FADE IN:

TITLE SEQUENCE:

INT. MATTHEW'S APARTMENT (BEDROOM)-AFTERNOON

CU of an alarm clock shows that it is 3:00 PM.

(Alarm clock: BEEP! BEEP! BEEP!)

A hand with a crescent moon shaped birthmark reaches out to slap the alarm clock. It is MATTHEW, slowly waking up. Throwing his blankets off, he swings his legs over the side of the bed. He stretches, rubs his eyes, yawns, and heaves himself out of bed. He is dressed in only his boxers. Discarded clothes are scattered around his room, which is sparsely decorated.

CUT TO:

INT. MATTHEW'S APARTMENT (BATHROOM)-AFTERNOON

MATTHEW is looking at himself in the mirror. His baggy eyes, unshaved face, and disheveled hair suggests he was up late last night.

CUT TO:

INT. MATTHEW'S APARTMENT (LIVING ROOM)-AFTERNOON

Now in a housecoat, but still unshaved, MATTHEW drops down in front of his desk, where a laptop computer sits, open but off. He sips from a coffee cup and boots up the computer. The living room, like the bedroom, is sparsely decorated, with furniture being mismatched and second hand. A TV sits next to a cinderblock bookshelf. The laptop is the most modern thing in the room. Looking over MATTHEW's shoulder, we see he is working on an editorial piece for a website. MATTHEW is leaning back in his chair, looking thoughtfully over his piece. Suddenly, he gasps, and pitches backwards in his chair, sloping hot coffee all over himself.

MATTHEW (V.O.)

Being reincarnated is a funny thing.

The title "A DAY IN THE LIFE" is superimposed across the laptop screen. MATTHEW sits up and rubs the back of his head. Wide-eyed, he runs to the bathroom, breathing heavily.

MATTHEW (V.O.)

It happens to me every life, but

damn if it doesn't catch me by

surprise each time.

CUT TO:

INT. MATTHEW'S APARTMENT (BATHROOM)-AFTERNOON

MATTHEW is washing the coffee off himself with a cloth. He stares at his reflection, almost as in disbelief.

CUT TO:

INT. MATTHEW'S APARTMENT (KITCHEN)-AFTERNOON

MATTHEW sits at the counter, deep in troubled thought, looking at a new cup of coffee sitting in front of him.

MATTHEW (V.O.)

So what the hell is the point to

all this? Why am I here? Why is

anybody here? No consequences for

bad behaviour, no rewards for good...

Just a fucking eternity in snapshots.

You live, you die. A mouse on a wheel.

MATTHEW suddenly stands up and leaves the room, abandoning his coffee.

MATTHEW (V.O.)

(continuing)

Fuck that shit.

CUT TO:

INT. NIGHTCLUB (DANCE FLOOR)-NIGHT

Drinking heavily, MATTHEW is dancing closely with an attractive young woman. The club is poorly lit, with flashing lights and fog machines. The music is blaring. The young woman leans in and whispers something in MATTHEW's ear.

CUT TO:

EXT. WOMAN'S APARTMENT (HALLWAY)-NIGHT

MATTHEW and the young woman are kissing passionately as she struggles to get the door unlocked.

FADE IN:

INT. WOMAN'S APARTMENT (BEDROOM)-MORNING

Groggily, MATTHEW wakes up and looks around. The room he is in is well kept and tidy, with matching furniture and artwork on the walls. He looks over the see the young woman in the bed beside him. Putting a hand over his face, he tries to remember what happened last night.

MATTHEW (V.O.)

Shit.

CUT TO:

EXT. WOMAN'S APARTMENT BUILDING (STREET)-MORNING

Braced against the chilly wind, MATTHEW is walking down the street. He notices a sign for a coffee shop, and walks in.

CUT TO:

INT. COFFEE SHOP-MORNING

A female EMPLOYEE is preparing sandwiches behind the counter when MATTHEW walks in.

EMPLOYEE

I'll be right with you sir!

JULIET comes out from the back of the restaurant, and walks up to the till. MATTHEW is leaning against the counter, and isn't looking at JULIET.

JULIET

Sorry about that sir, what can I

get for you?

MATTHEW

An extra large black with a shot

of espresso.

JULIET

Rough night, huh?

MATTHEW

(laughs)

You have no idea.

JULIET goes over to the espresso machine and begins preparing MATTHEW's coffee. He wanders over to the edge of the counter, where the coffee will be served. He gets a good look at JULIET for the first time.

JULIET

We usually only get regulars at

this time of the day. I don't think

I've seen you here before.

MATTHEW

I'm not usually in this part of the

city.

JULIET finishes making MATTHEW's coffee and hands it to him. As she does, he notices a crescent moon shaped birthmark on her hand, identical to his.

MATTHEW

Do...do you want to go out to dinner

with me sometime?

JULIET

(raises eyebrows, smiling)

Maybe some other time.

MATTHEW

That's not a "no".

JULIET

It's not a "yes" either. Do you even

know my name?

MATTHEW

What's in a name? That which we

call a rose,

by any other name, would smell as

sweet.

JULIET looks surprised, thinking that MATTHEW knows her name. MATTHEW picks up on that, and realizes that he's accidently guessed, and guessed correctly.

MATTHEW

(continuing)

But soft, what light through yonder

window breaks?

It is the east, and JULIET is the sun!

MATTHEW grabs JULIET's hand, kisses it, takes his coffee, and leaves. JULIET watches him walk out the door, dumbfounded, and begins laughing uncontrollably.

CUT TO:

EXT. COFFEE SHOP (STREET)-MORNING

MATTHEW is walking down the street, in considerably better spirits. Suddenly, something strikes him as off, and he slows down, coming to a full stop. He looks down, and realizes his pants are on backwards. He smiles at the sheer stupidity.

CUT TO:

INT. COFFEE SHOP-NEW DAY (AFTERNOON)

MATTHEW, wearing new clothes and freshly shaved, walks into the coffee shop. JULIET, who is standing behind the counter, rolls her eyes good humouredly, and sets a coffee down on the counter in front of her.

JULIET

Large Latte, unsweetened, right?

MATTHEW

I'm touched, you remembered.

JULIET

You're only in here every day.

MATTHEW

The service is infinitely better than

at my old place.

JULIET

Which was...?

MATTHEW

My kitchen.

JULIET

So what is it that you do for a living?

You're in here all the time.

MATTHEW

Come to dinner with me, and you'll

find out.

JULIET

You're really not going to give up

on that, are you?

MATTHEW

What harm could one date do?

JULIET

Fine. I'm off at 8.

FADE IN:

EXT. RESTAURANT (STREET)-NIGHT

MATTHEW and JULIET are leaving a restaurant after dinner. They are talking and laughing together. As they walk down the street, MATTHEW notices a car speeding towards a pedestrian, with no intention of stopping. He dashes out and pushes the pedestrian out of the way. JULIET watches from the other side of the street as MATTHEW makes sure the pedestrian is ok, before walking back over to her.

MATTHEW

Sorry about that. Where were we?

JULIET

Are you ok?!

MATTHEW

Fine. It wasn't a big deal. Shall we?

They continue walking down the street, with MATTHEW appearing very nonchalant.

JULIET

That...was really brave.

MATTHEW

It's not bravery if you're not afraid

of death.

JULIET

Why not?

MATTHEW

(confused)

hmm?

JULIET

Why aren't you afraid of dying?

CUT TO:

EXT. PARK-NIGHT

They arrive at the park, where they continue to walk and talk.

MATTHEW

(continuing)

Promise you won't laugh, or think

I'm crazy?

JULIET

That's a pretty big promise to make

after a statement like that.

MATTHEW

Ok, well, here it goes...I don't

die.

JULIET looks incredulously at MATTHEW.

MATTHEW

I mean I do die...I just...come

back. Reincarnated. And you...you

think I'm crazy, don't you?

JULIET

Everyone is entitled to their own

beliefs.

MATTHEW

And you believe I'm crazy?

JULIET

I believe that I don't care.

JULIET stops walking, turns to face MATTHEW, and kisses him.

FADE TO BLACK.

FADE IN:

INT. MATTHEW'S APARTMENT (BEDROOM)-MORNING

MATTHEW, awake, is spooning JULIET, gently stroking the birthmark on her hand with his thumb. He carefully gets out of bed.

CUT TO:

INT. MATTHEW'S APARTMENT (KITCHEN)-MORNING

MATTHEW runs a hand through his hair, while he makes a cup of coffee for himself. He sits down at the counter.

MATTHEW (V.O.)

What the hell is wrong with me? What

the hell is wrong with her? Why doesn't

she remember too?

JULIET enters the kitchen and, coming up from behind, wraps her arms around MATTHEW.

JULIET

Morning.

MATTHEW (V.O.)

Why can't I just be happy?

(continuing, out loud)

Hey. Want some breakfast?

FADE OUT.

FADE IN:

EXT. PARK-AFTERNOON

In the bright afternoon sun, MATTHEW and JULIET are walking, hand in hand. They are smiling and laughing.

MATTHEW (V.O.)

So why does life still feel so empty?

What else do I need? JULIET and I

are supposed to be together, we always

have been. Every single life she's there.

CUT TO:

INT. MATTHEW'S APARTMENT (BEDROOM)-NIGHT

Now in different clothes, MATTHEW and JULIET are arguing about something.

MATTHEW (V.O.)

(continuing)

Why do we fight all the time?

JULIET, who is holding a pillow, throws it violently down and begins to leave.

MATTHEW (V.O.)

(continuing)

Why aren't we enough?

MATTHEW grabs JULIET by the arm, stopping her from leaving. JULIET jerks away from him.

MATTHEW (V.O.)

(continuing)

Why does she make me so angry?

Enraged, MATTHEW slaps JULIET across the face. JULIET, stunned, holds a hand up to the red spot on her cheek, as if checking to make sure it exists. She leaves, tears in her eyes, and MATTHEW doesn't try to stop her.

CUT TO:

INT. MATTHEW'S APARTMENT (LIVING ROOM)-NIGHT

MATTHEW sits alone and in the dark, cradling his head in his hands.

CUT TO:

INT. COFFEE SHOP-DAY

JULIET is working behind the till, coasting in autopilot. She is distracted by everything that's happened to her, and isn't in any type of mood to work. A YOUNG BOY walks into the restaurant and up to the till. JULIET doesn't notice him.

YOUNG BOY

Excuse me?

JULIET

(startled, turns around)

I'm sorry, how can I help you?

YOUNG BOY

Is your name Juliet?

JULIET

Um...yes. Why do you-

YOUNG BOY

I was told to give this to you.

The YOUNG BOY hands JULIET an envelope and leaves. JULIET, looking confused, examines it. Her name is handwritten on the outside, and on the inside there is a handwritten letter. JULIET pulls it out and begins to read it.

MATTHEW (V.O.)

My Sweet JULIET...I suppose I should

begin by saying I'm sorry, and I love

you.

CUT TO:

EXT. MATTHEW'S APARTMENT (ROOF)-DAY

MATTHEW is standing on the roof of his apartment building. He looks calm and collected.

MATTHEW (V.O.)

(continuing)

I do love you, JULIET. I just made

a mistake.

CUT TO:

INT. COFFEE SHOP-DAY

JULIET stands behind the counter, continuing to read MATTHEW's note.

MATTHEW (V.O.)

(continuing)

On our first date, I told you that

I believed in reincarnation. You didn't.

I don't know how to say this, my dear,

but you're wrong.

CUT TO:

EXT. MATTHEW'S APARTMENT (ROOF)-DAY

MATTHEW takes a deep breath in, and looks out over the horizon.

MATTHEW(V.O.)

(continuing)

It sounds crazy, but we've been

alive a very long time, you and me.

The situation is always different,

but we're always together, in one way

or another. It was that little crescent

moon on your hand that tipped me off.

Did you notice I had one just like it?

CUT TO:

INT. COFFEE SHOP-DAY

JULIET continues to read the note, tearing up.

MATTHEW (V.O.)

(continuing)

JULIET, I love you. I'm sorry for all

the pain I caused. We're soul mates,

my dear, but that doesn't always mean

we're lovers. Maybe this time round, we

weren't meant to be that at all. Maybe

we were supposed to be friends, and I

screwed it up because I was lonely.

Maybe we were supposed to be lovers, but

at a different time.

CUT TO:

EXT. MATTHEW'S APARTMENT (ROOF)

MATTHEW is standing on the edge of the roof, arms spread wide, eyes closed.

MATTHEW (V.O.)

(continuing)

It doesn't matter now. Parting is such

sweet sorrow, my dear, but this isn't

goodbye.

CUT TO:

INT. COFFEE SHOP-DAY

JULIET is fighting back tears, with a hand over her mouth, still reading the note.

MATTHEW (V.O.)

(continuing)

We never get to say goodbye. Only

'so long till later'. I'll see you

in the next life, my sweet JULIET.

JULIET puts down the note, and covers her face with her hands.

CUT TO:

EXT. MATTHEW'S APARTMENT (ROOF)-DAY

MATTHEW takes a step off the roof.

CUT TO:

INT. HOSPITAL MATERNITY WARD-DAY

JULIET enters the maternity ward, and walks over to a bed where OPHELIA is lying, holding a baby in her arms. She has just given birth.

OPHELIA

Oh Jules, I'm so glad you made it!

JULIET

I'm sorry I missed the birth, I just-

OPHELIA

You're here now. Would you like to meet

your nephew?

JULIET nods, and the baby is carefully passed from OPHELIA to JULIET. She looks a little uncomfortable holding the baby, but smiles and coos at it anyway.

OPHELIA

I named him after you, you know.

Julian.

JULIET

(still cooing)

Julian.

As if responding to its name, the baby wakes up. JULIET hushes it, and holds out a finger for the baby to grab. It grabs it, and we see a small, crescent shaped birthmark on the baby's hand.

FADE TO BLACK.

FIN.