Driving wit Sara (script for a short movie)

Driving wit Sara (script for a short movie)

I started with a simple idea I already had in my mind, and the course helped me tremendously first organizing it, then putting down the main scenes, learning how to format them, then having all the scenes in place and finally adding dialogue recently. It was an amazing process!

DRIVING WITH SARA

By
LIANA ANDREASEN

 
FADE IN:
INT. STORE. DAY

MAXINE (in her 50s) is inside a generic type of store, walking around (camera follows closely), breathing heavily from anxiety, looks worried when people come near her, avoids people. Anxiety, hurried looks. Picks some items (paint cans, rags, etc). She pays quickly and comes out with a couple of bags of purchases. Hurriedly, she tears off a poster from the door of the store that shows a picture of a lost person (SARA, a woman in her 60s). MAXINE gets in the car in the driver’s seat, shows SARA the poster and they laugh. MAXINE is dressed in jeans overalls, with a long-sleeved shirt. No makeup, and hair is a bit unkempt. Her overalls are sprinkled with color, like a painter’s. SARA is dressed very elegantly, old-fashioned. A nice hat on her head, and she is wearing makeup.
Music: Neurotic music, becomes calmer when Maxine joins Sara in the car.

MAXINE
I have everything I need
SARA
What is all of that?
MAXINE
It’s the surprise. You’ll just have to wait and see.
SARA
When can I see it?
MAXINE
Right now! I’m driving you to it. Just so you know, the payment for the surprise is a story.
Sara crosses her arms and looks ahead, as the car winds through city streets.

DISSOLVE TO:
EXT. EMPTY PARKING LOT. DAY
Maxine and Sara are parked in front of a wall, pretty secluded (no people). The area is a bit run down. Maxine prepares paint cans and some brushes. Sara comes out, intrigued but worried. She Maxine looks like a child playing, unworried.

MAXINE
Hey, don’t worry. I’ve done this before.
SARA
What do you mean don’t worry? Do you have a permit? Is this legal? It’s the middle of the day!
MAXINE
You keep watch for me. Especially tell me if you see cops. (Sees Sara’s shock). Please?

CUT TO:
Maxine starts taking out the paints from the car and lays them down on a large piece of paper. Sara leans on the car, watching.

DISSOLVE TO:
SARA
Can you make the skirt sparkly? It was all sparkles.
MAXINE
[She is adding colors to a woman’s dress]
Sure, I’ll make it super pretty. I’ll put jewels on it. And you were how old? Fourteen? Fifteen? [adding some color to the face]
SARA
Sixteen. At fifteen I was just a dancer, but I was training for the rope. The iron jaw came even later, you know, that number where they lift you real high, holding a piece of leather in your teeth. I broke the spinning record in my country at that time. Twenty-five was the record, and I did twenty-seven.
MAXINE
That would be harder to paint. The public must have loved you!
[continues painting the face, tries to make eyes pretty]
So when did that boy fall in love with you?
SARA
[Sara is on the hood of the car now]
Poor Victor. He was a towner where we stayed a few weeks, I forgot where. We talked only a couple of times. I snuck him to the dressing wagon. We made a plan. I was going to run with him after the last show. That’s when I fell from the tightrope, at the last show.
MAXINE
You must’ve been thinking of the plan when you fell. Must have been the extra stress from that.
SARA
Poor boy. Always so pale, and so in love with me. I heard him scream when I fell. Even with a broken leg, the ringmaster made me bow and smile to the crowd. I couldn’t even see from the pain.
MAXINE
Did you see the boy again? Did he find you?
SARA
No. The director ran him off and sent me to my mother’s town by bus. He paid me half of what he owed me and told me I was done.
MAXINE
How did your mom react when you came home? You said she was very poor—did she make you get a job? Was it tough to go home after being on your own?
SARA
She wasn’t like that, no. You picture it worse than it was. People can get along with very little.
MAXINE
Not the people I know. Sometimes a mother’s love is not enough.
SARA
You’re talking about your mom?
MAXINE
No. Talking about my daughter.
SARA
Ah, you’re getting grim! Put more color into that. It was a bright time. Everything was color. It was the 70s! Make the colors dance!
MAXINE
And you kept your head up through everything? You’re such a strong woman! After being on the street, not many people will remember all the colors.
SARA
Color is all you have when your house and car and family are out of your life. If the only home I have left is a shopping cart, I just fill it up with colorful stuff.
MAXINE
And you were cold! You could have died when I picked you up. It’s funny, the first thing you told me was don’t believe those dolphins. They look pretty but they’re really mean because you saw them playing with their pray. I told you things I knew about whales, ‘cause I was trying to get you to come warm up in my car. See, now we have each other to talk to.
SARA
[Gives her a long look, her face serious now]
Maxine. You need to go home.

A painting has emerged: a young woman on a tightrope, old-fashioned clothing (70s glamor) and 70s hair style. About half-way through the scene, Sara is sitting on the hood of Maxine’s car, very smiley and relaxed.

DISSOLVE TO:
They are driving away from the finished painting. After a few streets, they drive past a playground. Sara slows down and they both watch the children for a while. They turn a corner and come upon a house. Maxine stops the car to look at the house, then drives away. Sara looks at Maxine with a sad, worried face, but they don’t talk.
FADE IN:
Brief image of them sleeping in the car in an empty lot.

FADE IN:
EXT. BEACH. DAY. A YEAR AGO

Faded image, as if from the past. The sea is very agitated, not many people there. It looks cold. Maxine walks on the sand to where Sara is sitting. Sara has her belongings in a shopping cart, and is sitting under an umbrella, trying to keep warm by hugging herself. She is dressed in rags. Sara sits with her and after a brief conversation off camera (we only hear the sound of the ocean), Maxine persuades her to come get warm in the car. Sara looks serene, while Maxine looks worried, hurried. We don’t hear dialogue, as the camera doesn’t get very close (the whole scene is seen from a distance).
Music: very faint, a bit anxious

CUT TO:
EXT. EMPTY PARKING LOT, NEXT TO A BUILDING. DAY

Another place where Maxine is already painting new graffiti. Maxine wears the same overalls, but a different shirt. The painting is now a child looking up, arms outstretched, big eyes. Sara is sitting on a fancy chair that looks out of place there.
MAXINE
Dark curls? Should I give her very dark curls?
SARA
[Nodding]
She was precious. So smart. Her father was married, so he paid me to get rid of her. I took something, and I thought she was gone, but she was born anyways! And smart, too, no damage to her!
MAXINE
Your mother raised her?
SARA
Yes. I couldn’t be an acrobat with a baby on my heels.
MAXINE
Where is your girl now? Why doesn’t she take care of you?
SARA
I wouldn’t have it any other way. She’s a lawyer in California, with a family. Why would I bother her? I have my independence, and she has her good life.
MAXINE
Does she even know you’re alive?
SARA
[Looks at her with something like pity]
[Almost whispering]
Does your daughter know you’re alive? I’m not the one who’s full of resentment.
[A few moments of awkward silence. Sara comes closer to the wall and touches the face of the child].
MAXINE
It doesn’t matter. My daughter is happy, I suppose. She’s not a baby anymore, so she doesn’t need me around. She has her own baby.
SARA
Make her dress red polka dot. Make her pop, like she’s the center of the world.
MAXINE
You still feel like that about her?
SARA
I think about her all the time. Yes, she’s still the center of the world.
MAXINE
Even if--
SARA
Maxine, you have a lot of anger. If I felt like you about it, I’d try to fix it. But I’m just fine the way I am.
MAXINE
It’s not… anger… I can’t explain. I just don’t understand why she could replace me like that.
SARA
With her own baby? Do you hear yourself?
MAXINE
You don’t know her. I know she needed space for the baby, and I know I had a hard time letting go of… things…
[flashes of images while she is speaking: the home of a hoarder, piles of things, clothes, boxes]
I hope she’s grateful to have the house. The jerk didn’t give her a penny.
SARA
It’s your house. You need to go home.

[They grow quiet, as the painting turns more colorful and takes the whole screen; the music becomes louder, melancholy but somewhat optimistic/cheerful]

DISSOLVE TO:
INT. HOUSE. DAY.
In black and white or sepia faded colors, a scene between Maxine and her daughter. The images fade into each other, as if pulsating, so we see bits and pieces of a longer scene.
Music: turns grim
MAXINE
[in great distress, crying]
You had no right, Maria! You sent me to babysit at your cousin’s on purpose! You plotted with her, just so you could throw out my life!
MARIA
It was just one room. One room! Where would I even put a cradle if I didn’t get one room cleaned?
MAXINE
Why don’t you throw me away then? Just throw it all away! Those were precious to me, boxes of letters, boxes of gifts, memories! All of it matters!
MARIA
Your grandbaby matters! I matter!
MAXINE
You just won’t listen! It’s not supposed to be this way! My own daughter erasing my life without asking! No one understands this!
MARIA
I asked and asked, for months. The baby was coming!
MAXINE
The baby? And where is my baby? I don’t know who you are anymore!

CUT TO:
BACK TO THE SAME EXT. LOCATION. DAY. STREET.
Maxine looks for Sara, who is no longer outside the car. She looks inside (we see a vague bundle of something but not Sara). She calls her, looks around in a panic. Finally, she sees Sara sitting somewhere on an elevated spot (unlikely to have gotten there easily). Seems a bit surreal. The fancy chair is gone too.
SARA
At least you have a home to go to.
MAXINE
I can’t leave you alone. What would you do?
SARA
Yes you can. You have to let me go.

Music: sadness
CUT TO:
They drive again by the playground. Maxine stops, watches a mother and a daughter play. She gets out of the car and sits in a swing, watching. When the mother turns her back, she walks over and starts hugging the girl. The mother rushes to grab the toddler from her.
MOTHER
You touched my child! You touched my child! Don’t you touch my child!
Maxine retreats to the car and drives away fast.
DISSOLVE TO:
They drive again past the same house. This time, the house looks dilapidated and abandoned. The wind is blowing. Sara and Maxine look at each other and Maxine drives away.
MAXINE
I can’t call Maria, no. I can’t. But I’ll call my sister, Deb.
Music: almost horror-like

FADE IN:
INT. NICE HOUSE. DAY.
Maxine’s sister’s house. DEB answers the phone.
DEB
[Looking annoyed, seems eager to get off the phone through the whole conversation.]
Oh, Maxine. Hi. Yes, we haven’t talked – no, I wasn’t doing much. But I have to get ready soon. I’m having people over. What - ? Oh, you mean to stay here? How long? It’s kind of a bad time. Sorry, no, I’m having a tough time with the promotion. It’s so much work. I mean, maybe in a couple of months? Oh. Well, ok, we’ll talk later. Take care, Maxine.

FADE IN:
EXT. CITY STREETS. DAY

Third scene of painting (a different setting in the city). It’s clear it’s a different day too (sunnier or cloudier). The painting is of Maxine and Sara sitting together on a bench.
Music: calmer, more mysterious.
They aren’t talking now, just smiling to each other as the painting goes on.
CUT TO:
A policeman moves quickly toward Maxine, making her hand over the spray can. Frantic music. Sara moves to the wall and presses her back on it, as if to make herself small. She watches the conversation, and the camera moves away from her and to Maxine and policeman. The scene is made of bits and pieces that fade into each other, pulsating, menacing.
COP 1
Is this your car, Ma’am? Do you own this vehicle?
MAXINE
Yes, officer.
COP 1
Please step over and let me take a look.
MAXINE
But… It’s not… Please…
The cop opens the door to Maxine’s car and motions his partner to come out of the police car. They both reveal a finding in her car, the old corpse of a woman bundled in rags/covers, dried up, in the passenger seat. (Music: sinister)
COP 2
Who is this person, Ma’am?
MAXINE
I don’t know, sir. Sara.
...
COP 1
How long has this person been like this?
MAXINE
[Terrified]
I don’t know. She was sick, she had no money for doctors.
...
COP 2
You had her in the car for how long? With the smell and all?
MAXINE
I don’t mind smells. I took care of my dying dad. Please, don’t bother her…
...
COP 1
You’re going to come with us. This is big. Call more backup, Bob. This is big.

They take her into the police car and call for reinforcements. We now see the finished painting, and next to each woman there is a younger woman (presumably, their daughters). “Sara” (the live one) is no longer at the scene (only in the painting).
MUSIC TURNS FROM HORROR TO MORE OPTIMISTIC

DISSOLVE TO:
EXT. DAUGHTER'S HOUSE. DAY

At the same house where they stopped before, Maxine’s daughter, Maria, is sitting on the front steps. A 2-3 year-old girl is playing in a swing. The house looks normal, not dilapidated. Maria is dressed nicely, and her child too (middle class).
She is talking on the phone, looks very worried and wipes tears off her face.
MARIA
No, she hasn’t lived here in a long time. Yes, I know. I know, but she didn’t want to… Yes, she does. We will make sure… Yes, please, I want to talk to her!
[she waits, worried and relieved when her mother’s voice comes on faintly on the other side]
Mom! Mom! What did you do, Mom?... No, no, it doesn’t matter, don’t worry anymore. I’ll get you back, it’s all going to be okay. Yes, Mom, I know. I’ve missed you so much, I was so worried… Yes, we’re good. Nothing matters now, Mom, you have to come home! But you have to promise you’ll see a… Oh, they will provide a psychiatrist? But I can make the appointment… Well I’ll go with you! Don’t even worry about it. We’ll do everything better this time, Mom!
Music: reassuring
The camera pans out, leaving her on the steps, still on the phone.

DISSOLVE TO:
EXT. DAY. STREET.

Close-up of Maria, staring at something from her car. Teary eyes. She is moved by something. Camera pans out, moves to the wall, to the girl in red polka dot dress, where it rests.
END