With INSIGNIFICANT DAY Debby Turner has created a screenplay of chilling power, a story of the sudden intrusion of the supernatural into daily life. Megan, young, attractive and sophisticated, is a successful gallery owner but a frustrated artist. Engaged to wed Raoul but uncertain about her feelings, she tells no one of her plans to take off for a few days alone. But on the morning of her scheduled departure, checking herself in the mirror, she realizes to her horror that she is not there. This begins her journey through the Stages, a mysterious parallel world into which people suffering from identity confusion can fall, perhaps forever. It is a hallmark of this script that it contains nothing at all visually out of the ordinary, no pyrotechnics or special effects, just a relentlessly believable trip through the shadowy places of the mind. The mood is eerily reminiscent of the 1973 Nicolas Roeg film Don't Look Now with Julie Christie and Donald Sutherland. Like that thriller, Insignificant Day evokes a relentlessly haunting tone yet always seems utterly real, holding the audience in complete suspense.

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Excerpts from INSIGNIFICANT DAY

All excerpts copyright©1998 by Debby Turner

ACT ONE

Scene 3

INT. Megan's flat. Wooden, bare, minimal, white muslin curtains, large window. Large mirror shot through mirror. Megan packing. Late at night. Crying quietly. Taking out some clothes from a big wooden cupboard, knocks over photos box. she sits in the middle of the floor and looks at them. There are two contrasting sets of photos. One of her laughing, dressed in paint stained overalls in art class (close up) surrounded by friends next to a picture with 1st prize on it. (She smiles) Others similar in context. The other batch, her with Raoul, beautifully dressed, sophisticated at a social function, very serious. Looking in opposite directions. Everything very sophisticated, beautifully clothed but coldly laid out photos. Throws them back in the box and into her suitcase.

Scene 4

INT. Megan's Flat :Morning.

The sun shining through the white muslin brightly. A slight breeze. (Small window open). Megan naked in bed, white sheets sliding off her. She gets up, suddenly, happily. She is completely awake. Sure of herself. Goes into the bathroom, the camera follows her into the shower. She is calm, confident, steps out, grabs a bath towel, wipes the steam off the mirror. No reflection. She rubs harder NO REFLECTION.

Megan

(Screams)

She slides into a corner, foetus-like, she is crying.

Megan

Shit

She gets up slowly and goes into the other room. She breathes deeply, looks at the other mirror No Reflection. She sits down next to the bed in shock. The camera travels around her in circles, the sun is brighter, the wind blows the curtains. No other sounds. Only Megan's breathing.

Scene 5

INT. Megan's Flat. Daytime Megan grabs her telephone. She calls Raoul.

Megan

Raoul . . Raoul . . It's Megan. Raoul I need your help . . .

Raoul

Hello . . . Hello . . . (hangs Up)

Megan

Raoul!

She throws the phone at the mirror. It smashes. Only reflecting the phone, crashing towards it. She smashes up the room in frustration and anger and then sits crying.

Scene 6

INT. Megan's flat. One hour later. Megan is dressing. She is calmer. She goes and stands by the window. A mother and child walk by. The child stares up. Megan waves. The child sees nothing, moves on. Megan suddenly grabs her purse and keys and runs out the door, down the street.

EXT. The street. A busy street. No signs, grey buildings. European but not any country specifically. Light blinding bright. Sound of a car. It goes by very close to Megan. Strong hands pull her out of the way of the car. (Christian: tall, blonde, dressed in black leather, 33 years old)

Christian

Careful, it's a good job you're light.

Megan

I can't see. It's so bright.

Christian

Here, take these. (giving her sunglasses). It's always like that at first in the Stages.

Megan

Sorry?

Christian

After a while, the light isn't so bright. You'll adjust.

Megan

What do you mean THE STAGES? You can see me. I'm not dead or something stupid like that, right?

Christian

No, not dead.

Megan

So, what is the Stages?

Christian

I can't tell you. That's what you must find out.

Megan

Stop freaking me out. What's happening to me? Tell me.

A bright light. Christian has disappeared.

Megan

This is stupid. Hey sir look at me. Can you hear me?

She accosts a passer by, he feels her push but cannot see her.

Megan

Don't leave me. HELP!

MASTER SHOT:

Ordinary street people walking by her unaware of her screaming.

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ACT TWO

Scene 1

INT. Raoul's office. Day time. Raoul, 35 years old. Dark, handsome, professional. Inspector Stone. 45 years old. Intelligent.

They face each other across Raoul's desk.

Raoul

No, Inspector, I don't know why my fiance hasn't called me in three days, and quite frankly, I don't know why her family are making such a fuss. Megan is an independent woman, and if she needs some time alone, her family should respect that as I must.

Inspector

The mirror is broken in her flat. There looks like there was a struggle. Did you have a fight?

Raoul

No, nothing like that.

Inspector

Why do you think she didn't take any other clothes or possessions with her? Only her purse and the clothes she was wearing.

Raoul

I have no idea.

Inspector

Aren't you worried about her?

Raoul

Of course I am. I love her. It's our engagement party on Saturday.

Inspector

Cold feet, maybe?

Raoul

Anything else, Inspector?

Inspector

There was no forced entry. If she was attacked, she knew the attacker.

The buzzer rings on Raoul's desk.

Raoul

Okay, I'll be right there. I'm sorry, I'm due in court right now. My secretary will show you out.

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Scene 5

INT. Marsha's flat. Richly decorated. Large paintings on walls. Marsha reading over reports.

Raoul knocks on the door.

Marsha

Yes?

Raoul

It's Raoul

Marsha

(Opening door) Long time no see.

Raoul enters the flat. Sits down.

Raoul

You left a message.

Marsha

Have you heard anything from Megan? What's going on?

Raoul

I don't know. I hoped you could help me. The police think I've done something to her. The truth is we didn't even have a fight. She was happy, wasn't she?

Marsha

No, Raoul, she wasn't happy. She was lost, in a way. She pretended to be together for you. She thought you'd think her weak if she showed her fears and real feelings to you.

Raoul

But I love her, Marsha.

Marsha

She knows that, I think, she's more unsure about herself. I don't know, I'm just speculating. She's too sensible though to go running off just over a relationship. If you don't mind me being frank. She wasn't the overly romantic type. Her career troubled her. She was doing a dead end job and she needs creative input to survive. She moved her whole life for you to another country. The feminist in her might be rebelling. What do you think?

Raoul

You don't pull any punches do you?

Marsha

Did I ever?

Raoul moves closer to Marsha and strokes her cheek.

Marsha

What are you thinking about?

Raoul

Did Megan know about us?

Marsha

Yes, darling, I told her that we had a torrid affair years ago. When you were an inexperienced snip of a thing and that she needn't worry. I was far too old for you now. She merely laughed it off. She's a modern girl. She can cope. Anyway, she's beautiful. What does she have to worry about?

Raoul strokes her thigh.

Raoul

Did she believe it was history?

Marsha

Raoul, not now. (pause) I told you. She believed me.