SCENE: OPENING CREDITS(5min.)
EXT. – COUNTRY HIGHWAY – SUNRISE
Cornfields at daybreak in the hills. Cut to a straight, vacant highway. Cut to a different place on the same empty highway. In the distance, JULIE, a plain-looking teenage brunette paces back and forth along the side of the highway road. Closer up, she is seen to be wearing an out-of-place, trendy outfit and a backpack. As a car approaches, JULIE puts out her thumb but it zooms past without slowing down. A second car approaches; JULIE puts out her thumb and the car slows down to a stop. Inside is an older MAN. He opens the door and lets her in.
Where you heading?
Getting in. Civilization. Heard of it?
Pause. Closest thing we got here is a WalMart.
I'll settle for that. She shuts the door.
The car drives off.
INT. – COLLEGE COMMUNITY HOUSE HALLWAY – MORNING
The scene changes to a college community house hallway, relatively uncluttered. ERIC, 20, a cocky, preppy college sophomore dressed in pajamas is walking down the hallway (though not the focus of the camera). He opens a door in the hallway and walks into Daeron's room. The room is a disaster. DAERON, 19, a depressed college sophomore is barely visible from the folds of his bed (or couch) where he is deeply asleep; beer bottles are scattered everywhere, there appears to be no order of any sort, dirty clothes completely cover the carpet, and a few school books appear to have been swallowed by the mess. ERIC stands mockingly solemn, imitating a doctor declaring the death of a patient.
Time of waking, 10:51 a.m..
DAERON does not move.
Come on, man, class in ten minutes. He gives DAERON a light kick.
Good man. Catch.
ERIC throws DAERON a bottle of aspirin; DAERON catches it one-handed without opening his eyes as ERIC leaves. Between the shot of DAERON catching the aspirin and his later walk to class, only pieces of him show up on camera, but never his face or full body.
SERIES OF SCENES:
Daeron's hand visible as he pulls it out of his pants to push himself upright.
His socked feet are visible, coming onto the floor next to a broken alarm clock partially buried beneath clothes.
A coffee table is horizontally visible, dirty and covered in beer cans. As it is in front of his bed/couch, Daeron's feet are centered on the ground behind the coffee table. Daeron's hand sweeps the cans off the table and picks up a stained essay that had been buried beneath them.
His scalp and hands only are visible as he attempts to flatten his hair.
He shakes some beer and crumbs off the essay, and the camera catches the title: Orwell, the Military, and the Bay of Pigs.
He pulls dirty pants out of a pile and puts them on.
He shoves his feet into shoes unceremoniously.
He brushes off the front of the paper, relieving it of a few extra crumbs, and his lips are visible as they blow off a few more stubborn crumbs.
He empties more empty beer cans out of his backpack, shoves his ROTC clothes in it, and zips it up.
He folds up the essay into fourths, puts the backpack on, and shoves the essay into his back pocket. He opens the door to exit. There is a note taped to the doorknob: "Kegger tonight - better make it."
EXT. – CAR ON THE HIGHWAY – SUNRISE CONT'D.
Cut to JULIE in the car, staring out the window, going past farmlands. Cut back to DAERON, fully visible now, walking past a sign that says "YOUR FUTURE STARTS TODAY." He is oblivious to the sign. Cut back to JULIE, who – as the car flies past it – stares at a billboard encouraging a message of hope. Cut back to DAERON, walking up the steps to a classroom building with a slouch, and finally cut back again to JULIE in the WalMart parking lot, getting out of the car. The music fades.
Hey honey, how about a kiss for my trouble?
JULIE smirks, leans in and kisses him passionately. The MAN is clearly surprised. JULIE slams the door closed and walks off.
Scenes are short (it IS a movie...), so just keep going! I'll upload a few at a time and field questions as I get them. Thanks!