Wendell Mobley is mid-thirties, manages a coffee bean warehouse. He lives in Los Angeles, alone in a six-unit apartment complex. No pets, no plants. Alone. Feeling tired lately, he goes for a routine checkup. In the hospital his blood is mixed up with the blood of someone else. Thus, he is called by his doctor and told he has and extremely rare blood disease that will kill him in only one week. He will feel fine until the last day, then fall ill and die within twenty-four hours. He cannot be saved. The best thing he can do now is get his affairs in order.

Wendell has few affairs to get in order. He was raised an orphan, has no family, and he has never been a sociable man. His best friend is a raving lunatic named Al Bukowski, who lives in the apartment above him. Al is outrageous, original, endearing. More than anything else about this script, Al fires the imaginations of producers. Take the time to get to know him and you’ll never forget him.

Meanwhile, local cable TV producer Milt Craven has been looking for someone like Wendell, dying of a fast-acting disease that will take the victim out in a short time. Why? Because Milt is convinced the process of death is now missing from American homelife. In the old days people died at home, in their own beds, with family and friends mounting a dignified “deathwatch.” Now we send our terminal relatives away to die, usually alone, in nursing homes or hospitals. Milt fervently believes “it’s time to bring death back into the home, where it belongs!”

Milt barges in on shell-shocked Wendell with an entire camera crew and a contract that only needs to be signed. Milt is willing to pay Wendell $50,000 to use in any crazy way he wants so that his last week alive can be a humdinger. In exchange, Milt wants the rights to film and broadcast as a pay-per-view special the week-long process of Wendell’s death.

Wendell is appalled by the man’s effrontery, but before he can throw them all out on their ears, he is introduced to the “anchorwoman” who will escort him into the hereafter—Sherry Courtland. Sherry is just a smashing knockout, and Wendell realizes he’s never had a relationship with a woman as beautiful as her. Under the stresses of the moment he falls in love at first sight.

Soon the deal is done and everything gets focused on the process of filming Wendell’s death. Almost as soon as it begins, however, it starts to unravel as Wendell struggles to juxtapose the horror of what he believes is his impending death with the absurd mix of people and activities swirling around him.

Will he kill himself in despair? Will he find out there’s been a terrible mistake? Will Sherry fall for him to the degree he has fallen for her? Will nutty neighbor Al finally manage to flap his rain cape and fly like a bird from Wendell’s window? Find out in this delightful romp along the fragile edge of sanity.    Back

In "The Legend Of Sleepy Hollow" Icabod Crane doesn't necessarily die. He vanishes, leaving behind a pommeled cap. This story postulates that he fell into a time tunnel and came out in modern-day Tarrytown, New York. Now he must make his way back to his own time and place with the aid of two costumed children out trick-or-treating on Halloween night. A script aimed at the pre-teen audience, but all adults were once children.   Synopsis