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IN DARKNESS, ROLLING CREDITS
MOSES
Ah, shit.
We hear some thudding noises. A dog barks. Rustling noises
(like a shirt coming over our heads). A man sniffs.
MOSES (CONT'D)
(under breath)
Ohh, hell, I stink.
We hear a spraying noise, then another sniff.
MOSES (CONT'D)
Much better.
TITLE CARD: "DEATH OF JUSTINA"
I/E. MOSES' CAR - MORNING
Enter MOSES, mid-40's, scraggly looking, yet presentable. He
carries the weight of his own world on his shoulders. He
sits in, buckling the seatbelt of his family station wagon
and immediately grabbing the pack of cigarettes hidden in the
car's ashtray. He looks behind him, then starts up the car,
putting the cigarette in his mouth, and lighting up.
He drives down the land of suburbia that he calls home, with
every cliche in the book; a man watering the yard, a paperboy
delivering papers, kids going off to school and playing
games, with Moses in the middle of it all. He's the
antithesis of his environment.
A man waves to him, Moses offering a half-hearted wave back.
A very obvious "Who the hell was that?" expression on his
face as we pass the man. Obviously, Moses isn't in touch
with his community, but we sense a desire to belong and be
important.
EXT. MOSES' CAR - CONTINUOUS
Moses is driving on the freeway now, smoke practically
emptying out the driver's side window. Moses is now chain
smoking.
I/E. DR.'S PARKING LOT - MOMENTS LATER
Moses finishes off the cigarette, flicking it out the window.
He examines the pack of cigarettes, now empty.
He then crams the pack into his already overstuffed
briefcase, and then reaches into the
GLOVE COMPARTMENT
Which has an entire carton jammed in.
CUT TO:
INT. DR.'S WAITING ROOM - MORNING
Moses walks into the waiting room, wearing a half-hearted
smile.
NURSE
Name?
MOSES
Moses --
NURSE
You're late. Sign here:
She presents him a clipboard scrambled with signatures. He
signs in, and the clipboard is practically ripped from his
hands.
NURSE (CONT'D)
The doctor will be with you in a
moment.
Moses nods a "Thank you," then goes and sits down.
MOSES POV
Moses looks around the room; drab paintings, an empty fish
tank, a few (very) dated magazines on the coffee table, and a
single Fisher Price toy of some sort sitting in the middle of
the waiting room. He closes his eyes, audio fading out...
FADE TO BLACK.
NURSE (CONT'D)
MOSES!
INT. DR.'S WAITING ROOM - MOMENTS LATER
Moses starts, jumping out of his seat practically.
NURSE
Doctor'll see you now.
INT. DR.'S OFFICE - CONTINUOUS
We see
MOSES
Sitting on the bench in the doctor's office, in
uncomplimentary tighty whities with a slight view of his butt
crack.
THE DOCTOR walks in, a handsome 40-something, suave and
cleanly-shaved. His clothes are cleanly pressed, starched,
and professionally cleaned. He's the clean, perfect doctor
we see in commercials, making the realistic Moses look all
the more ridiculous.
DOCTOR
Hello there, Moses. How are you
today?
MOSES
I'm... fine doc.
DOCTOR
Good to hear. And the wife and
kids?
MOSES
Oh... Wife and kidsy.
The doctor shares a hearty chuckle; Moses is less than
satisfied in his wit.
DOCTOR
Well, I believe you're here for
a...
(checking tablet)
Check-up? Just seeing how the
clockwork's going?
MOSES
Yeah, I guess so.
DOCTOR
Good. Let's check you out.
ON CLOCK
Time passes, until...
BACK TO MOSES AND DOCTOR
The doctor takes off a lone plastic glove, and Moses' pained
expression can only guess what that glove had just done.
DOCTOR (CONT'D)
Well, Moses... I've gotta tell you:
You need to stop smoking and
drinking. This stuff is gonna kill
you.
MOSES
It's been so many years, though,
doctor... I don't know what good
it'd do me.
DOCTOR
A few more years is what good it'd
do you. At the moment, you're
okay... But if this keeps up,
The doctor gestures to the general area of each organ:
DOCTOR (CONT'D)
Your liver,
lungs,
heart --
All are going to go out on you.
Not a pretty picture, is it?
MOSES
Not particularly.
DOCTOR
So, I want you off the cigarettes
and to stop drinking as of today.
Moses doesn't look all too pleased.
DOCTOR (CONT'D)
You can pay the lady on the way
out. Take care, Moses.
The doctor leaves. Moses tries to get up, but we hear his
skin sticking to the seat.
MOSES
... Ewgh.
I/E. MOSES' CAR - AFTERNOON
Moses drives, the sun hot and beating down on his car.
MOSES (V.O.)
You wonder to yourself sometimes
how life is such a precarious
thing, and yet we take it for
granted. We ingest poisonous
garbage that we call "food,"
breathe toxic fumes that we call
"air," swim in a primordial ooze we
call "water," and step into a
concrete wasteland we call "Earth."
So many things out there that are
just designed to hurt or kill us,
and yet we all claim to value life.
Moses instinctively reaches into the ashtray, but stops
himself.
MOSES (V.O.) (CONT'D)
Oh, come on, Moses... Gotta keep it
together. You don't want to join
your brothers, do you? Add another
neglected grave on the side of a
mountain... Alone, with the worms
eating at your decomposing
corpse...
An old woman steps out in front of the car, and Moses SLAMS
on the brakes, stopping a foot away from her. She shakes her
fist, curses and swears, unheard by us. Moses just stares at
her, awed.
MOSES (V.O.) (CONT'D)
... Death is a loneliness much
crueler than any loneliness hinted
at in life.
EXT. MOSES' HOME - EVENING
Moses' station wagon pulls into the driveway, a different man
watering his lawn and different kids playing in the exact
same way as before; not much as changed. Moses gets out,
carrying the carton full of packs with him, walking to the
trash can, hesitating, and finally throwing it in. Whew.
Moses takes a good look at the neighborhood. The plain beige
and white colors of every house almost blending together, but
somehow his home looks a bit darker than the rest, a bit
discolored, like stale baby poop.
INT. MOSES' HOME - CONTINUOUS
Moses walks in, greeted by... absolutely nothing. The house
is completely drab, normal, and has no sign of life
whatsoever. A few family portraits line the walls, but any
other picture or painting in the house is bland and full of
earth tones. The entire house is almost a perverted sepia,
and instead of bringing feelings of warm memories, brings a
feeling of cold regret.
Moses stands near the window facing the front yard... All
activity outside has ceased. We see the
SUNSET
Descending behind the suburbs.
MOSES (V.O.)
I won't go into the commonplace
symptoms of withdrawal, but I would
like to point out that, here,
standing at my window this evening,
watching the brilliant afterlight
and the spread of darkness, I feel,
through the lack of these humble
stimulants -- my cigarettes and
alcohol -- the force of some
primitive memory in which the
coming of night and its stars and
its moon... It's apocalyptic.
MOSES' WIFE, mid-to-late 30s, rushed, cold and somewhat
impersonal, enters from the side, walking past Moses.
MOSES (CONT'D)
Honey, I've stopped smoking and
drinking!
MOSES' WIFE
(not stopping)
That's nice, dear. We're having
pot roast.
MOSES (V.O.)
... Pot roast?
INT. MOSES' HOME, DINING ROOM - EVENING
Moses sits at the head of the table, his wife on the opposite
end, and their two children -- a boy and a girl -- teenagers
both -- sitting in the middle, across from each other. The
room is silent, with a camera shot from above the table.
There is an undeniable tension here.
POV MOSES
Looking at the rest of the family, examining each member and
their flaws and/or traits
ON WIFE
Moses' wife slurps soup noisily, her cold and unfeeling
exterior never changing, even as the boiling hot soup touches
her lips. Who was this woman, and what was she doing there?
ON SON
Moses' son also slurps soup just as noisily. He has fallen
into the punk/rebel stage of his youth, and his appearance
should do it justice; A ridiculous haircut, frayed Levi
jacket (now a vest), a Sex Pistols shirt (also frayed), and
tight jeans.
ON DAUGHTER
Coming out exactly the opposite of Moses' other spawn, the
daughter is the preppy, friendly, bubbly one in the family.
Unfortunately, she is also highly naive and stupid. This
becomes all the more apparent as dinner goes on. She also
slurps her soup.
BACK TO MOSES
Reaction shot to Moses, who swallows his soup slowly and
noiselessly. His eyes scan the surroundings, and he realizes
there isn't an escape route in the room, except flinging
himself out the window behind him.
The camera pans back to Moses' Wife after she CLEARS HER
THROAT:
MOSES' WIFE
So, how was the doctor's visit,
dear?
Moses looks up.
MOSES
Oh, uh... Well. I'm going to stop
smoking and drinking.
MOSES' WIFE
That's nice, dear. Isn't that
nice, children?
MOSES' SON
Yes, mom.
MOSES' DAUGHTER
Yes, mother.
Moses smiles slightly.
MOSES (V.O.)
Yeah, very nice. You people don't
really care. Who cares about the
bitter taste in my mouth and that
my head seems to be leaving my
shoulders?
MOSES' WIFE
Honey, you're going to have to go
grocery shopping tomorrow so we can
get ready for Justina to come on
Monday.
Moses snaps back into reality.
MOSES
What?
(Pause)
Oh. Right. Justina.
DISSOLVE TO:
INT. MOSES' HOME, BEDROOM - LATER
MOSES' WIFE lies in bed, sleeping soundly. The camera pans
slowly over to Moses, lying on his back, also sleeping.
However, he doesn't seem to be sleeping as soundly.
INT. DREAM SUPERMARKET - UNKNOWN
Hundreds of faceless, genderless human beings shuffle about a
supermarket, reaching and grabbing at bags, some in brown
paper bags, others in brown boxes, a few in plastic bags and
cases. All of them without labels or brand names. A few of
the humanoids look vaguely like Moses' wife and children, but
only vaguely. Moses stands in the middle of it all, looking
around, trying to figure out what's going on.
SUPERMARKET VOICE (V.O.)
Clean-up, aisle five. Clean-up,
aisle five.
Moses wanders around now, looking at boxes, picking one up in
particular and examining it. Another humanoid grabs it from
his hands, snarling fiercely.
SUPERMARKET VOICE (V.O.) (CONT'D)
Price check at two. Price check at
two.
Moses continues looking around, passing through and between
the humanoids, wafting in and out of existence every now and
then. We hear a piercing scream as Moses looks upon
something in horror.
SUPERMARKET VOICE (CONT'D)
(demonic sounding)
Clean up at the door... Clean up at
the door...
INT. MOSES' HOME, BEDROOM - EARLY MORNING
Moses sits up in a start, sweating. He gets up, sitting on
the edge of the bed. We hear his wife snoring lightly in the
background.
MOSES (V.O.)
God, I could use a smoke... Why are
you putting yourself through this,
Moses?
(Pauses)
... That's right. Scandal.
Moses gets up out of bed, walking to the bathroom and closing
the door.
INT. MOSES' HOME, BATHROOM - CONTINUOUS
Moses stands in front of the mirror, giving himself the once
over. He wipes his eyes, checks his nose for hairs, looks at
his bloodshot eyes, among other morning activities the actor
can do at his discretion. He does everything right to the
camera.
MOSES (V.O.)
When I abstain from sin, it is more
often a fear of scandal than a
private resolve on the purity of my
heart... But here was a call for
abstinence without the worldly
enforcement of society.
Moses gargles a little, spits, then looks himself right in
the eye.
MOSES (V.O.) (CONT'D)
Death is not the threat that
scandal is.
FADE TO BLACK.
INT. MOSES' HOME, BEDROOM - MORNING
IN DARK, LIKE THE BEGINNING OF THE MOVIE.
AGAINST BLACK, TITLE CARD: SUNDAY
MOSES
... Goddamnit.
I/E. MOSES' CAR - DAY
With "Walking on Sunshine" playing during the drive, Moses
slurping coffee intermittently. Other cars passing by have
families happy, laughing, singing, or with a dog hanging out
the window, once again contrasting Moses' reality.
"I'm Walking On Sunshine... Whoa-ohhh..."
As Moses engages in his soliloquy, the camera moves about and
around the car, showing almost all angles.
MOSES (V.O.)
This morning when I got up for
breakfast, I took a nice cold
shower to wake up from my rather
restless night. I've only been
having these dreams a couple nights
now and they've been definitely
taking their toll on my wellbeing.
INT. MOSES' HOME, DINING ROOM - MORNING
Moses sits at his table, staring down at his English muffin.
MOSES (V.O.)
When I finally sat down for
breakfast, my English muffin stared
up at me from the plate.
As he speaks, a face, a friendly old English gentleman, does
materialize in the muffin. It winks at him. And then it
disappears, Moses now gaping at it, slackjawed.
MOSES (V.O.) (CONT'D)
I mean, I saw a face in the rough,
toasted surface. I think it winked
at me. The moment of recognition
was fleeting, but it was deep...
and I wondered who it had been.
Was it a friend, an aunt, a sailor,
a ski instructor, a bartender or a
conductor on a train? The smile
faded off the muffin, but it had
been there for a second.
I/E. MOSES' CAR - CONTINUOUS
A family in a car zooms by, Moses looking at them, a couple
kids in the backseat smiling and waving at him. He waves
back weakly, barely smiling. He then stares back at the
road, a bit more disturbed after thinking about the muffin
again.
 
MOSES
Ah, shit.
We hear some thudding noises. A dog barks. Rustling noises
(like a shirt coming over our heads). A man sniffs.
MOSES (CONT'D)
(under breath)
Ohh, hell, I stink.
We hear a spraying noise, then another sniff.
MOSES (CONT'D)
Much better.
TITLE CARD: "DEATH OF JUSTINA"
I/E. MOSES' CAR - MORNING
Enter MOSES, mid-40's, scraggly looking, yet presentable. He
carries the weight of his own world on his shoulders. He
sits in, buckling the seatbelt of his family station wagon
and immediately grabbing the pack of cigarettes hidden in the
car's ashtray. He looks behind him, then starts up the car,
putting the cigarette in his mouth, and lighting up.
He drives down the land of suburbia that he calls home, with
every cliche in the book; a man watering the yard, a paperboy
delivering papers, kids going off to school and playing
games, with Moses in the middle of it all. He's the
antithesis of his environment.
A man waves to him, Moses offering a half-hearted wave back.
A very obvious "Who the hell was that?" expression on his
face as we pass the man. Obviously, Moses isn't in touch
with his community, but we sense a desire to belong and be
important.
EXT. MOSES' CAR - CONTINUOUS
Moses is driving on the freeway now, smoke practically
emptying out the driver's side window. Moses is now chain
smoking.
I/E. DR.'S PARKING LOT - MOMENTS LATER
Moses finishes off the cigarette, flicking it out the window.
He examines the pack of cigarettes, now empty.
He then crams the pack into his already overstuffed
briefcase, and then reaches into the
GLOVE COMPARTMENT
Which has an entire carton jammed in.
CUT TO:
INT. DR.'S WAITING ROOM - MORNING
Moses walks into the waiting room, wearing a half-hearted
smile.
NURSE
Name?
MOSES
Moses --
NURSE
You're late. Sign here:
She presents him a clipboard scrambled with signatures. He
signs in, and the clipboard is practically ripped from his
hands.
NURSE (CONT'D)
The doctor will be with you in a
moment.
Moses nods a "Thank you," then goes and sits down.
MOSES POV
Moses looks around the room; drab paintings, an empty fish
tank, a few (very) dated magazines on the coffee table, and a
single Fisher Price toy of some sort sitting in the middle of
the waiting room. He closes his eyes, audio fading out...
FADE TO BLACK.
NURSE (CONT'D)
MOSES!
INT. DR.'S WAITING ROOM - MOMENTS LATER
Moses starts, jumping out of his seat practically.
NURSE
Doctor'll see you now.
INT. DR.'S OFFICE - CONTINUOUS
We see
MOSES
Sitting on the bench in the doctor's office, in
uncomplimentary tighty whities with a slight view of his butt
crack.
THE DOCTOR walks in, a handsome 40-something, suave and
cleanly-shaved. His clothes are cleanly pressed, starched,
and professionally cleaned. He's the clean, perfect doctor
we see in commercials, making the realistic Moses look all
the more ridiculous.
DOCTOR
Hello there, Moses. How are you
today?
MOSES
I'm... fine doc.
DOCTOR
Good to hear. And the wife and
kids?
MOSES
Oh... Wife and kidsy.
The doctor shares a hearty chuckle; Moses is less than
satisfied in his wit.
DOCTOR
Well, I believe you're here for
a...
(checking tablet)
Check-up? Just seeing how the
clockwork's going?
MOSES
Yeah, I guess so.
DOCTOR
Good. Let's check you out.
ON CLOCK
Time passes, until...
BACK TO MOSES AND DOCTOR
The doctor takes off a lone plastic glove, and Moses' pained
expression can only guess what that glove had just done.
DOCTOR (CONT'D)
Well, Moses... I've gotta tell you:
You need to stop smoking and
drinking. This stuff is gonna kill
you.
MOSES
It's been so many years, though,
doctor... I don't know what good
it'd do me.
DOCTOR
A few more years is what good it'd
do you. At the moment, you're
okay... But if this keeps up,
The doctor gestures to the general area of each organ:
DOCTOR (CONT'D)
Your liver,
lungs,
heart --
All are going to go out on you.
Not a pretty picture, is it?
MOSES
Not particularly.
DOCTOR
So, I want you off the cigarettes
and to stop drinking as of today.
Moses doesn't look all too pleased.
DOCTOR (CONT'D)
You can pay the lady on the way
out. Take care, Moses.
The doctor leaves. Moses tries to get up, but we hear his
skin sticking to the seat.
MOSES
... Ewgh.
I/E. MOSES' CAR - AFTERNOON
Moses drives, the sun hot and beating down on his car.
MOSES (V.O.)
You wonder to yourself sometimes
how life is such a precarious
thing, and yet we take it for
granted. We ingest poisonous
garbage that we call "food,"
breathe toxic fumes that we call
"air," swim in a primordial ooze we
call "water," and step into a
concrete wasteland we call "Earth."
So many things out there that are
just designed to hurt or kill us,
and yet we all claim to value life.
Moses instinctively reaches into the ashtray, but stops
himself.
MOSES (V.O.) (CONT'D)
Oh, come on, Moses... Gotta keep it
together. You don't want to join
your brothers, do you? Add another
neglected grave on the side of a
mountain... Alone, with the worms
eating at your decomposing
corpse...
An old woman steps out in front of the car, and Moses SLAMS
on the brakes, stopping a foot away from her. She shakes her
fist, curses and swears, unheard by us. Moses just stares at
her, awed.
MOSES (V.O.) (CONT'D)
... Death is a loneliness much
crueler than any loneliness hinted
at in life.
EXT. MOSES' HOME - EVENING
Moses' station wagon pulls into the driveway, a different man
watering his lawn and different kids playing in the exact
same way as before; not much as changed. Moses gets out,
carrying the carton full of packs with him, walking to the
trash can, hesitating, and finally throwing it in. Whew.
Moses takes a good look at the neighborhood. The plain beige
and white colors of every house almost blending together, but
somehow his home looks a bit darker than the rest, a bit
discolored, like stale baby poop.
INT. MOSES' HOME - CONTINUOUS
Moses walks in, greeted by... absolutely nothing. The house
is completely drab, normal, and has no sign of life
whatsoever. A few family portraits line the walls, but any
other picture or painting in the house is bland and full of
earth tones. The entire house is almost a perverted sepia,
and instead of bringing feelings of warm memories, brings a
feeling of cold regret.
Moses stands near the window facing the front yard... All
activity outside has ceased. We see the
SUNSET
Descending behind the suburbs.
MOSES (V.O.)
I won't go into the commonplace
symptoms of withdrawal, but I would
like to point out that, here,
standing at my window this evening,
watching the brilliant afterlight
and the spread of darkness, I feel,
through the lack of these humble
stimulants -- my cigarettes and
alcohol -- the force of some
primitive memory in which the
coming of night and its stars and
its moon... It's apocalyptic.
MOSES' WIFE, mid-to-late 30s, rushed, cold and somewhat
impersonal, enters from the side, walking past Moses.
MOSES (CONT'D)
Honey, I've stopped smoking and
drinking!
MOSES' WIFE
(not stopping)
That's nice, dear. We're having
pot roast.
MOSES (V.O.)
... Pot roast?
INT. MOSES' HOME, DINING ROOM - EVENING
Moses sits at the head of the table, his wife on the opposite
end, and their two children -- a boy and a girl -- teenagers
both -- sitting in the middle, across from each other. The
room is silent, with a camera shot from above the table.
There is an undeniable tension here.
POV MOSES
Looking at the rest of the family, examining each member and
their flaws and/or traits
ON WIFE
Moses' wife slurps soup noisily, her cold and unfeeling
exterior never changing, even as the boiling hot soup touches
her lips. Who was this woman, and what was she doing there?
ON SON
Moses' son also slurps soup just as noisily. He has fallen
into the punk/rebel stage of his youth, and his appearance
should do it justice; A ridiculous haircut, frayed Levi
jacket (now a vest), a Sex Pistols shirt (also frayed), and
tight jeans.
ON DAUGHTER
Coming out exactly the opposite of Moses' other spawn, the
daughter is the preppy, friendly, bubbly one in the family.
Unfortunately, she is also highly naive and stupid. This
becomes all the more apparent as dinner goes on. She also
slurps her soup.
BACK TO MOSES
Reaction shot to Moses, who swallows his soup slowly and
noiselessly. His eyes scan the surroundings, and he realizes
there isn't an escape route in the room, except flinging
himself out the window behind him.
The camera pans back to Moses' Wife after she CLEARS HER
THROAT:
MOSES' WIFE
So, how was the doctor's visit,
dear?
Moses looks up.
MOSES
Oh, uh... Well. I'm going to stop
smoking and drinking.
MOSES' WIFE
That's nice, dear. Isn't that
nice, children?
MOSES' SON
Yes, mom.
MOSES' DAUGHTER
Yes, mother.
Moses smiles slightly.
MOSES (V.O.)
Yeah, very nice. You people don't
really care. Who cares about the
bitter taste in my mouth and that
my head seems to be leaving my
shoulders?
MOSES' WIFE
Honey, you're going to have to go
grocery shopping tomorrow so we can
get ready for Justina to come on
Monday.
Moses snaps back into reality.
MOSES
What?
(Pause)
Oh. Right. Justina.
DISSOLVE TO:
INT. MOSES' HOME, BEDROOM - LATER
MOSES' WIFE lies in bed, sleeping soundly. The camera pans
slowly over to Moses, lying on his back, also sleeping.
However, he doesn't seem to be sleeping as soundly.
INT. DREAM SUPERMARKET - UNKNOWN
Hundreds of faceless, genderless human beings shuffle about a
supermarket, reaching and grabbing at bags, some in brown
paper bags, others in brown boxes, a few in plastic bags and
cases. All of them without labels or brand names. A few of
the humanoids look vaguely like Moses' wife and children, but
only vaguely. Moses stands in the middle of it all, looking
around, trying to figure out what's going on.
SUPERMARKET VOICE (V.O.)
Clean-up, aisle five. Clean-up,
aisle five.
Moses wanders around now, looking at boxes, picking one up in
particular and examining it. Another humanoid grabs it from
his hands, snarling fiercely.
SUPERMARKET VOICE (V.O.) (CONT'D)
Price check at two. Price check at
two.
Moses continues looking around, passing through and between
the humanoids, wafting in and out of existence every now and
then. We hear a piercing scream as Moses looks upon
something in horror.
SUPERMARKET VOICE (CONT'D)
(demonic sounding)
Clean up at the door... Clean up at
the door...
INT. MOSES' HOME, BEDROOM - EARLY MORNING
Moses sits up in a start, sweating. He gets up, sitting on
the edge of the bed. We hear his wife snoring lightly in the
background.
MOSES (V.O.)
God, I could use a smoke... Why are
you putting yourself through this,
Moses?
(Pauses)
... That's right. Scandal.
Moses gets up out of bed, walking to the bathroom and closing
the door.
INT. MOSES' HOME, BATHROOM - CONTINUOUS
Moses stands in front of the mirror, giving himself the once
over. He wipes his eyes, checks his nose for hairs, looks at
his bloodshot eyes, among other morning activities the actor
can do at his discretion. He does everything right to the
camera.
MOSES (V.O.)
When I abstain from sin, it is more
often a fear of scandal than a
private resolve on the purity of my
heart... But here was a call for
abstinence without the worldly
enforcement of society.
Moses gargles a little, spits, then looks himself right in
the eye.
MOSES (V.O.) (CONT'D)
Death is not the threat that
scandal is.
FADE TO BLACK.
INT. MOSES' HOME, BEDROOM - MORNING
IN DARK, LIKE THE BEGINNING OF THE MOVIE.
AGAINST BLACK, TITLE CARD: SUNDAY
MOSES
... Goddamnit.
I/E. MOSES' CAR - DAY
With "Walking on Sunshine" playing during the drive, Moses
slurping coffee intermittently. Other cars passing by have
families happy, laughing, singing, or with a dog hanging out
the window, once again contrasting Moses' reality.
"I'm Walking On Sunshine... Whoa-ohhh..."
As Moses engages in his soliloquy, the camera moves about and
around the car, showing almost all angles.
MOSES (V.O.)
This morning when I got up for
breakfast, I took a nice cold
shower to wake up from my rather
restless night. I've only been
having these dreams a couple nights
now and they've been definitely
taking their toll on my wellbeing.
INT. MOSES' HOME, DINING ROOM - MORNING
Moses sits at his table, staring down at his English muffin.
MOSES (V.O.)
When I finally sat down for
breakfast, my English muffin stared
up at me from the plate.
As he speaks, a face, a friendly old English gentleman, does
materialize in the muffin. It winks at him. And then it
disappears, Moses now gaping at it, slackjawed.
MOSES (V.O.) (CONT'D)
I mean, I saw a face in the rough,
toasted surface. I think it winked
at me. The moment of recognition
was fleeting, but it was deep...
and I wondered who it had been.
Was it a friend, an aunt, a sailor,
a ski instructor, a bartender or a
conductor on a train? The smile
faded off the muffin, but it had
been there for a second.
I/E. MOSES' CAR - CONTINUOUS
A family in a car zooms by, Moses looking at them, a couple
kids in the backseat smiling and waving at him. He waves
back weakly, barely smiling. He then stares back at the
road, a bit more disturbed after thinking about the muffin
again.
 
Been a while since I've posted anything I've made, so I might as well do THIS. I've been writing this for my Screenwriting class. It's an adaptation of John Cheever's short story "The Death of Justina", and is currently at 36 pages long, taken from a short story about 10.5 pages. For the size of the project we are working on, this is about the correct length. This is my first completed draft, so any constructive criticism would be helpful.
In all reality, I'm supposed to send this to people in my class to critique it, but the last draft (only the first 15 pages) I sent to classmates, they just said, "good job" or "Chris your screenwrite was amazing it totally brought me in i couldnt stop reading." Normally, I'd be honored for these comments, but... C'mon. "Your screenwrite"?
*coughs*
A basic summary: Moses is a middle-aged man in a creatively numbing job. He has something of a loving family, but his job is crushing his will to live, along with the pressures of quitting smoking and drinking. Upon the death of his wife's distant cousin, he truly begins to question his place in life, leading to his ultimate life-changing decision.
WARNING: There are some mild profanities uttered by the characters in this screenplay. To be exact, the word "shit" is uttered twice, and "dick" once. That's all. Nothing much else should be offensive in the least.
In all reality, I'm supposed to send this to people in my class to critique it, but the last draft (only the first 15 pages) I sent to classmates, they just said, "good job" or "Chris your screenwrite was amazing it totally brought me in i couldnt stop reading." Normally, I'd be honored for these comments, but... C'mon. "Your screenwrite"?
*coughs*
A basic summary: Moses is a middle-aged man in a creatively numbing job. He has something of a loving family, but his job is crushing his will to live, along with the pressures of quitting smoking and drinking. Upon the death of his wife's distant cousin, he truly begins to question his place in life, leading to his ultimate life-changing decision.
WARNING: There are some mild profanities uttered by the characters in this screenplay. To be exact, the word "shit" is uttered twice, and "dick" once. That's all. Nothing much else should be offensive in the least.
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