the leaves. A car passes in the distance. Everything feels too normal. Too real. But she feels it now — the weight of it, the impossibility. And for the first time, she doesn’t know what to say.

WILL

I was just trying to save you. I'm sorry.

HANNAH

Why? All you've done is try and help.

WILL

Maybe I could've done more.

HANNAH

What's less or more if we can do it all over again?

Will looks at her, seemingly warmed by this new partnership.

HANNAH

(with resolve)

We're just beginning.

She stands up and walks down the stairs, veering off into the street.

WILL

You off?

HANNAH

Yeah, I'm off. I'll call you in the morning.

WILL

What? Just like that?

HANNAH

Just like that.

WILL

Hannah, where are you going? You don't even know where you're supposed to sleep.

HANNAH

Who knows? Some nice hotel.

And if it's too expensive, I can always stop myself tomorrow.

(she walks, then turns for a moment)

I'm glad I met you, Will. Thanks for today.

Will's expression is hard to read.

HANNAH

Alright. 8 o'clock, same cafe. Don't be late.

WILL

Very funny. Be careful crossing around here, will you?

HANNAH

Two-way street. Got it.

The two exchange a grin and he watches her walk off. When she turns the corner, he grabs his notebook.

We intercut between these two final scenes:

EXT. STREET - SUNSET (HANNAH) #17# dir. Thomas Mook, Manuel Lentz

Hannah walks off, now resolute in her mission. With each step, she's more aware of the power she now has. With each step, she feels more hopeful.

EXT. STREET - SUNSET (WILL) #18# dir. Manuel Lentz

He opens the book. ON THE PAGES: Dozens of handwritten notes, drawings and diagrams. He turns a page.

There's a photograph of Will and Hannah, a couple. He watches her go. A smile, small and controlled.

SMASH CUT TO:

>CREDITS<