E N D R E | W A S | A L O N E | A G A I N

Logline:

A disembodied NARRATOR, bound to witness a dying man only in moments of perfect solitude, finds their own existential purpose unraveling as the man draws closer to death.

Thesis:

This is a simple, intimate film that can be produced with only one or two actors. At its core are three figures: a NARRATOR, a SUBJECT (ENDRE), and, occasionally, an unseen OTHER who briefly disrupts the scene.

The unifying premise is this: the NARRATOR only becomes conscious when the SUBJECT is completely and utterly alone—not just unaccompanied, but unobserved by anyone else. The moment ENDRE is truly alone, the NARRATOR "activates" and is compelled to observe them. ENDRE remains entirely unaware of the NARRATOR'S presence.

Over time, the NARRATOR—who begins in a state of confusion—starts to question their own identity, Endre's identity, the meaning of what they’re witnessing, and whether they can (or should) influence anything. But the NARRATOR has no agency; they are a silent observer whose consciousness ceases the moment someone else enters ENDRE'S awareness, ending the scene.

The film reveals that the NARRATOR'S presence is triggered by a specific event: ENDRE'S terminal disease. The NARRATOR is summoned to observe the final days of ENDRE'S life, pieced together only in moments of solitude. As the NARRATOR watches, and provides commentary on what they see, they grow increasingly attached to the ENDRE, despite his flaws.

The structure may mirror the stages of grief or acceptance, paralleling the NARRATOR'S evolution with ENDRE'S own reckoning with mortality. The tone is meditative and philosophical, as the NARRATOR reflects on what it means to witness a life without ever being seen themselves. Just as ENDRE doesn't know what will become of him after death, so too does the NARRATOR wonder at what their ultimate fate will be once ENDRE dies.

Ultimately, the NARRATOR becomes a surrogate for the AUDUIENCE. Both act as voyeurs to the conclusion of ENDRE'S life, bound to ENDRE'S quietest, most vulnerable moments. The more time spent observing ENDRE, the more sympathy and understanding emerges. In this way, the film becomes a meditation not just on death, but on intimacy, presence, and the ethics of observation.

Note 1: The primary purpose of this script is as a challenge to myself to write a film that can be low-budget, an easy production with a minimal crew, and minimal need for actors (theoretically, just one or two). This would make it possible for me to film, by myself.

Note 2: The secondary purpose of this script is to be entertaining/interesting. This purpose acknowledges that it may not be entertaining or interesting to anyone other than me, but that's also part of the challenge.

Tagline:

Everyone dies alone... except for Endre.

Endre is dying. And he's not alone.

Characters:

ENDRE is a man in his 30s—too young to be diagnosed with a terminal disease, and yet, that seems to be what's happening.

ENDRE lives a solitary and unremarkable life. He works the night shift stocking shelves and running inventory for a local grocery store. He lives in a meager rental property. He occasionally has a woman in his life, but not always. ENDRE has so far been an underachiever, but always felt as though he had more time.

ENDRE has some family—a mother—and a few close friends. Additionally, an alley cat "keeps coming back," so ENDRE has unofficially adopted it as his pet.

By never being tied down, ENDRE has a good deal of personal freedom and autonomy—but no means to exercise that freedom. If he had pursued a meaningful relationship, a family, or a career that demanded more of him, he may have had the means—but less personal freedom and autonomy.

"The old man was an underachiever by choice, devoting himself to the only thing that mattered: loving his Angeline." —Barbara Claypole White.

The NARRATOR is a disembodied, formless entity. The NARRATOR'S first conscious moment occurred when ENDRE first began to fear for his mortality, and is only present to witness ENDRE when ENDRE is completely alone.

ENDRE is not aware of the NARRATOR'S observations or presence, but the NARRATOR can probe ENDRE'S mind and memory to learn more about his subject. Where the NARRATOR comes from, why they have been assigned ENDRE'S life to observe, and what will become of them after ENDRE dies, is a complete mystery to the NARRATOR.

When ENDRE is not alone, the NARRATOR "blacks out" for the exact amount of time that ENDRE is in public or has company. For the NARRATOR, it's a black, endless void until ENDRE is alone again, and the NARRATOR can resume his observations on ENDRE'S life. These "in-between" moments are torture for the NARRATOR, so he tries to make the most out of the time he has when ENDRE is alone.

The NARRATOR is not thrilled with their fate as ENDRE'S narrator, and goes through the five stages of grief along with ENDRE. Oftentimes, the NARRATOR is critical of ENDRE'S life choices, cynical and biting. But as time goes on, the NARRATOR does find things to admire about ENDRE—until, by the end, there's a great affection there. The NARRATOR, too, must acknowledge and come to terms with what will become of it when ENDRE dies. Much of the NARRATOR'S projected irritation with ENDRE is the result of their own struggles in coming to terms with their coming "death."

"I'm a voyeur. I say that with no embarrassment. If I could have a superpower, being invisible would be it, no question. I'm fascinated by human behavior; observing people and seeing how much story gets told without a lot of dialogue, and how much our brain fills in." —Thomas Schlamme

Structure:

The film follows a five-act structure, with each act thematically anchored in one of the five stages of acceptance: Denial, Anger, Bargaining, Depression and Acceptance. Both the NARRATOR and ENDRE move in parallel through these stages, each grappling in their own way with the reality of shared mortality—one as a passive observer, the other as an unknowing subject.

Each act is further subdivided into three attitudinal arcs—emotional or philosophical sub-states that map the evolving inner landscapes of both characters. These arcs provide the emotional scaffolding for each sequence:

Denial → Confusion, Refusal, Rationalization
Anger → Blame, Self-Defense, Rage
Bargaining → Influence, Manipulation, Begging
Depression → Resignation, Distance, Grief
Acceptance → Acknowledgment, Reframing, Integration

Each scene is built around a particular attitudinal state—such as Denial > Confusion—and is shaped by the emotional logic of that combination, as reflected in both the NARRATOR'S internal monologue and ENDRE'S solitary behavior. These tonal shifts serve as internal beats within each act, tracing how both observer and observed evolve through proximity, tension and reflection.

Additionally, the film's structure allows for "sister scenes"—reflections across the arc of the story. For example, a scene in Denial > Confusion might find its mirror resolution in Acceptance > Integration. These resonant pairings deepen the emotional payoff by revisiting earlier narrative questions in a transformed light, offering not just closure but perspective.

Outline:

Note 1: Color-coding visually demonstrates sister-scene pairings.

Note 2: This outline's first purpose is to "connect the dots" between the major storytelling plot points (Call to Action, Lock-In, Begin the Quest, Midpoint, etc.) The full scenes, dialogue, actions and nuanced character growth will be written in more detail in the final script, based on this outline.

Note 3: The "connect the dot" plot points are placeholders and subject to change. Specific motivations, resolutions and conflicts may be recalibrated. Empty spaces will be filled in around the main plot points.

Note 4: Ideally, specific scenes between ENDRE and the NARRATOR will take place in a variety of locations, times and scenarios, highlighting all the times when we are "alone" in otherwise public or private spaces. It isn't my intention that the entire film take place in one room at one location; just with one character.

ACT I: DENIAL

[CONFUSION]

Scene 1a: OPENING IMAGE -

ENDRE collapses at work, alone, falling to the floor.
This ACTIVATES the NARRATOR, who provides disembodied commentary on the scene, with peculiar insight into ENDRE's thoughts and feelings.
When a co-worker discovers ENDRE, and when ENDRE is no longer alone, the NARRATOR'S consciousness departs with an abrupt CUT TO BLACK.

*Sister scene > 1b > ACCEPTANCE > INTEGRATION > CLOSING IMAGE.

Scene 2a:

*Sister scene > 2b > ACCEPTANCE > INTEGRATION

Scene 3a:

*Sister scene: 3b > ACCEPTANCE > INTEGRATION > RESOLUTION.

[REFUSAL]

Scene 4a: THE NEW STATUS QUO -

ENDRE wakes up the next day. The NARRATOR is still there.
ENDRE proceeds with his normal routine, trying to ignore the peculiar circumstances that led to him leaving work early the night before.
The NARRATOR begins to panic. This wasn't a one-time thing; this may be a permanent arrangement. And yet—the NARRATOR is drawn to ENDRE'S life. He's a flawed man, but, the grit and realness of his life is alien to the NARRATOR'S disembodied self.

*Sister scene: 4b > ACCEPTANCE > REFRAMING

Scene 5a:

*Sister scene: 5b > ACCEPTANCE > REFRAMING

Scene 6a:

*Sister scene: 6b > ACCEPTANCE > REFRAMING > A NEW PLAN.

[RATIONALIZATION]

Scene 7a: THE CALL TO ACTION –

The NARRATOR begins to suspect that ENDRE is terminal.
It isn't just ENDRE'S life at stake, if that's the case—but the NARRATOR'S life as well.
It's clear, however, that ENDRE refuses to face his mortality.

*Sister scene: 7b > ACCEPTANCE > ACKNOWLEDGMENT > THE DARK NIGHT OF THE SOUL.

Scene 8a:

*Sister scene: 8b > ACCEPTANCE > ACKNOWLEDGMENT

Scene 9a:

*Sister scene: 9b > ACCEPTANCE > ACKNOWLEDGMENT

ACT II: ANGER

[BLAME]

Scene 10a: THE LOCK-IN -

ENDRE has another health scare. Worse than before.
The NARRATOR is incapable of escaping ENDRE'S life or consciousness.
The two are stuck together in a dying body. If the NARRATOR wants to live, he has to try and get ENDRE to seek out help. But is it possible for him to intervene in this way?

*Sister scene: 10b > DEPRESSION > GRIEF > MISSION FAILED (MAIN CULMINATION).

Scene 11a:

*Sister scene: 11b > DEPRESSION > GRIEF

Scene 12a:

*Sister scene: 12b > DEPRESSION > GRIEF

[SELF-DEFENSE]

Scene 13a: BEGINNING THE QUEST -

The NARRATOR, during times when ENDRE is alone, tries to research ENDRE as much as possible, to learn about his subject.
ENDRE, meanwhile, continues to try and ignore the signs. Going through the motions. Living like nothing has changed.
The NARRATOR is capable of evoking memories in ENDRE, but it has to have a root in what the two are experiencing in the moment. For instance, if ENDRE is driving, the NARRATOR can try to find memories of ENDRE driving in the past. He discovers much of ENDRE'S life was wasted on seemingly menial pleasures.

*Sister scene: 13b > DEPRESSION > DISTANCE > B-STORY.

Scene 14a:

*Sister scene: 14b > DEPRESSION > DISTANCE

Scene 15a:

*Sister scene: 15b > DEPRESSION > DISTANCE

[RAGE]

Scene 16a: RAISING STAKES -

The health conditions are worsening. ENDRE is declining rapidly.
ENDRE continues to neglect himself, and his condition, refusing to seek out medical care.
The time that the NARRATOR spends in the 'void' when ENDRE isn't alone is torture (think: solitary confinement). It wares on the NARRATOR'S nerves and capacity for compassion.

*Sister scene: 16b > DEPRESSION > RESIGNATION > DEBATE.

Scene 17a:

*Sister scene: 17b > DEPRESSION > RESIGNATION

Scene 18a:

*Sister scene: 18b > DEPRESSION > RESIGNATION

ACT III: BARGAINING

[INFLUENCE]

Scene 19a: RAISING STAKES -

Slowly, the NARRATOR does learn more about ENDRE'S past. There was a GIRL, once—a special one that might have meant something.
It ended, and ENDRE has been pursuing the life of mediocrity ever since.
Maybe, if the NARRATOR can save ENDRE, and ENDRE gets treatment that saves him from an untimely death, the NARRATOR will "move on." The NARRATOR has no idea if this is the case, but, that would be nice, wouldn't it? That would be fair? Maybe the NARRATOR can save himself by saving ENDRE.

*Sister scene: 19b > BARGAINING > BEGGING > FIRST CULMINATION

Scene 20a:

*Sister scene: 20b > BARGAINING > BEGGING

Scene 21a:

*Sister scene: 21b > BARGAINING > BEGGING

[MANIPULATION]

Scene 22a:

*Sister scene: 22b > BARGAINING > MANIPULATION

Scene 23ab: THE MIDPOINT -

The NARRATOR, with everything they've learned about ENDRE so far, tries to manipulate his memories and thoughts to do something "risky."
Hiking in the woods, the NARRATOR risks everything and tries to motivate and manipulate ENDRE into an extensive hiking trip.
The NARRATOR does everything they can to push ENDRE to making riskier decisions on the hiking trail until it's clear that ENDRE is lost.

*Sister scene: NA

Scene 22b:

ENDRE is alone for a long time. The NARRATOR is relieved from the "solitary confinement zone," when ENDRE has company or is in public, but their situation becomes dire.
The longer they're lost in the woods, the more likely it is that ENDRE will die before the terminal condition takes him.
c

*Sister scene: 22a > BARGAINING > MANIPULATION

[BEGGING]

Scene 21b:

*Sister scene: 21a > BARGAINING > INFLUENCE

Scene 20b:

*Sister scene: 20a > BARGAINING > INFLUENCE

Scene 19b: FIRST CULMINATION (SUCCESS) -

A search party arrives, rescuing ENDRE. The NARRATOR is plunged into the "solitary confinement zone," while ENDRE is rescued and treated for being exposed to the harsh conditions of nature for a time, but maybe it's worth it.
Occasionally, the NARRATOR emerges from "solitary confinement," during brief times when ENDRE is alone at various stages of his return to civilization: the rescue vehicle, the ER room, the hospital room, etc.
Finally, the NARRATOR emerges to discover that the medical team's tests have detected "something else." This is it. ENDRE is going to have to face his condition and get treatment!

*Sister scene: 19a > BARGAINING > INFLUENCE > RAISING STAKES

ACT IV: DEPRESSION

[RESIGNATION]

Scene 18b:

*Sister scene: 18a > ANGER > RAGE

Scene 17b:

*Sister scene: 17a > ANGER > RAGE

Scene 16b: DEBATE -

ENDRE has been diagnosed with a rare terminal disease. [SOMETHING RARE OR MADE UP, approximately equivalent to a cancer diagnosis].
Treatment is long, risky and expensive.
When ENDRE is alone, the NARRATOR probes ENDRE'S thoughts and feelings. He comes to realize that ENDRE is not likely to pursue treatment.

*Sister scene: 16a > ANGER > RAGE > RAISING STAKES

[DISTANCE]

Scene 15b:

The NARRATOR is beyond disappointed with this decision from ENDRE. "Typical," and even when ENDRE is alone, the NARRATOR refuses to engage in ENDRE'S selfish choices.
It's also clear that the hiking expedition that the NARRATOR led ENDRE on to get him into the hospital may have caused the disease to accelerate. The NARRATOR tries to downplay the guilt they feel for having done it, laying the blame on ENDRE for not getting the help he needed.
c

*Sister scene: 15a > ANGER > SELF-DEFENSE

Scene 14b:

*Sister scene: 14a > ANGER > SELF-DEFENSE

Scene 13b: B-STORY -

The NARRATOR remembers the GIRL. That's right—there were memories in ENDRE about a GIRL from years ago. A special one that meant something.
If the NARRATOR could reconnect them—maybe not to get back together, but just to get them in contact again—could that 'ignite' something in ENDRE that would make him try?
The NARRATOR tries to conjure emotions and memories of the past to put them in contact.

*Sister scene: 13a > ANGER > SELF-DEFENSE > BEGINNING THE QUEST.

[GRIEF]

Scene 12b:

ENDRE'S condition continues to decline.
b
c

*Sister scene: 12a > ANGER > BLAME

Scene 11b:

*Sister scene: 11a > ANGER > BLAME

Scene 10b: MAIN CULMINATION (FAILED) -

ENDRE reunites with the GIRL from his past. It brings closure, for both of them, since it's clear now that he is dying.
When the NARRATOR emerges after the meeting, it's clear that while the meeting meant something special to ENDRE, and has helped him turn a page, it didn't give him the fortitude to resist death's grip.
It may be too late now, anyway.

*Sister scene: 10a > ANGER > BLAME > THE LOCK-IN.

ACT V: ACCEPTANCE

[ACKNOWLEDGMENT]

Scene 9b:

*Sister scene: 9a > DENIAL > RATIONALIZATION

Scene 8b:

*Sister scene: 8a > DENIAL > RATIONALIZATION

Scene 7b: DARK NIGHT OF THE SOUL -

Loneliness fills ENDRE'S and the NARRATOR'S days.
ENDRE can now see how he had squandered his youth, his health, his time.
But there's still a little time left.

*Sister scene: 7a > DENIAL > RATIONALIZATION > THE CALL TO ACTION.

[REFRAMING]

Scene 6b: A NEW PLAN -

ENDRE finds ways to give service to others. People who are sick, dying, or elderly.
A quiet calmness, confidence and peacefulness comes upon ENDRE.
Despite having recently gotten lost in the woods, ENDRE continues to go out into the wilderness for long hikes—or as long as he can, with his worsening condition.

*Sister scene: 6a > DENIAL > REFUSAL

Scene 5b:

*Sister scene: 5a > DENIAL > REFUSAL

Scene 4b:

*Sister scene: 4a > DENIAL > REFUSAL > THE NEW STATUS QUO.

[INTEGRATION]

Scene 3b: RESOLUTION -

ENDRE writes goodbyes to the people that he knows (with the NARRATOR'S help).
The NARRATOR is also aware that their own time is coming to a close. Not sure what will become of either of them, after "all this."
ENDRE seems to speak out loud to some unseen observer, as though there is some sudden inkling that he isn't really alone and that "someone" is watching. The NARRATOR takes this outpouring to be addressed to them.

*Sister scene: 3a > DENIAL > CONFUSION

Scene 2b:

*Sister scene: 2a > DENIAL > CONFUSION

Scene 1b: CLOSING IMAGE -

Death bed. The Narrator is there, but doesn't say much.
ENDRE lies alone. He is not well, and yet, is at peace, though he also seems delirious.
ENDRE looks up and seems to see someone. Before ENDRE dies, the NARRATOR disappears.

*Sister scene: 1a > DENIAL > CONFUSION > OPENING IMAGE.

ENDRE WAS ALONE AGAIN