THE STAGE 32 LOGLINES

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AUTOCORRECT
By Douglas Stark

GENRE: Thriller / Suspense, Mystery
LOGLINE:

A woman under a suicide watch awakens knowing 3 things: she’s NOT suicidal, didn't steal millions from work, and while the cop protecting her seems fake, notes mysteriously appearing in her room AREN'T, starting with: “You Have Three Days Left.”

SYNOPSIS:

When JESS EVERLY awakens in a hospital room, she doesn’t remember how she got there. There’s two people with her: Does she know where she is? WHY she’s in the hospital?

Jess can barely piece the past together — she’d been at work, FBI agents surprised her at the office, they were prepared to interrogate her. Dr. Scott dryly informs Jess she’s under suicide watch, a 72-hour confinement to insure her recovery from an overdose of Lorezapam, a sedative. Jess’ demands to call her husband are rebuffed, but, more chilling, she doesn’t remember any suicide attempt. She doesn’t recall ANY feeling or thought of self-harm.

From Ryder’s insistent questions, Jess does recall pieces: the FBI took her for questioning about a missing billion from company coffers where she was a lead accountant — Optimum Enterprises, a conglomerate lead by bad boy zillionaire Nero Voss. Maybe she knows more than she’s willing to admit.

Awakening to K.C., a kind orderly who feeds her, Jess confesses there was trouble at work AND with her husband - if only K.C. could help her leave this place. a device that provides soothing sounds and low-fi brainwave amplification to settle Jess’ mind. And talk. And why it reminded her of the difficult situation with her husband. Does she trust K.C.? Her own mind?

What follows is a cat and mouse game where Jess desperately seeks a means of escape while questioning the motives of those who alternate between interrogating/badgering her and helping her recover. A climactic showdown between Jess and Voss reveals how the device’s covert control over people's consciousness suggests a larger, more sinister plan meant to influence all walks of life.

AUTOCORRECT

View screenplay
Robyn Henderson

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