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#1
10-26-2003, 08:34 AM
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Geneva County - Scene Two
Scene Two – “Car Ride”
INT. TITLE OF THE MOVIE ON A BLACK SCREEN. With the title still there, FADE from a black screen to... AN E.C.U. OF A FLAT, GRAY ASPHALT – DAY. The title FADES OUT. SLOWLY RISE UP, revealing a long, deserted road. Everything is silent and motionless, when suddenly, a person walks in front of the camera. The sound of rubber against gravel can be heard as this person walks further and further away from us, and when they reach a certain point, it is visible that this person is female. On this girl’s back was a green book bag. She wore long, blue jeans tight at the hips, and a tight green shirt. Her blonde hair came down to her shoulders. CUT TO: SIDE VIEW OF THE ROAD. The girl enters the shot, adjusting the book bag straps on her shoulders. She exits the shot. CUT TO: FRONT VIEW OF THE GIRL. In the background is the part of the road in which the girl had already walked. The road turned to the right behind some cotton fields. Suddenly, as the girl continues walking forward, a vehicle emerges from the cotton fields. It turns, heading straight for the camera. The girl doesn’t know that the vehicle is coming closer from behind, so she continues walking. Slowly ZOOM OUT as the girl walks forward. The oncoming vehicle is getting bigger and clearer as it moves closer. Suddenly, when the vehicle is meters from the girl, it swerves over to the right. The girl swiftly turns around, staring at the now motionless vehicle. The driver’s side door opens, and a young man quickly pops his head out of the window. YOUNG MAN Sarah? CUT TO: E.C.U. OF SARAH’S FACE. SARAH Yeah – yeah, it’s me, Joey! CUT BACK TO: VIEW BEHIND SARAH. SARAH adjusts the straps of her book bag on her shoulders and jogs up to the vehicle a few meters away. CUT TO: SIDE VIEW OF THE TRUCK. SARAH’S head enters the shot, which is focused on the driver’s side window in which JOEY is leaning out of. JOEY What are you doing out here? You live out here? SARAH No, my car broke down about a mile down the road. Can you give me a lift to my house? JOEY Yeah, hop in. CUT TO: FRONT VIEW OF THE VEHICLE. SARAH runs around the front of the vehicle to the passenger side door. She opens it and hops inside. SARAH closes the door. The vehicle begins to move forward, getting over to the right back onto the road. CUT TO: SIDE VIEW OF THE ROAD. It’s very quiet, and nothing is moving. That is, until, the vehicle JOEY and SARAH are in comes driving by, quickly entering and exiting the shot seconds from each other. CUT TO: INSIDE VIEW OF THE VEHICLE. JOEY is in the driver’s seat steering the vehicle down the long, deserted road. SARAH sits quietly in the passenger seat staring out the window. She turns her head toward JOEY. SARAH Thanks for giving me a lift. JOEY No problem. Where do you live? SARAH Right outside of Geneva County. A little neighborhood called Beacon Heights. JOEY Oh, I know where that’s at. SARAH reaches her arm toward the floor, pulling her arm back, revealing... AN ORANGE CAPSUL OF MEDICATION. SARAH What’s this, Joey? You’re not a druggie, are you? JOEY (chuckling) Ha, no. That’s for my Aunt Kelly. SARAH Then why is it in here? JOEY She’s staying with my mom and me for the weekend. She left it in here. SARAH But don’t you live with your dad? JOEY Yeah, but I’m staying with my mom to help out with Aunt Kelly. SARAH Oh...so what’s the medicine for? JOEY God, Sarah, you’re nosier than I thought. Anyway, she has had an anxiety disorder since her and her husband got a divorce. SARAH Oh, that sucks. JOEY Yeah... That reminds me – I have to take those to my mom’s house first. Is that alright? SARAH Yeah, it’s fine. JOEY Okay...So tell me what you were doing on the road? SARAH I was driving home from school – JOEY Wait, what were you doing at school? SARAH Gosh, Joey, you’re nosier than I thought... JOEY Guilty. SARAH Well, if you must know, I was helping take down the decorations from the sophomore dance. JOEY And let me guess, your car just...quit? SARAH You’re smarter than I thought too, Joey. JOEY Well, I can’t disagree with you there. SARAH rolls her eyes and stares back at the window. CUT TO: FRONT, LOW VIEW OF THE ROAD. The vehicle JOEY and SARAH are in emerges from above the camera, driving off down the long stretch of road. CUT BACK TO: INSIDE VIEW OF THE VEHICLE. SARAH continues to stare out the passenger side window while JOEY keeps his eyes on the road. JOEY looks down at the gas meter in front of him. CUT TO: E.C.U. OF THE GAS METER. The pointer for the gas meter is near the very bottom, meaning he is almost completely out of gas. CUT BACK TO: INSIDE VIEW OF THE VEHICLE. JOEY Ah, damn. SARAH What’s wrong? JOEY I gotta get some gas. SARAH Is there a gas station anywhere near here? JOEY Closest one is a few miles up. SARAH Do you think we can make it? JOEY I sure as hell hope so. CUT TO: FRONT VIEW OF THE ROAD. The vehicle JOEY and SARAH are in moves closer, getting bigger and bigger as it drives. PAN OVER to the left, revealing... AN OLD GAS STATION. Built in the early 80’s, the gas station featured two pumps in the front, covered by a small roof, and a small store a few feet behind the pumps. An old man walks out of the small building. He wore overalls, and appeared to be in his late fifties or early sixties. The vehicle SARAH and JOEY are in pulls underneath the roof, and stops next to the last gas pump. JOEY opens the car door and steps out. OLD MAN G’ afternoon. JOEY Good afternoon to you too, sir. OLD MAN You just filling ‘er up? JOEY Yes sir. SARAH opens the passenger side door and steps out, looking around. SARAH Excuse me, do you have a restroom? OLD MAN No, ma’am, afraid not. SARAH Okay, thanks anyway. SARAH looks over to a board with papers and pictures stapled to it. She slowly walks over to it, looking over everything. CUT TO: CLOSE-UP OF ALL OF THE PAPERS AND PICTURES. The camera moves up and down, and left to right, revealing all sorts of different things; houses for sale, town events, but one thing seemed to stick out the most. The camera moves to the left, revealing a missing girl. The picture on the paper was in black and white. The description under her picture revealed her name, hair color, eye color, date of birth, and the date of which she disappeared. The camera moves up one, revealing... ANOTHER MISSING PERSON. This one was a young male. Everything in the information under his picture was different, except for the date. He had been missing for two weeks, which was just the same as the girl. CUT TO: JOEY PUMPING THE GAS. JOEY puts the handle back onto the hook and closes the gas lid. He looks over at SARAH. JOEY walks over to the old man and digs into his pocket for some money. CUT TO: CLOSE-UP OF SARAH’S FACE. SARAH squints as she continues reading. CUT BACK TO: CLOSE-UP OF THE BOARD WITH PAPERS AND PICTURES. Still on the same missing person, PAN OVER to the left, revealing... ANOTHER MISSING PERSON. This one was a girl, but looked a lot older than the first two. The number of weeks she had been missing was different too. She had disappeared only a week ago. Suddenly, an old man’s voice emerges. OLD MAN They were all from here too. SARAH turns her body quick, facing the old man a few feet away from her. OLD MAN I said they were all from here. SARAH Oh...How could so many people just disappear in a small town like this? OLD MAN A lot can happen in the middle of nowhere... CUT TO: JOEY OPENING THE CAR DOOR. JOEY Come on, Sarah, we better get going. SARAH looks strangely at the old man. His wrinkly face vanished behind the smirk he made with his mouth. SARAH turns around and heads for the car. She opens the car door, slides in, and shuts the door. The vehicle drives forward out of the gas station. CUT TO: CLOSE-UP OF THE OLD MAN’S FACE. CUT TO: SIDE VIEW OF THE GAS STATION. The old man heads back to the small building, when suddenly, a white truck screeches to a halt into the shot. The old man quickly turns around. The white door to the driver’s side of the truck opens with a loud click. The interior of the truck shows a man’s legs dangling over the driver’s seat, but the feet are pressed firmly on the floor of the truck. CUT TO: FRONT VIEW OF THE OLD MAN. CUT TO: LOW ANGLE OF THE TRUCK BESIDE ONE OF THE GAS PUMPS. Feet emerge into the shot from above, creating dust on the hard ground when they hit. The driver’s door can be heard when it shuts, and the feet walk toward the pump. RISE UP to the handle of the pump. A hand reaches out, pulling the pump handle up and moving it toward the truck. CUT BACK TO: VIEW OF THE OLD MAN. He watches as the mysterious man pumps gas into his dirty, white truck. CUT BACK TO: LOW ANGLE OF THE TRUCK BESIDE THE GAS PUMPS. The man’s feet move back toward the truck. The bottom of the door can be seen opening, and the feet disappear past the shot as the man steps into his truck. The door shuts, and the truck starts up. CUT BACK TO: VIEW OF THE OLD MAN. He bites his lip as he watches this man take his gas without paying. But the man stands motionless and silent; acting like nothing was going on. CUT TO: SIDE VIEW OF THE GAS STATION. The truck moves forward, exiting the shot, revealing the old man. A trail of dust circulates throughout the country air. ------------------------------- Here is Scene Two. Feedback would be awesome.
__________________
Latest 30 Second Bunnies: Jaws "Television has brought murder back into the home - where it belongs." - Alfred Hitchcock 
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#3
11-02-2003, 01:50 PM
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Well, once reply is better than none at all...thank, Nocto.
Anybody else? Eh heh. :(
__________________
Latest 30 Second Bunnies: Jaws "Television has brought murder back into the home - where it belongs." - Alfred Hitchcock
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#4
11-08-2003, 01:23 PM
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Dont get sad if you dont recieve any responses on this. It is quite good!!!! really!! just...it's sooo long some people might not read the whole thing. but still..very nice! this will turn out well!
__________________
"Sometimes, one suffers so deeply, that inventing happiness is a neccessity.."--Sadistakid. *Samantha Jo Sholtz*
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#5
11-09-2003, 07:55 AM
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Quote:
I try not to get upset, but I really would like more people to read my work. I want as many opinions as possible...
__________________
Latest 30 Second Bunnies: Jaws "Television has brought murder back into the home - where it belongs." - Alfred Hitchcock
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#6
11-11-2003, 05:34 PM
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I thought it was excellent. great work shamsham04. you could do this for a living. you could be the writer, director, and maybe even an actor in the movie. Great scene. Keep up the good work.:) :D ;)
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"How sweet, fresh meat!" Freddy Krueger
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#7
11-15-2003, 10:34 AM
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Quote:
__________________
Latest 30 Second Bunnies: Jaws "Television has brought murder back into the home - where it belongs." - Alfred Hitchcock
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#8
11-27-2003, 10:18 PM
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I enjoyed this, I think it has good potential. Keep it up.:)
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#9
07-01-2004, 07:30 PM
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Hmm....Great...but..
ShamSham, I have read Scene 1 & 2 and they are GREAT, but I am wondering.....If there has been missing people reports filed for the people that were murdered and put into the woods, why have the police not inspected the woods, it seems the gas station is near the area the people were missing/murdered.
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#10
07-01-2004, 07:32 PM
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Hmm....Great...but..
ShamSham, I have read Scene 1 & 2 and they are GREAT, but I am wondering.....If there has been missing people reports filed for the people that were murdered and put into the woods, why have the police not inspected the woods, it seems the gas station is near the area the people were missing/murdered.
Let me know if I missed something, or maybe the cops suffer from the Scihm disease (Stupid Cops In Horror Movies Disease):D Keep it up it is great!:)
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