Lost and Found
EXT. DAY
We are looking down on an afternoon cookout behind a beautiful well-kept house. There are ten or twelve adult couples talking in small groups, and 15 or 20 children playing around and in an in-ground pool. One boy holds a smaller boy while a third boy shoots him in the face with a Super Soaker. A parent shouts at the shooter and it stops...eventually. A handsome middle-aged man in his late thirties (MIKE) is flipping hamburgers on the grill. He looks down on a small Boston Terrier that is sitting with military attention staring at MIKE'S hand as it re-arranges the burgers. A boy (MIKE JR.) is on the diving board.
MIKE JR.
(screaming)
Mom! Watch this!
ANN, an attractive woman in her mid-thirties looks over at her son as he does a front flip off the diving board.
ANN
(clapping)
Perfect! Do it again with your eyes open.
She gets out of her chair and walks over to her husband MIKE at the grill.
ANN
Do you need any help honey?
MIKE
I'm good. Human beings eat in five
minutes. Dogs eat when they want.
He flips a huge burger off the grill and into the open mouth of the Terrier. The chewing lasts a couple of seconds and the dog's stare returns to the grill.
ANN
(laughing)
You are cleaning up the mess later.
A beautiful eight year old girl (MEGAN) opens the back door of the house from the inside. Her head is down and she is playing a Gameboy.
MEGAN
(yelling)
Mom...the phone. It's for you.
ANN
Who is it dear?
MEGAN
(shrugs)
Dunno.
ANN
(annoyed)
As God is my witness I will never
subscribe to that newspaper. Even if it
were the last newspaper in the world.
MIKE
(laughing)
It's got a great sports page.
ANN gives her husband a stern look and starts towards the house. She looks over her shoulder at MIKE.
ANN
That dog is going to explode and
ruin my party and you are going to
sleep on the couch until the day after
I subscribe to that fucking newspaper.
MIKE
(looking down)
Did you hear that SPARKY? You just went on
a diet.
ANN passes her daughter who is hovering in the doorway of the house.
ANN
Megan please put that thing down and go
swimming. Your poor Daddy slaves all day
so you and I and your brother can go
underwater whenever we want. Please.
MEGAN
I hate swimming. Besides Fathead is in
the pool and when he's in the pool I'm
not.
MEGAN follows her Mother into the kitchen.
INT. DAY
ANN walks across the kitchen and picks up the phone.
ANN
Hello.
ANN
This is her.
At this point we watch as ANN'S expression changes from cheerful distraction to puzzlement.
ANN
(concerned)
Where? When?
ANN listens intently and a look of understanding spreads across her face.
ANN
That was a long time ago...I'm listening.
She turns to look out the kitchen window and she watches as her husband starts serving hamburgers to a line of dripping, pushing kids.
ANN
(troubled)
I can't come now. I have thirty...Yes I
do. I do. Alright I'll leave now. It will
take me a couple of hours...
ANN looks over at her daughter who has stopped playing the Gameboy and is watching her Mother.
ANN
I have to write that down. I don't
know Asheville at all.
ANN fumbles with the message pad and begins to write.
ANN
Ok. I'll be there as soon as I...hello?
hello?
ANN hangs up the phone and turns to face the wall.
MEGAN
Mom who was that?
ANN is startled. She turns and faces her young daughter.
ANN is clearly upset.
ANN
A family friend dear. Don't worry. I have
to go out for a little.
ANN fumbles with her keys and pocketbook.
MEGAN
What about them? Aren't you going to tell
Dad?
ANN
Tell your Dad...Tell your Dad...
ANN shakes her head.
ANN
Tell him I'll be back as soon as I can.
ANN hurries through the house to the front door.
MEGAN
Mom?
MEGAN follows her Mother to the front door but there is no answer.
EXT. DAY
ANN gets into her car which is blocked in a circular driveway. She shimmies the car back and fourth until she can get the car out onto the lawn. She drives the car across the lawn, bouncing it through a drainage ditch and speeds down the road. We see MEGAN in the front door as she watches her Mother drive away.
INT. VEHICLE EVENING POV
This entire scene is shot from the point of view of the DRIVER of the van. The van rolls slowly down the street of a large city. It is not the best part of the city. We are in the Red Light. As the van moves down the street characters from the street offer the DRIVER their wares. Drugs and sex.
MONTAGE of hookers and dealers trying to interest the DRIVER.
HOOKER
I got what you need. You got what I
want. Let's make a deal baby.
DEALER
Man you don't even need to light my shit.
You just stand in the same city and you
are gone. etc.
The DRIVER/CAMERA shakes its head no as each supplicant comes up to the passenger window to sell. As the van rolls on the evening darkens. The women aren't as attractive. They are older...less energetic...sadder.
Eventually the women are replaced by young well-kept teenage boys. They make their pitches also but the DRIVER/CAMERA always shakes his head no. We are now in the part of the city where only desperate souls go. Here the teenage boys are dirty, and clearly hooked on a variety of mood/tempo altering drugs. One young boy (about 16) approaches the van and we can feel the van slow.
ADAM
Hey you looking for company? I mean are
looking for anything? Anything! I just
need something...anything.
ADAM has been destroyed by life. Somewhere in his dirty face is the ghost of a handsome boy. A high school quarterback.
ADAM
Come on man. I am good at some things.
You wouldn't regret it. Fifty bucks.
$40. Please I need...
ADAM is walking along with the van as it moves down the street. He stumbles and dissappears from the window. His face reappears.
ADAM
(desperate)
Thirty bucks and you can do what you
want to me.
The van stops moving. A VOICE we haven't heard yet says
"Get in." ADAM looks in both directions. Looks straight at the CAMERA. He sighs and gets in.
ADAM
Thanks man. I know where to go.
The CAMERA/DRIVER turns forward to face the dim streets. The van moves forward quickly as the scene fades to black.
EXT. EVENING FADE IN FROM BLACK
This entire scene is a slow tracking shot that starts close on the face of ANN and eventually goes to black 100 feet in the air. We are CU on the face of ANN. Her eyes are closed. Her expression is neutral. As the camera tracks upward we see more of ANN. It is soon clear that she is naked. We see she is lying on the ground in the woods. We see what appears to be a deep wound in her chest near her heart. As the camera tracks back more we see ADAM lying beside her. He is turned slightly into her body. His head is near her breasts. His eyes are closed also. There doesn't seem to be any wounds on him. The camera continues its slow rise. All of both bodies are in view. They are both completely nude. We see a figure dressed in dark clothes standing over the pair. The figure is holding something to his face, looking down at the pair. A camera flash goes off. The POV rises slowly through the branches of some trees. Another camera flash. The POV tracks by a crow that is looking down on the entire scene. Another flash. The POV is fifty feet in the air. Another flash. One hundred feet. Another flash. Finally all we see as the camera rises is a distant flash in a circle of blackness. Then fade to complete black.
We are looking down on an afternoon cookout behind a beautiful well-kept house. There are ten or twelve adult couples talking in small groups, and 15 or 20 children playing around and in an in-ground pool. One boy holds a smaller boy while a third boy shoots him in the face with a Super Soaker. A parent shouts at the shooter and it stops...eventually. A handsome middle-aged man in his late thirties (MIKE) is flipping hamburgers on the grill. He looks down on a small Boston Terrier that is sitting with military attention staring at MIKE'S hand as it re-arranges the burgers. A boy (MIKE JR.) is on the diving board.
MIKE JR.
(screaming)
Mom! Watch this!
ANN, an attractive woman in her mid-thirties looks over at her son as he does a front flip off the diving board.
ANN
(clapping)
Perfect! Do it again with your eyes open.
She gets out of her chair and walks over to her husband MIKE at the grill.
ANN
Do you need any help honey?
MIKE
I'm good. Human beings eat in five
minutes. Dogs eat when they want.
He flips a huge burger off the grill and into the open mouth of the Terrier. The chewing lasts a couple of seconds and the dog's stare returns to the grill.
ANN
(laughing)
You are cleaning up the mess later.
A beautiful eight year old girl (MEGAN) opens the back door of the house from the inside. Her head is down and she is playing a Gameboy.
MEGAN
(yelling)
Mom...the phone. It's for you.
ANN
Who is it dear?
MEGAN
(shrugs)
Dunno.
ANN
(annoyed)
As God is my witness I will never
subscribe to that newspaper. Even if it
were the last newspaper in the world.
MIKE
(laughing)
It's got a great sports page.
ANN gives her husband a stern look and starts towards the house. She looks over her shoulder at MIKE.
ANN
That dog is going to explode and
ruin my party and you are going to
sleep on the couch until the day after
I subscribe to that fucking newspaper.
MIKE
(looking down)
Did you hear that SPARKY? You just went on
a diet.
ANN passes her daughter who is hovering in the doorway of the house.
ANN
Megan please put that thing down and go
swimming. Your poor Daddy slaves all day
so you and I and your brother can go
underwater whenever we want. Please.
MEGAN
I hate swimming. Besides Fathead is in
the pool and when he's in the pool I'm
not.
MEGAN follows her Mother into the kitchen.
INT. DAY
ANN walks across the kitchen and picks up the phone.
ANN
Hello.
ANN
This is her.
At this point we watch as ANN'S expression changes from cheerful distraction to puzzlement.
ANN
(concerned)
Where? When?
ANN listens intently and a look of understanding spreads across her face.
ANN
That was a long time ago...I'm listening.
She turns to look out the kitchen window and she watches as her husband starts serving hamburgers to a line of dripping, pushing kids.
ANN
(troubled)
I can't come now. I have thirty...Yes I
do. I do. Alright I'll leave now. It will
take me a couple of hours...
ANN looks over at her daughter who has stopped playing the Gameboy and is watching her Mother.
ANN
I have to write that down. I don't
know Asheville at all.
ANN fumbles with the message pad and begins to write.
ANN
Ok. I'll be there as soon as I...hello?
hello?
ANN hangs up the phone and turns to face the wall.
MEGAN
Mom who was that?
ANN is startled. She turns and faces her young daughter.
ANN is clearly upset.
ANN
A family friend dear. Don't worry. I have
to go out for a little.
ANN fumbles with her keys and pocketbook.
MEGAN
What about them? Aren't you going to tell
Dad?
ANN
Tell your Dad...Tell your Dad...
ANN shakes her head.
ANN
Tell him I'll be back as soon as I can.
ANN hurries through the house to the front door.
MEGAN
Mom?
MEGAN follows her Mother to the front door but there is no answer.
EXT. DAY
ANN gets into her car which is blocked in a circular driveway. She shimmies the car back and fourth until she can get the car out onto the lawn. She drives the car across the lawn, bouncing it through a drainage ditch and speeds down the road. We see MEGAN in the front door as she watches her Mother drive away.
INT. VEHICLE EVENING POV
This entire scene is shot from the point of view of the DRIVER of the van. The van rolls slowly down the street of a large city. It is not the best part of the city. We are in the Red Light. As the van moves down the street characters from the street offer the DRIVER their wares. Drugs and sex.
MONTAGE of hookers and dealers trying to interest the DRIVER.
HOOKER
I got what you need. You got what I
want. Let's make a deal baby.
DEALER
Man you don't even need to light my shit.
You just stand in the same city and you
are gone. etc.
The DRIVER/CAMERA shakes its head no as each supplicant comes up to the passenger window to sell. As the van rolls on the evening darkens. The women aren't as attractive. They are older...less energetic...sadder.
Eventually the women are replaced by young well-kept teenage boys. They make their pitches also but the DRIVER/CAMERA always shakes his head no. We are now in the part of the city where only desperate souls go. Here the teenage boys are dirty, and clearly hooked on a variety of mood/tempo altering drugs. One young boy (about 16) approaches the van and we can feel the van slow.
ADAM
Hey you looking for company? I mean are
looking for anything? Anything! I just
need something...anything.
ADAM has been destroyed by life. Somewhere in his dirty face is the ghost of a handsome boy. A high school quarterback.
ADAM
Come on man. I am good at some things.
You wouldn't regret it. Fifty bucks.
$40. Please I need...
ADAM is walking along with the van as it moves down the street. He stumbles and dissappears from the window. His face reappears.
ADAM
(desperate)
Thirty bucks and you can do what you
want to me.
The van stops moving. A VOICE we haven't heard yet says
"Get in." ADAM looks in both directions. Looks straight at the CAMERA. He sighs and gets in.
ADAM
Thanks man. I know where to go.
The CAMERA/DRIVER turns forward to face the dim streets. The van moves forward quickly as the scene fades to black.
EXT. EVENING FADE IN FROM BLACK
This entire scene is a slow tracking shot that starts close on the face of ANN and eventually goes to black 100 feet in the air. We are CU on the face of ANN. Her eyes are closed. Her expression is neutral. As the camera tracks upward we see more of ANN. It is soon clear that she is naked. We see she is lying on the ground in the woods. We see what appears to be a deep wound in her chest near her heart. As the camera tracks back more we see ADAM lying beside her. He is turned slightly into her body. His head is near her breasts. His eyes are closed also. There doesn't seem to be any wounds on him. The camera continues its slow rise. All of both bodies are in view. They are both completely nude. We see a figure dressed in dark clothes standing over the pair. The figure is holding something to his face, looking down at the pair. A camera flash goes off. The POV rises slowly through the branches of some trees. Another camera flash. The POV tracks by a crow that is looking down on the entire scene. Another flash. The POV is fifty feet in the air. Another flash. One hundred feet. Another flash. Finally all we see as the camera rises is a distant flash in a circle of blackness. Then fade to complete black.
posted by Exaggoman at 5:10 PM
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