[…] July is Scene-Writing Month here at Go Into The Story. Every Monday-Friday at noon Eastern / 9AM Pacific, I will upload a post with a prompt for writing a script scene. Each day, write a scene per those guidelines. If you really want to get …read more […]

Scene 5 – Photo Prompt INT. KEN’S CAR – DAY Heavy traffic, hot sun. Atlanta sucks. KEN – 23, looking for a way out, drives. JAN – 22, choosing her path, buries her face in a map. JAN: We should stay on the highway. There aren’t any good alternatives. KEN: How can you know this is the right way if you don’t try something else? Jan lowers the map. JAN: I bet Marcia’s already there. KEN: Probably. JAN: Just once I’d like to be first, you know? KEN: We could be the first to leave. Jan picks up the map again. KEN: Just use your phone. JAN: Maybe I don’t want to. KEN: It’s easier. JAN: Guess I’m just old fashioned. The car inches past an exit ramp. Ken stares at it with longing.

Scene 7 Today’s prompt: Write a scene inspired by this photograph. INT. CAR JACOB (35) and ALISON (30), stuck in traffic at a deathly slow pace. Alison loudly unfolds a road map, ALISON: I told you I didn’t want to leave her. Jacob stares at the freeway parking lot. ALISON: There’s a turn off up ahead-- Traffic stop abruptly. JACOB: How far? ALISON: About an inch. That means… Shit… They roll at a snails pace. JACOB: What does the scale say? ALISON: I knew we shouldn’t go. I told you. JACOB: Are leaving had nothing to do with-- They stop suddenly. ALISON: She’s my mother. Rolling now. JACOB: She agreed with me. You needed the break. Alison drops the map, gazes out the passenger window. Jacob sadly glances over to his wife. JACOB: Hey… Ali… It going to be okay. We’ll get there. She’ll be fine. Traffic stops. Now they are rolling faster, 10, 15 mph. JACOB: See honey we be there soon. They slow to a crawl. They pass flares, flashing lights, CHP, Ambulance Helicopter. A father looks to the chopper, hugs his two daughter as they cry. ALISON: Where’s the mother? Traffic rolls forward. They pass a car upside down. JACOB: I’m sorry. Traffic speeds up to normal. ALISON: I know. Jacob takes Alison’s hand in his.

INT. CAR (MOVING) – DAY LAUREN (30s) sits in the front seat, a map in front of her face as she scans the route they’re supposed to be taking. ALEX (20s) drives. Annoyed. LAUREN: I don’t think we’re going the right way. ALEX: Flip the map around. She does. It doesn’t look any more right. LAUREN: I know how to read a map, Alex. God, I hate when you do this. All the time. Always thinking you know best. I have news for you, you’re the younger brother, that means – ALEX: Lauren. LAUREN: Don’t cut me off – ALEX: It’s the map for – LAUREN: Yes! Go ahead, think you’re right again. ALEX (controlling self): All I was gonna say is – LAUREN: You know what, forget it. She throws the map to the ground. LAUREN: Just drive. ALEX: There’s traffic. Welcome to Los Angeles. LAUREN: Well isn’t that just our luck. The map leads us to downtown LA rather than Portland. Great. Just great. So freaking fine! They sit. In silence. Lauren composes herself a bit. LAUREN: What were you going to say? ALEX: It doesn’t matter. LAUREN: No, I want to know. Tell me. Beat. ALEX: That was the map for Arizona… Lauren sits in silence. Her eyes drifting toward the map that lay at her feet. She cocks her head. The word ARIZONA displayed nice and big at the top. In plain sight. So EVERYONE can see. LAUREN: Oh… They sit on in silence. ALEX: Next time we’ll just spring for the GPS.

SCENE 7 INT. CAR - DAY GEORGE sits in the driver’s seat of the car, ANNA sits next to him. They don’t look at each other. Their car is stopped in traffic on a highway. ANNA (still staring out the window): Why did we go this way again? George rolls his eyes. GEORGE: This is the way my father said we should go. ANNA: And you couldn’t just consult a GPS because... GEORGE: He gave me a map! He gestures to a map on Anna’s lap, a route marked out in red ink. ANNA: It is 2014. Who still uses a paper map? GEORGE: My dad. And he’s the one who knows the way to - ANNA: Clearly. GEORGE: Shut up, Anna. Just shut up. They go back to silence, George staring out the windshield, Anna staring out the window. Finally, they start moving again, albeit slowly. The VROOM of a motorcycle gets louder and louder. A slim, sleek bike pulls up from behind them, and speeds past their car. GEORGE: What the hell? ANNA: Where does that guy think he’s going to go? They watch through the windshield as the motorcycle weaves in and out of traffic, almost a blur compared to the cars its moving around. It goes to cut around a sedan, misses it by inches. George and Anna both gasp, can’t breathe. ANNA: I can’t watch this. She holds the map up over her face. George continues watching. The motorcycle keeps zipping between cars, finally disappearing from sight. As the sound of the engine fades to nothing, Anna lowers the map. She looks over at George. GEORGE: You OK? She nods. ANNA: You? GEORGE: Yeah. He glances down at the map that Anna’s still got clutched in her hands. GEORGE: See? The map was useful after all. A tense moment. Then Anna bursts out laughing. George grins.

Scene 7 INT. CAR - DAY A beautiful Los Angeles afternoon in July. ERIC (28) and ANGELA (25) are parked in gridlocked traffic on the 10. Eric glances in the rear-view mirror, sees a cab driver standing outside his car, smoking a cigarette while he observes the chaos. Anglea has her face buried in a map. ANGELA: We could take Washington. ERIC: Won't make a difference. Everyone's trying to get out of the city. Eric drops his eyes to the gas gauge, the dial's just south of a quarter tank. He wipes his brow. Angela drops the map in frustration and pulls out her iPhone, holding it up to get a signal. ERIC: Don't waste your battery. Data grid's jammed. Anglea gives an impatient sigh. ANGELA: I have to do something. Eric watches as Angela scans through various news reports on the radio. Lands on a clear station. REPORTER (V.O.): ...that the U.S. Geological Survey has upgraded the quake to a 7.8. More reports are coming in of building collapses and ruptured gas lines throughout the city as aftershocks continue to rock the area. The mayor's office is warning drivers to stay off bridges and overpasses. Governor Brown has declared a state of emergency for Los Angeles County, as well as parts of Orange and Ventura counties. No word yet from the White House, but President Obama is scheduled to give an announcement this evening on federal relief efforts. This just in, reports that in Pico Rivera there are-- Eric switches the radio off. ERIC: I can't listen to this. ANGELA: Eric, this is real. This is really happening. Eric takes a deep breath and turns to look out his window. A panic-faced woman stares back at him from the next car over. A couple of bored children slumped in her back seat. His face flushes, eyes back to the fuel gauge. ERIC: It's gonna be alright.

INT. CAR - DAY HARRIET,(40), the kind of girl who always leaves a little to the imagination, and ZANE, (35) the kind of guy who forever moodily suppresses a fart, roll along together in hot, slow traffic. ZANE: That's disgusting. HARRIET: No, it's not, it's refreshingly tasty. ZANE: What's this one called? HARRIET: The cartography diet, it's become a sensation North, South, East and West. ZANE: Do you have to lick it in public? HARRIET: It's negative calories, you're usually in favour of that kind of thing. ZANE: Honey, I love your curves, you're wasting away to nothing. Plus it's embarrassing. HARRIET: It's only for a few more weeks. I swear after I walk down that aisle I'll become big and fat. ZANE: Promise? HARRIET: Promise. She lifts the map down to reveal the wet map has tattooed the county all over her face. Zane looks at her aghast. HARRIET: What? Oh come on, admit it, it's not that embarrassing. ZANE: You're right, I am wrong, isn't that what they said on the pre-marriage course? Harriet shrugs. ZANE: I'm really looking forward to seeing my folks. HARRIET: Can't say I'm looking forward to it. Traffic stalls, they peck on the lips. Zane hangs close to her face for a moment, MASSACHUSETTS is clearly stamped on her cheek. He grins an indulgent smile, looks lovingly into her eyes. ZANE: Oh, I am, I am. Can't wait to show you off. Harriet blushes, but you wouldn't really know, what with all the blue, red, green, and black smeared all over her face.

-SCENE 7- INT. – CAR (MOVING) - DAY JEN (28) is buried in a road map. MATT (30) navigates bumper-to-bumper traffic. JEN: No. No. Ok.. We can take the 605 South... And then that will hit the 405 South, and then… yeah. It's the same. MATT: Cool. JEN: Who needs the 710? MATT: Who needs it? Silence. JEN: Uh... Cam was not kidding about this traffic. MATT: Nope. JEN: Still, we got to have a day with him. That's worth it. MATT: Uh huh. We spent last night with him too. JEN: Yeah, but when are we going to see him again? We needed a day. MATT: We did. JEN: That coffee place was good. MATT: Yeah, it was a little sterile for me. JEN: Sterile? MATT: It felt like a science lab. JEN: Yeah. Ha… it kind of did... Man, how exciting for Cam. MATT: Yes, very exciting for him. JEN: You okay? MATT: Of course I’m okay. JEN: I just... You seem a little- MATT: The traffic is making me a bit agitated, but- JEN: Okay. Just checking… (beat) You two made different choices, you know? MATT: I know. I'm very happy with my choice. JEN: Good. Matt looks at Jen. He grabs her and kisses her on the forehead. MATT: You excited for Laguna Beach? JEN: Very excited.

Scene 3. (I figured the guy looked… distressed more than anything, and this is what that led to) INT. CAR – DAY Solid traffic, but moving at a steady pace. Ronan drives. Kelsey checks the map, but it’s obvious what she’s seeing bears no resemblance to what’s on the paper. KELSEY: This can’t be right. RONAN: It’s right. This is it. KELSEY: You can’t be sure. You hardly know your own name. Ronan shakes his head – but not at her. He seems to be having some kind of reaction to their slow progress up the highway. Shrinking back into himself. Head twisting away, knuckles white on the wheel, like he can’t bear to get any closer to something. KELSEY: Ronan. What the hell? RONAN: Can’t. No further. I. It’s not – The wheel twists in his hands as if, against his will, some part of him is steering off the road. HORNS BLARE as they drift into the next lane – KELSEY: Ronan! Pull over! Somehow they force a path across lanes onto the hard shoulder. The horns die away as the traffic starts flowing around them. Kelsey reaches over, pulls the parking brake on - As Ronan crumples into a fetal ball on the steering wheel, shaking with the memories. Anger flares in Kelsey. Why the fuck is she in this situation? She mashes the map into a ball, tosses it onto the back seat. With an immense effort, Ronan arranges his fears into a coherent explanation: RONAN: I can’t go any closer. It’s keeping me away. KELSEY: What? What is keeping you away? Because there’s no fucking thing here! The ground under the car SHUDDERS and JUMPS. Earthquake? RONAN: (tiny voice) That. Ahead, concrete and tarmac HEAVE and SPLINTER. Something huge is forcing its way out from under the road.

SCENE SEVEN INT. SUV - DAY GREG and LISA are stuck in gridlock traffic on the 101. LISA (reading map) Wow, I knew LA had bad traffic, but I could've never guessed it was this bad! Greg, annoyed by Lisa's cheeriness, grunts back. GREG Its not usually this bad. I mean, traffic's always bad, but this is something else... Greg trails off as he watches two men step out of their car and share a pack of cigarettes while lounging on the hood of the car. GREG Why are you reading that map, anyway? LISA What? What's wrong with reading a map? GREG It's a map of San Francisco, Lisa. LISA Yeah, and I'm trying to look for wine country. GREG Napa's like a couple hours away from San Fran. You won't find it. LISA Oh. Is Napa warm? GREG Why are you suddenly so curious about Napa? LISA Well we're going there, aren't we? GREG You're joking, right? We're going to Santa Barbara. LISA But you said we were going to a winery... GREG Yes. In Santa Barbara. There's tons of them. Do you think the only wineries are in Napa? Lisa looks embarrassed, but immediately switches up the topic of conversation. LISA Wow, this is really a Fellini-esque moment! Or even reminiscent of Godard's Week-End. Greg rolls his eyes. GREG What the hell are you talking about? LISA You know, Godard and Fellini? Breathless? 8 and 1/2? GREG Doesn't ring a bell. LISA Oh, well let's start with Godard, who is associated with the beginning of French New Wave cinema- Greg sighs. LISA You know what? You really suck right now. They look like fun. Lisa gets out of the car, to Greg's shock. The "they" she refers to is the two men smoking cigarettes, whom Lisa joins in shares a smoke with the men.

INT. CAR- DAY ABBY: Traffic. Traffic is what happens when your phone dies on vacation and the city decides to close an 8 lane highway in the middle of the work week. DREW: Things could be worse. Abby puts map down. ABBY: Do tell Captain Obvious. DREW: We could be stuck at home. With YOUR mother. ABBY: She’s YOUR mother too ya know. DREW: I know, I just choose to forget that one small detail about our relationship. ABBY: You and me both, brother. How long do you think it’ll take for us to get home? DREW: With this mess? No less than 6 months. ABBY: Be serious. Car moves forward slightly before coming to audible screeching halt. Drew honks horn. DREW: I was. ABBY: Unlike you, I would like to go home. DREW: What’s that supposed to mean? ABBY: You know what it means. DREW: No I don’t. Do tell Captain Obvious. ABBY: Don’t worry. Richard will be there when you get back. I’m sure of it. DREW: Well, that makes one of us. ABBY: Richard loves you. He wouldn't let a silly fight about corsages ruin your relationship…. or your wedding. DREW: It’s more than that. He’s hiding something and I can feel it. ABBY: Like what? He’s a gay Italian man with 8 brothers, who wears silk pajamas to bed. I think all the cats are out of the bag. DREW: I don’t know. He can’t sleep, he’s always sneaking around in corners on his phone. It’s shady as F**k. ABBY: Well, at this rate. We can sit here and think about every scenario, ever. DREW: We could. But then I’d have to know the truth. And I don’t think I’m ready for that just yet.

SCENE SEVEN INT. CAR – DAY JIM, looking distraught, drives. Next to him, MARY is hidden behind a large map. When she speaks, her voice is cheerful, but her face is still covered by the map. MARY: I really think we missed the exit. She spins the map to look at it from another angle. Jim leans away as the map hits him in the face. JIM (frustrated): Mary, would you put that down? I told you I know where I’m going. MARY: Are you sure? Cause it looks like- JIM (cutting her off): Mary! Mary shrugs and folds the map back to reveal her face, but she still holds it tightly across her body. She looks at Jim for a long moment, seeming to debate saying something. After a beat, she speaks in a happy voice again, but we can see in her face that it is forced. MARY: It has to have been, what, like eight months since we’ve seen Brooke? Nine maybe? It sounds like this guy might be the one. Jim doesn’t respond. MARY: And Alex is, like, Mr. Big Shot Wall Street now! Still no response from Jim. Mary, still with forced happiness, looks at him with pleading eyes. MARY: Come on, can’t you at least try to be in a good mood? JIM: I’m sorry if I’m not in the mood for small talk right now. Mary scowls at him and her cheerfulness fades. MARY: Jim, sometimes the universe just fucks you over and there’s nothing you can do about it. You just have to accept it. JIM: Oh, don’t give me that God-must’ve-been-busy bullshit. You know you had another option. MARY (angrily): I’m sorry if I didn’t want to willingly put poison in my body. You should know me well enough to know I wouldn’t do that. JIM: I didn’t think you’d be stupid enough to refuse when this is the alternative. MARY: Let it go. What’s done is done. I lost, okay? I didn’t want this. They sit in a tense silence for several beats. JIM: I’m sorry, it’s like you’ve betrayed my trust or something. It’s just hard for me to sit here calmly and pretend you’re not wearing that. Mary rolls her eyes and lowers the map in frustration, revealing a baseball tee style Packers shirt with white sleeves and a giant, vintage Packers logo in yellow over a green background. MARY: Oh my God, grow up. It’s a goddamn t-shirt. It doesn’t make me a Packers fan! JIM: Well it sure as fuck doesn’t make you a Bears fan. MARY: Jesus, Jim! Why don’t you blame your dipshit brother for making me play his stupid game? Which I still don’t even understand, by the way. JIM: It’s pretty damn simple, Mary. If you lose the race you get two shitty options, and you have to pick one. What’s there to misunderstand? MARY: Whatever, it’s just stupid. And there was no way in hell I was gonna chug six Red Bulls, so I’m wearing the fucking shirt, okay? They sit in another tense silence. JIM (under his breath): A real Chicagoan would’ve done the Red Bulls. Mary sighs in exasperation, and they fall into silence again.

Scene 5 INT. CAR - AFTERNOON RACHEL -early 30s and DAN -30s sit still in their car. Traffic is not moving. Dan is impatiently gripping the steering wheel and staring straight ahead. Rachel is looking at a map. She is searching for something. RACHEL: (putting the map down) Do you believe that in this whole world that there is only one person out there for everyone? DAN: What the hell is going on. We haven't moved in over 20 minutes. RACHEL: We are only exposed to a fraction of the world. This tiny little section of the map right here. Rachel shows Dan the tiny little section they are a part of. DAN: What are you talking about? RACHEL: I'm just saying. How do we know that we're doing what we are supposed to be doing? That we are living where we are supposed to be living? That we're with the people we are supposed to be with? Dan looks in his rear view mirror. He is watching the car behind him. DAN: (To himself) I see you jackass RACHEL: Dan! Are you listening to anything I'm saying. DAN: What. What are you saying? RACHEL: I'm saying there are billions of people in this world. How do we know that we found the right one. DAN: I think that there are a billion people on this road. That's why we aren't moving. I don't know. I guess everyone isn't as lucky as us. Dan looks at the long line of cars around him. DAN: (To traffic) Come on. Move already. Let's go. Dan looks at the clock. Rachel looks out the window. RACHEL: I just wish... DAN: Shit. It's 4:30. Do you think we're going to make it? Rachel keeps staring out the window. RACHEL: I don't know.

Scene 6 7/8-photo INT. CAR - DAY Les drives, gripping the wheel as Allison looks at the map. It covers her face, and his knuckles become white as he squeezes the leather wheel, releasing stress. They’re stuck in traffic, as if this shitty weekend just won’t let them go. LES-Babe, we’ve done this drive back from here like, a hundred times. Why the fuck are you looking at a map? ALLISON-I’m, just trying to find home babe. LES-Oh, that makes a lot of sense. We’re stuck on the toll road. Do you really think you can find a short cut back to our house? Christ look at this traffic! ALLISON-I’m not looking at the traffic, I am looking at this map, trying to find a home, thank you very much. He turns to her, but she has placed the map so no eye contact can be made. LES-Do you have any idea how stupid you are making me look by staring at this map on the toll road. Anyone on the toll road, knows where the fuck they’re going. All these people here are looking at us, thinking we’re fucking stupid. Les eyes his side mirror where a Mini Cooper is pulling up, with an attractive young brunette sitting shotgun. ALLISON-Who cares what these people think. We’re not meeting them now, and most likely we’ll never see them again. God! Fuckin’ Indiana. The Mini Cooper now has moved up, and Les looks through the window, sees Young firm cleavage. LES-Babe, fifty to one hundred people are probably seeing my vanity plate right now. You don’t think if they’re ever in Chicago, they’re not gonna be all, “Hey, we were stuck on the toll road with that guy.” I mean, C’mon. Allison LAUGHS. ALLISON-O-M-G!!! Seriously?! “KoolGuy”? Cool with a “K”? When people see your vanity plate they think, “Hey, there’s a white guy who smokes menthols!” Jesus fuck, how did we end up here?! Les looks away from the young firm cleavage, back to the toll road, clenching his knuckles so the leather steering while SQUIRMS with noise. LES-We took a left out of my parents driveway, like we always do. Then you bitched about my mom’s cooking, like you always do. Then I paid the toll, like I always do, and now, here we fucking are. ALLISON-Well, you left out the part where last night, you told your high school friends that we still have condom sex. And then you told them, and their fucking wives, that apparently, I don’t give good head. And now, there’s this. She drops the map, leans into his face, points to her lip and SCREAMS... ALLISON-How the fuck did I get this?!!! It’s a cold sore.

SCENE SEVEN INT./EXT. SUV - DAY Fields off wheat stretch out to the horizon on both sides of the long, straight highway. In the passenger seat, DIVYA GILL (30s) juggles a laptop, hot coffee, and a huge, unfolded map. DIVYA How is it not on the map? Driver RAJINDER "RAJ" GILL (30s) drums along to the sound system on the steering wheel. RAJ Don't sweat it. The guy at the gas station gave me great directions. "Turn left at the third grain silo." Easy-peasy. DIVYA Raj, what's a grain silo? RAJ If they use them as landmarks, it should be pretty obvious. The landscape remains as flat and monotonous as ever until they pass a stack of hay bales. RAJ See? Grain silo. A FARMER on an ancient tractor pulls out the road in front of them. Going maybe 3 mph. DIVYA Raj, pass him! RAJ points at the solid yellow line. RAJ Speed trap. Bet there's a cop car just waiting behind the next silo. He points at another haystack near the horizon. DIVYA I can't be late. We've got to make a good impression. The tractor sputters to a stop. Raj slams the breaks. Divya's coffee goes flying all over. DIVYA That's it. She get out of the car and walks along the shoulder. The tractor starts moving again. The vehicles behind the SUV honk. Raj starts up the SUV and drives alongside Divya. RAJ Get back in the car, Divya. DIVYA We won't even have time to change. This is a fiasco. RAJ Relax-- DIVYA Get my holdall from the back seat and hand me my blouse. RAJ Just get in the car and-- DIVYA Don't tell me what to do. Raj knows her tone of voice means trouble. He hands her blouse through window. Divya chucks her coffee-soaked top into the SUV as the the trucks behind her honk encouragement. She turns around to face them-- DIVYA That's right, cowpokes! Check it out. --and does a shimmy. Raj slinks down in his seat. DIVYA Don't give me the stink eye. This is your fault. My skirt. She teases her way out of the skirt she has on. FARMERS are now hanging out their truck windows cheering. She whirls the skirt in the air and tosses it onto the head of a farmer, then wriggles into the clean skirt and gets back in the SUV. Raj conspicuously avoids her eye. DIVYA How's that for a grand entrance? By God they'll know we're here now.

Scene 1 INT. BUICK Freeway - RUSH Hour DAY The BUICK is in a sea of cars stuck on the freeway. SAMANTHA is scanning a crisp map. ZACK grips the steering wheel the temperature slowly rises from the sputtering ac. Samantha tries to crumple the map but the fresh laminate prevents her. SAMANTHA So let me get this straight. You decided to kidnap me, get lost and then on top of all of that get on the freeway in the middle of rush hour. ZACK I just bought that map. I would appreciate it if you didn't put any unnecessary creases in it. You need to fold it up the way you unfolded it or else it wont lay flat. SAMANTHA I wouldn't have worry about how to fold a map if you didn't throw my phone in the river. ZACK They can track your phone. And all I need from you is how to get to Breckinridge, all other advice is unwarranted. I know what I am doing dear. She brings the map inches away from her face. SAMANTHA I know what I am doing dear. If you knew what you are doing we would have been there by now. When you decided to to throw me in your car at gun point did you even have a plan? Or was the only thought going through your thick skull was there's a pretty girl bet I could... Samantha's voices trails off as her fears start to grow. ZACK You sure are talkative being the only one in this vehicle without a firearm. SAMANTHA Its a toys gun. You forgot to remove the orange tip. She looks out the window to the car next to them. A fat boy eating a melting chocolate ice cream cone he looks her and gives her the bird, he laughs and then continues to devour the ice cream. ZACK If I need a females perspective on things I would ask Ann Landers. Next little outburst from you and I'll put you in the trunk. SAMANTHA Seriously? In front of all these people you would drag a kicking and screaming female into the trunk of your car? Would wouldn't think that would get anyone ones attention? Samantha stares at Zack getting madder and madder as ZACK slowly turns to look at her. ZACK With this heat, they'd understand. All they would see is someone who could get their mouth closed.

INT.CAR-DAY MARVIN sits in the driver's seat, anxiously gripping the wheel. He's looking around at the gridlock around him The passenger holds a map up close to his face. MALE VOICE: It says here you have to take exit 45. MARVIN: (frustrated) that's great. But we're stuck AT EXIT 26. Aaagghh!!! Marvin begins pulling at the wheel aggressively. His frustration is growing. The passenger flips down the map and stares at Marvin. This is EDWARD, cool, calm, and laid back. The exact opposite of Marvin. EDWARD: Calm down, man. We'll get there. MARVIN: You don't understand. She's my destiny. I have to get to the airport now. EDWARD: But her flight doesn't leave for another.... Marvin looks at his watch. MARVIN: Twenty minutes!!!! Marvin groans. He puts the car in park, unbuckles his seatbelt and opens the door. EDWARD: Dude, where are you going? MARVIN: (stands triumphantly) I'm going to run there. You know just like in the movies. I'll arrive all out of breath and she'll take pity on me and see just how much I love her and... EDWARD: Dude, its fifteen miles to the airport. Marvin ducks back into the car without a word. That’s not going to happen. EDWARD: Why the hurry? Can't you just texted her? MARVIN: Man, you don't pour out your heart in a text. You gotta do it face to face. I'll say, "Baby, you’re my world. Nothing existed before you." Then I'll take her hand and pull her to me and whisper "Melissa...?" EDWARD: Wait, I thought her name was Julie? Marvin freezes like someone hit the pause button. EDWARD: There's a Rocco's Taco at exit 26…. just saying. Marvin hesitates for about half a second, then turns the wheel. EDWARD: Yeah MARVIN: Yep

This is Scene 3, btw

Scene #7 I/E – SUBARU – DAY Rebecca reads the map while Mort drives. She lowers the map and looks around. REBECCA: This looks like the 35. MORT: Yup, it is. REBECCA: We should be on the 53. MORT: You said to take the 35. REBECCA: I thought I said the 53. She reads the map. REBECCA: We need to go back to the Bluebird Boulevard exit, go west, and pick up the 53. MORT: I'll turn around at the next offramp. She lowers the map and looks at the traffic ahead. REBECCA: We'll be late to the wedding. MORT: We'd be there now, if you hadn't changed your shoes. REBECCA: Oh, so it's my fault. You always say it's my fault. MORT: (resigned) Never mind. REBECCA: I couldn't wear red shoes to a wedding. MORT: Never mind. REBECCA: People would think I was nuts, wearing red shoes to a wedding. She looks at the map again. MORT: I suppose... REBECCA: (a beat) It only took a minute. MORT: (irked) Yes, and then a minute for the blue ones and a minute for the pink ones and the green ones and the purple ones and the grey ones and-- REBECCA: You have no fashion sense. Mort looks at Rebecca. MORT: You have no sense sense. The car ahead stops quickly, and they almost hit it. She lowers the map. REBECCA: Watch out! MORT: Okay. Sorry. REBECCA: I must have married the dumbest man in the world. MORT: That figures. REBECCA: What's that supposed to mean? MORT: Nothing. REBECCA: No. You've got that little smirk. You meant something. MORT: Just agreeing with you, that's all. REBECCA: You admit you're dumb? MORT: Sure. REBECCA: Good. 'Cause you are. She raises the map, a beat, then she lowers it. The light has dawned. She looks at him. REBECCA: Wait a minute. Are you saying only someone really dumb would marry me? MORT: Oh, no, dear. Not at all! REBECCA: Then why are saying you're dumb? MORT: Because I let you hold the map, Sweetie. REBECCA: That's better. She raises the map again. Mort smiles.

Ok...recount... Scene 4. Gotta keep better track.

[Scene 7 || AN: Fountain.io formatting tags may appear.] INT. CAR - LATE AFTERNOON 30-something SOPHIE pores over a road map intently as slightly older DAVE tends the wheel of their vehicle standing still on a freeway in late Friday holiday weekend traffic. SOPHIE Let's leave early, I said. But no, you had to take that noon conference call. DAVE rolls his eyes, clenching his jaw. SOPHIE Let's avoid the northbound traffic, I said, because everybody goes north for the holiday. (beat) But you said, "Let's just follow the shortest route on Google Maps." DAVE's eyes shut slowly, then open as he remains silent, looking out the side window for a moment. SOPHIE Let's try the alternate route using surface roads, I said. I offered to print it out. (beat) But no, you said, "Don't be stupid, I don't need a map." DAVE's head flops back, then side to side, to relieve mounting tension, flexing his fingers around the still-unmoving steering wheel. SOPHIE And you said you didn't need to stop and ask for better directions, either. Once again, DAVE's eyes shut and open slowly. DAVE Bring it, I know you're just itching to say it. Just get it over with. Spill. SOPHIE smirks, folding the map and chucking it on the dash. SOPHIE If I was still Stevie, if I still had my dick, would you have been such an asshole about this trip? Would you have listened to me? Are you this way with women, all the time? DAVE's head hangs. DAVE You made your point. I'm an idiot, all the time. And I'm pretty sure you told me that often enough, back when you were my little brother, Sis. SOPHIE rolls her eyes. SOPHIE Put the car in Park, get out and I'll drive. DAVE looks at SOPHIE as if she is crazy. DAVE What? SOPHIE Save it. You just admitted you're an idiot. You've been at this for more than two hours. Now let me have my turn. DAVE stares at SOPHIE. SOPHIE punches his arm, a brotherly tap. SOPHIE (deeper voice) C'mon, asshole. Don't make me act like Mom about this. Get out. DAVE sighs, throws the car in Park and gets out, slowly walking around front of the car as SOPHIE exits the passenger side. SOPHIE grabs him, gives him a quick bear hug, releasing him quickly as she runs for the driver's side door to jump in. SOPHIE C'mon! Hurry! DAVE takes his time, still hang dog about their situation. DAVE What's the point in rushing, now that we're this late? SOPHIE I can fix this. Just let me do my thing my way for once, okay, bro? If we run into trouble, you can blame it on the crazy lady driver. Even if you know better. Just as DAVE finishes buckling himself in, SOPHIE floors the gas and swerves for the shoulder, flipping on the road hazard lights. SOPHIE grins madly, checking the mirrors and side windows as she pulls away toward the nearest exit. DAVE grabs the "Oh shit" interior passenger handle as if hanging on for his life. > FADE TO BLACK.

This was different. I liked it

SCENE 7____________________________________ EXT.TRAFFIC.DAY A POICEMAN stands at the very threshold of the traffic. Sirens, faint and loud are heard. POICEMAN(On walkie talkie): Any luck? -Indistinct reply POICEMAN(On walkie talkie): Same here (Indistinct reply) Yeah… sure had some guts INT.CAR.DAY Jack and GENIE are in the car, GENIE is holding a mapz to cover her face. JACK wears a woried and scared expression. GENIE: Dad… I'm scared JACK looks at her- Oh, come on- on his face We see GENIE from behind the newspaper, she posseses a big scar on her face. She looks out out of the window, a yellow sedan is beside them, across its blck glass, silhouette of a person seema to be staring at her. She frightens looking at it. JACK: (deep sigh) Oh dear… What have you done child. (beat) Your Mama, you had promised her. An old lady's voice interrupts, OLD LADY(V.O): "Mama" must have gone out of her mind..(laughs)… taking such promises. GENIE turns to reveal an old lady in orange criminal clothing , MARY, peeping out from a blanket. GENIE is annoyed GENIE: Mama, Mary, is dead. MARY stops laughing. They've reached the end of the traffic by now, from the windshield we see Policemen, checking each car before letting it go. A POICEMAN notices GENIE, hiding behind the map. Finding it stange, he moves over to them. JACK starts panicking. And just as he reaches GENEI's side of window, knocks on it, BANG! He is shot, the shot seems to come from the yellow Sedan. Everyone inside panics, JACK screams. The yellow sedan drives away, and all policemen circle JACK's car, armed. GENIE( no longer covering herself): dad, drive JACK hesitates GENIE: they would dash away from the car, nobody wamts to die. DRIVE JACK'S hands are shaking MARY: DRIVE.. OLD MAN! JACK GATHERS COURAGE. The engine roars. FADE TO BLACK _________________________________________ Thank you for reading. =)

My Scene 04 INT./EXT. CAR - DAY HARRY (20s) with one hand grabbing the wheel while the other taps impatiently on it. At his side, SALLY (20s), holds a large map in front of her. She twists it to one side, then to the other. HARRY Well? SALLY Hang on. You know I have some trouble with maps. HARRY Oh, just hurry up. SALLY Yeah? Why don't YOU look at it? HARRY I can't drive and look at a map at the same time, can I? SALLY Then next time you should bring a GPS. Or just ask the way. HARRY No, no, no. Please, just find us a way out of here. They're stuck on a long double line of vehicles, crawling at the speed of an asthmatic turtle. SALLY Hum... Seems like a bit ahead we can take a brown road to the right and after a while-- HARRY A brown road? That should be a dirt road. Well, this is a rental... And afterward there's a good road? SALLY Yes, and it should leads us straight down to-- HARRY Then lets do it. Well done, honey. They crawl a bit more until they reach a spot where a dirt road does appear, to their right. Harry puts the blink on, turns into the road, the car lifts a plume of dirt into the air. They follow along, a tail of dust in their wake. Between high bushes. Gentle rolling hills. HARRY How much more? Sally, map folded in half, follows something with her finger. SALLY Doesn't seem much. The big blue road is-- HARRY What? Blue road? Did you just say blue road? SALLY Yes, a big blue road should be just ahead. Harry shakes his head in despair. HARRY Honey, there are no blue roads. Blue means it's a... They negotiate a bend and have a full view of the rest of the road, which ends at a... HARRY River. A river glints under the sun. The road ends at a small pier, just a couple of pillars and planks. Deserted. Harry takes his foot of the pedal, the car slows to a halt. SALLY I don't care what you say. Next time, I WILL ask for directions.

Scene 7: INT. CAR HE drives, SHE studies a map. Horns blare, heat rises from his dashboard. HE: Ah shit. I turned the wrong way. SHE: No you didn't. I told you to take the ramp right, onto the interstate. HE: I did. Horns blare louder, almost creating a chorus of pissed off drivers. SHE: So what's the problem? She lowers the map and finds herself staring into the windshield of another drive. Tens of hundreds of drivers. All blaring their horns and staring back at them - the CAR going in the wrong direction on a parking-lot of an interstate. SHE: Yeah. You went the wrong way.

SCENE 7 Molly: I have to pee. Jack: Just read the map. Molly: What am I looking for? There’s nothing but squiggly lines in different colors. Jack: Why are people standing outside of their cars like zombies? Molly: Am I the answer lady or something? Jack: Why don’t you walk over to that ditch? No one will see you. Molly: You walk over to it. Drop your pants and squat; and let me know what the experience is like. Jack: Too bad it’s not 1969. That would be perfectly normal. In fact.... Molly: Are we on 205? Except this road isn’t blue. Jack grabs the map. Jack: Let me see. Yeah, we’re right around here. So follow this up to the next exit. How far is it? She takes the map and looks at it carefully. She takes a while. Jack gets impatient. Jack: What are you looking at? Molly: Hmmm, it's about two inches. Jack: What? That can’t be right. He takes the map back, and looks at the legend, which indicates a centimeters scale. Jack: It’s centimeters, not inches. (beat) That’s still too far. Molly: I really have to pee. Jack: Me too. I think I’ll do the ditch thing. Molly: Don’t you dare? Hey, don’t we have some soda in the back? Jack: Yeah, so? You gonna drink soda? That’s brilliant. Molly: No I’m going to pee in the bottle. Jack: You’re going to piss in my coke? Molly sighs and stretches over him to pop open the trunk. She hurries out, retrieves the coke, runs it to the ditch and dumps it. Jack: What the fuck? She runs back to the car with the empty bottle, get's in, shimmy’s her bottoms off, and carefully places the coke bottle to pee into it. Jack: What the fuck? People will see you. Molly: Shut up. I have to concentrate. And no they won’t. Jack: What about that guy? Molly: Oh, the one who just peeped at us when you said, ‘what about that guy?’ A guy in the next car peers at them. Jack: Shit. Sorry. Molly: Ahhh, mmmm, I just love yoga. She smiles at the guy. Jack watches all this with amazement and envy. She cleans up and hands Jack the partially filled bottle. He grimaces, nonchalantly attempts to pull down his pants without attracting attention, and pees into the bottle too. The guy in the next car stealthily tries to see. Molly becomes engrossed in the map. Jack contorts his pants back on, smirks at the guy, gets out, slinks the bottle over to the ditch, and carefully squats and drains it there. He notices five or ten other people further along the ditch doing the same thing. They start waving to each other. One looks at Jack and waves. Jack ignores them. He hurries back to the car and gets in. Molly: I’m hungry.

SCENE 5 Write a scene inspired by this photograph. INT. CAR - DAY ROBERT and PATTY sit in their car, frustrated. Patty stares at the map closely. PATTY I told you to take exit sixteen. ROBERT Google Maps told me something different. PATTY So? You know technology isn’t reliable. ROBERT It is. It just made one mistake. PATTY Well that mistake has us stuck in traffic and in ninety degree weather. ROBERT Put the map down. Google Maps has us covered for good now. PATTY No. I don’t trust it. The car is able to move up a few feet. PATTY (CONT’D) What does your GPS say to do next? ROBERT I don’t know. It’s rerouting. Patty shakes her head and pulls the map closer to her face. A few moments pass. PATTY Still rerouting? ROBERT Yeah... Patty tries to grab the GPS. It’s burning hot. Patty automatically pulls her hand back as if she touched a hot stove. PATTY Ow! It’s hot! Robert stares at it. It begins to malfunction. The GPS has overheated and now doesn’t work. PATTY (CONT’D) So much for your technology. You’re lucky I brought this map. Robert cracks a smile. PATTY (CONT’D) Turn the radio on. ROBERT It broke last week. Patty places her head in her palm. The car moves up a few more feet.

Sc. 4 INT. STUFFY CAR STUCK ON FREEWAY – DAY Car horns HONKING angrily. A droplet of sweat glides down STEVE’S (32) forehead and into his eye. Too dazed to notice, he blinks lazily, breathing slowly through his mouth. Beside him SUZY (29) is RUSTLING a road map. SUZY: Did we pass The Highway Bypass turn off? STEVE: No. SUZY: How about Toojay Drive? STEVE: Yes. SUZY: But Toojay comes after the Bypass? STEVE: I don’t know Suzy … Suzy turns the map 180 degrees. STEVE: … did you just turn the map? SUZY: Noo. STEVE: Yes, you did. You don’t know where we are. We’re lost .... and stuck in this. A car horn TOOTS extensively. In the car next to them a red-faced MOTHER is yelling at a crying CHILD. SUZY: Well … yeah … that’s what happens when someone’s phone runs out of power because someone forgot the charger. Steve turns slowly to Suzy. STEVE: No. That is what happens. When someone. Uses up all the battery of the phone. Updating Facebook. Instagram. Twitter, and Tumblr … several times. SUZY: I never wanted to go on a romantic weekend anyway ... Suzy turns the map around again … and again. STEVE: Oh for Pete’s sake. Just give it here. He attempts to snap the map away but Suzy holds on tight. STEVE: Let. Go. SUZY: No. You let go. They scuffle -- pulling at the map -- cat-fighting. STEVE: Suzy! GIVE. ME. THE MAP. Tearing at the map. Back and forth. SUZY: NO. -- RIP -- the map tears in half … SUZY: Now look what you did. STEVE: I did ? SUZY: That’s great … just great. Good work idiot. STEVE: Oh shut up. SUZY: No. You shut up … There is silence in the car. Steve turns on the radio. Suzy turns it off. Steve gives her the evil eye -- BBRRRRP lets rip a fart. SUZY (laughing): Oh God. You are disgusting. She opens the window and puts her whole head out. Then pulls it back in. SUZY: There’s an exit coming up. You can make it on the shoulder. Let’s take it, find somewhere to eat, ask for directions. STEVE (putting the car in gear): Damn straight. Let’s do it. He wrenches the wheel to the left and they take off.

Funny!

SCENE 7 A young couple are on their first road trip together, but needless to say their dream getaway is turning into a nightmare. INT: RENTAL CAR-LATE AFTERNOON JUSTIN Are you sure we get off at the next exit? The pretty blond looks up from the wrinkled map she’s been studying. MEREDITH Yes. According to the map, that’s the shortest route to the resort. JUSTIN If only this damn traffic would move! MEREDITH Hey babe, let’s make this enjoyable. You want to play a game? JUSTIN Not in the mood. MEREDITH You wanna talk? JUSTIN (snarls) We’ve been talking nonstop for the past 8 hours. I’m talked out. Aren’t you? MEREDITH (whiny voice) Why are you acting like an ass? I’m just trying to make conversation! JUSTIN Meredith I’m exhausted! Have you forgotten I’ve been doing all of the driving. MEREDITH You wanted to drive. I asked and you said no! JUSTIN Babe, I’ve seen you drive. You think I’m gonna trust you behind the wheel of this rental? MEREDITH Wow, that’s mean... JUSTIN Finally traffic’s moving. MEREDITH Justin this is our first couples getaway. Can you try not to be an asshole this weekend? Please? JUSTIN Yeah I can try. Can you try to not be such a nag? MEREDITH Justin... JUSTIN Just sayin. Meredith settles in for the rest of the ride determined not to let Justin and his snippy remarks ruin their weekend. MEREDITH Just so you know, I have arranged for us to get a couple’s massage this evening in the room. JUSTIN You did what!? I wish you had of cleared that with me first. MEREDITH Why is that? JUSTIN I just wanna unpack, have a cocktail, and hit the sheets. I’m not in the mood to be rubbed on tonight. Unless...(cocks brow) MEREDITH If you don’t want to feel my wrath Justin, you will get with the program or there will be no... (cocks brow) JUSTIN (mutters) Is it Monday yet?

Thanks :)

Keep writing, folks. This is one way to improve your chops!

SCENE 7 Son Mathew is pissed off. On this warm sunny day, he could be having fun on the beach. Instead, he’s in the car, being cooked like an egg behind the windshield, with his sassy glammed up mother who insisted he would bring her to a fair. MUM: you should have taken the other route Mathew sighs. He tabs the steer with his fingers. MATHEW: the other route was twice as long as this one MUM: because it was the scenic route, the more touristic route. Look at the cars around us…I don’t enjoy this. Mathew bites his lips. MATHEW: I didn’t know there would be a car accident. I didn’t know we would have to wait for the police and the ambulance to clean up this mess MUM: you should really listen more to your mum. I knew the scenery route would be far better…beautiful….with lots of green …birds….. MATHEW: and 2 hours longer…..I have a life too..I wanted to go to the beach with my friends Mum still studies the map much to Mathew annoyance. He can’t stand it. He grabs the map and throws it out of the window. MUM: what are you doing? MATHEW: you’re annoying. Let it go. We have to wait. There’s no other route. We’re stuck. MUM: Ohhh..Mathew…life isn’t stuck…I’m sure you will find another great girl friend. You know, I never liked her. You should be glad she took off with your…uh..somebody else. Mathew shrugs. He don’t want to go there. It feels like his mother isn’t going to let go. This will be his worst car ride. MUM: I knew it the moment I saw her. Mathew is pissed off. The last thing he wants to discuss is his relationship failure with his mum. He turns up the radio. MUM keeps talking while Mathew keeps on turning up the volume. MUM: TURN IT OFF (WE SEE HER MOUTH MOVING BUT DON’T HEAR HER). Mum turns off the radio. MUM: can’t I have a good conversation with my son. Mathew feels trapped. He can’t escape. He looks around him. This is going to be a real nightmare. MUM: You know….you should set your priorities right…..you have the age to be a father. Mathew puts something in his ears. Mum keeps talking on. He doesn’t hear her.

SCENE 7 INT. CAR – DAY DANTE (26) drives, concentrated on the road. CARLY (25) sits next to him. A large road map obscures her face. Dante picks up a small GPS. DANTE: It's all charged now. Put the stupid map away. No sound from Carly. She holds the map up to her face. DANTE: We're almost there anyway. Dante glances over – he's annoyed now. EXT. CAR – CONTINUOUS The car enters a DARK TUNNEL. Small yellow lights adorn the walls. INT. CAR Dante glances over again. DANTE: Come on! Dante tears the map away – reveals Carly. Her eyes have dark circles around them – hair a frizzy mess. Dante looks shocked at this. DANTE: What the hell. Carly opens her mouth in a HISSING motion. She reveals sharp vampire teeth. EXT. CAR SCREECHHHHHH. The car calms to a halt in the dark tunnel, nearly swerves into a wall. Other cars HONK instantly. Traffic flow comes to a stand-still. Dante rushes out of the car – spots the angry drivers and climbs to the roof. DANTE: Someone help. Call 9-1-1. The honks drown out his pleads. Dante turns to the front of the car – Carly perches on the hood. She crawls up the hood like a cat, showing her fangs the whole time. Dante steadies backwards, nearly slips. He turns – commits to a leap and lands on the hood of the SUV. The ANGRY DRIVER – honks his horn, until he sees Carly's figure. Dante climbs over the top of the SUV, down the back, and runs between vehicles. Carly takes a single leap from the roof of Dante's car. She leaps higher than humanly possible – extends – her body in the air – and lands in front of Dante. She grabs him by the shoulders – opens her mouth and lets out LOUD SHRIEKKKKKKKKKKKK. All the lights go out. Pure blackness. CHOMP. Thud. A quiet chuckle echoes through the tunnel.

SCENE 7 INT. CAR - DAY. Two siblings, SAMANTHA (20) and MILLER (26) are stuck in traffic. Samantha has her head buried in a map, and Miller stares ahead of him with deep anguish. He sniffs, and clutches the steering wheel tighter. SAMANTHA: I’m not exactly sure where Mom and Dad’s new place is…. Terry Road? I found it. But maybe I’m spelling it wrong? It’s right on the shore right? Miller wails on the horn. SAMANTHA: Stop! Miller breaks into tears. SAMANTHA: Come on, bro. It’s going to be fine. Look! Only ten more miles until our exit. Oh wait. Samantha turns the map a different direction. MILLER: No. It’s NOT OKAY. Alright Sam? So don’t say that. SAMANTHA: I got the map to work! We won’t get lost! Yay! Miller is bawling. SAMANTHA: Next time I will remember my charger. Miller… She puts a comforting hand on his shoulder and squeezes. SAMANTHA: I know how much you loved her. I’m sorry. Samantha bursts out laughing. MILLER: THANKS! THANKS A LOT. REALLY HELPING ME RIGHT NOW. SAMANTHA: IT WAS A GOLDFISH MILLER!

SCENE 7 EXT. HARBOR FWY - DAY Monday morning traffic leaves the northbound Harbor Freeway a veritable parking lot. A dark silver mini-van is half-merged into the fast lane in front of tan SUV. Traffic inches forward, allowing the minivan to fully merge into the far left lane. INT. MINI-VAN LUKIE, 8, nods along to the blaring 80’s dance music, bouncing his legs with nervous energy while sitting in the front passenger seat.. His MOM, driving, mouths the words to Lisa Lisa & Cult Jam’s “Can You Feel The Beat”. LUKIE: Why’s there so much traffic? MOM: Monday morning. School’s back. Lukie nods in agreement. He pats his pant pockets then looks toward the rear of the van. LUKIE: Can I grab my backpack? It’s on the back seat. Mom checks the rearview mirror. MOM: Hurry up. Lukie unclicks his seatbelt then Spidermans his way to the third row seat, grabbing his backpack. LUKIE: I’m gonna sit back here! MOM: Seatbelt! Lukie clicks in then pulls open his backpack, rummaging through until he finds a pack of Big League Chew grape bubblegum. He grabs a wad of the stringy gum, slamming it into his mouth, ducking below the headrest in front of him so Mom won’t see. They inch forward. Lukie looks out behind him, seeing a tan SUV driven by a man with a woman next to him holding open a map. He watches them for awhile, but the woman never lowers the map. He shrugs and turns back around. They inch forward. Lukie looks back through the rear window at the SUV, and the woman still has the map up. The man’s expression hasn't changed either. He taps the rear window, waving obnoxiously. The driver behind him shoots Lukie a NASTY glare, causing Lukie to duck, covering his mouth as he laughs. They inch forward. Lukie readies a middle-finger, raising it to the window while keeping his head down. He leaves it there a few seconds then pulls it back in. He pops his head up, but the map is still up and the driver’s got the same expression. Lukie sighs and turns back to the front. They inch forward. Lukie turns to look at the SUV, making faces at the driver. This time the driver makes eye contact with Lukie and flashes a big smile. Too big. Lukie sees the driver say something to the woman next to him. She nods then lowers the map. She has no face. It’s only a GAPING MAW full of SHARP TEETH. Lukie SCREAMS, trying to run to the front of the van, but stuck in place by the seat belt. MOM: What is it? What happened? LUKIE: M-m-monster! Behind us! Lukie’s mom looks into her rear-view but just sees the tan SUV with a man driving and a woman checking a map. MOM: You better not be acting crazy. I told you about road rage and that we don’t antagonize strangers because they could be crazy and have guns. Lukie unclicks and runs to the front of the van, plopping into the seat next to Mom, quickly fastening his seat belt. LUKIE: I’m sorry, Mom! But, it didn’t have a face! Just teeth! MOM: Uh huh, honey. Are you chewing gum? Lukie GULPS. LUKIE: No. Lukie checks the side mirror, trying to see what’s happening in the car behind them. MOM: Don’t lie to me, Lukie. Lukie turns back to his mom, about to protest, when he sees SHE HAS NO FACE. The gaping maw extends and SNAPS.

Scene 1 Ryan grips the steering wheel tight, deep in thought RYAN- Are you sure you packed my long blond wig? You know I have been wanting to debut as a blond, this is California.. TAYLOR- Yes baby I packed your blond one, your purple fish nets,and matching boa! All your makeup too. RYAN Los Angeles you know is a far cry from Idaho, there is probably more people jammed up here on this freeway then there is in the entire state of Idaho. TAYLOR squealing with excitement,, Oh I just can not wait to get to Hollywood, we are so close, just a few more exits and look out here we come!! RYAN more serious.. I wish I could be more open with my father like you are with yours.. TAYLOR, yes I am so grateful he supported me through the operation. Don’t you worry honey. we are going to make the money and… Ryan starts to cry TAYLOR Whats wrong honey? RYAN Nothing.. that's what wrong. Sitting here.... the LA traffic is so surreal.. This not Idaho and I can be who I want. This is my dream. TAYLOR You know it honey! RYAN I know when I look into this mirror this is one of the last times I will see Ryan as the “boy”.

That's outstanding!

INT. CAR TOM (31) handsome sits behind the steering wheel. The car seems to have stopped in the middle of traffic. He’s slightly nervous, when JESSICA (29) Stunning in a no-nonsense sort of way, Knocks on the window. JESSICA: Hey! It’s locked. TOM: What.. eh (he tries to open the door with the handle, doesn’t succeed) JESSICA: Haha No, it’s locked! (points at the safety lock) he gets it, and opens the door TOM: I’m sorry I was.. My car is.. it isn’t my car. JESSICA: (jokingly agressive) Oh my god you didn’t steal it did you?! TOM: well no I mean, it was left with the keys in the ignition They both smile, their eyes meet, blushing JESSICA: so... I’m the wife then TOM: Yeah. I’m Tom. JESSICA: Hi Tom, I’m your wife. TOM: My nameless wife JESSICA: Yeah JESSICA: You’ve ever done this before? TOM: the stockphoto thing? No. JESSICA: I have. I look good in pictures, I’m half Swiss so I must have some Claudia Shiffer genes (laughs nervously) TOM: Claudia Shiffer looks good in real life too. You too I mean, I didn’t mean you don’t look good you look.. grea JESSICA: Wait they’re trying to say something. Tom is still looking at Jessica, she is peering out of the front window. JESSICA: Yeah they want you to move back the car. Tom clings to the wheel, looks panicked. For a moment nothing happens JESSICA: They want you to move it back a little.. TOM: I can’t drive JESSICA: hahahah.. that.. you cant drive? TOM: No JESSICA: They didn’t ask? Tom shakes his head JESSICA: Move over I’ll drive She starts climbing over Tom TOM: Wait I.. I need to get my belt.. Jessica is now hanging over Tom JESSICA: You put on your belt? In a parked car? (starts laughing uncontrollably) TOM: Yeah, wait I can’t get the damn thing.. His face flushed, he desperately tries to open the belt en then SNAP! releases it. His hand bullets through the air, punching Jessica in the eye. TOM: Oh god no.. sorry! JESSICA (is now laughing even harder) It’s okay, come on I’ll do it. Tom takes the passenger seat. TOM: It doesn’t look good. JESSICA (while backing up the car) It’s nothing don’t worry. TOM: It’s going blue. O.S. PHOTOGRAPHER: Come on people we haven’t got all day Tom and Jessica clumsily switch places again, Jessica turns the mirror to check the damage. JESSICA: Jeez, wow that really looks horrific! TOM: I’m so sorry! Over their shoulder we see the photographer, trying to make something clear. He stampedes toward the car. Jessica opens her window. The photographer sticks his arm into the car, impatiently pulls up the map in front of her face. PHOTOGRAPER: I’m taking that photo NOW. Jessica starts giggeling. Tom tries to look serious. CLICK EXT. parkinglot We see the car from above, the crew around it. We hear Tom and Jessica as if they’re really close. TOM: Can I buy you a coffee? JESSICA: That’d be nice. I’m Jessica by the way..

This was my 6th entry!

Cute! Nice take on the concept.

Thx!

I can see this.. made me laugh!

Kool. Oops.

scene 7 Louise looks at the map for an alternative route. Joe holds the driving wheel as if it is his dear life. Louise: Shit, this is all we need. Joe: It’s a chance to talk Lou. Louise: Talk about what baby? Joe: I wanted to do it properly. Louise: That’s what I did baby. Louise shows her smirking face behind the map. Joe: Cover up your face. Louise: You got to stop drawing attention to us. Joe: I still can’t believe you did it. Louise: For us. Joe: I feel bad. Louise slams the map down. Louise’s wig moves. Louise: Purrleaze Joe you’re pleased. Joe: I said cover your face. Move your wig back. Louise: Stop telling me what to do. Louise opens the door and starts to get out. Joe: Get back in now. Louise: It’s done. Get over it. Joe reaches over and closes the door. Joe: You do that one more time. Louise: What you going to do me baby? Joe: I mean it Lou. Louise: You don’t even know what she was really like. Joe: She just accepted it. Louise: Do you want us to get caught? Joe: I want to talk. Louise: It’s written all over your face. Joe: What? I didn’t do anything. Louise: I handed it to you baby. Joe: I didn’t do anything. It was you Lou. Louise opens the door and Joe pulls her back in. Joe: GET BACK IN OR I’LL... Louise starts to kiss Joe. Louise: Stay calm baby, I’m sorry. Joe: I just keep seeing her face. Louise looks alarmed from the corner of her eye. Louise: JOE. A policeman’s coming towards us. Joe: They know. Louise: How could anyone know about what’s in our boot baby? Officer knocks on the window. Joe lets the window down. Officer: Licence please. Joe: Hi Peter, isn’t it? I’m Joe Wood and this is my wife Sarah. Officer Peter: Is something going on? Joe: Just frustrated. Officer Peter: Best not to take it out on each other. Better or for worse, isn't that what they say? Louise: That’s what I keep saying baby don’t I?

INT. 2012 HONDA CIVIC – DUSK There is TENSION in the car. JOEY (27, normally a relaxed kind of guy with everything-except for traffic and long lines at the supermarket). RHONDA (25, good natured and fun loving-can’t stand people who are otherwise) is sitting next to him. A map is in front of her face, more to block Joey out than to give direction. Lucky for Joey, they are sitting in traffic. The intolerable traffic of Southern California on I-10. Joey does not look pleased. That’s putting it lightly. RHONDA Well forgive me if we missed the exit. It was YOUR brilliant idea to have ME read the map. JOEY YOU said YOU knew this part of I-10. RHONDA I said I don’t get irritated as much as you do with traffic. Maybe you didn’t get that hint that I want to drive. Joey rolls his eyes, in denial about his pet peeve. JOEY Look, this road trip is supposed to be helping our marriage. YOU’re not making it any better by blaming things on me! Rhonda throws her hands up in the air, the map long forgotten. RHONDA You think I started the blame game. Who’s the one that wanted to go to LA instead of gorgeous San Francisco? We get to say “Hi” to your annoying parents again! JOEY MY parents are annoying?! Who’s parents are the ones that insist on coming over EVERY Thanksgiving and Christmas. It’s like your mother never cooked a turkey in her life! RHONDA Pull over! I can’t stand this. Every five minutes we get into an argument! JOEY In case you haven’t realized, sweetheart. It’s like we’re pulled over, we’ve moved like a mile the past hour. Rhonda pulls the map in front of her face again, blocking Joey-physically and mentally. Joey looks at the map, and steals quick glances at Rhonda. He hates that it gets like this every time. JOEY Can’t believe this traffic is worse than New York city last winter. Rhonda still doesn’t speak. Joey looks at the map again. JOEY (pointing at the map) Hey, we’re close to exit 72 aren’t we? RHONDA How should I know? JOEY There’s a good burger joint just off the highway, we could stop by there. Rhonda knows he’s making an effort. RHONDA I guess, anything to delay seeing your parents. She gives him a half-hearted smile. RHONDA But, if your mom is making turkey tonight, maybe we’ll make it quick at that burger place. Joey smiles. It may not seem like much, but they’re making progress. JOEY Of course, that all depends on this traffic.

INT. LAND ROVER – DAY MARNIE, 28, dressed conservatively in jeans and a blouse, sits in the car with her fiancé JAMES, 30, jeans a t-shirt. Her face is buried in a map, he is staring off into the distance. MARNIE: I think…yeah. After we cross we just need to stay on the 190 for a bit…then catch the… She squints at the map. MARNIE: …the 406? I think….to the 20. And then we’ll be home free. JAMES: Hun, we have a GPS. MARNIE: Alright, this was the trade-off. You asked me to pack in three hours, my one request is that we do it old-school, with maps. She looks up. He is staring up the road and not paying attention to her. He is visibly concerned. MARNIE: What’re you doing? JAMES: Something’s wrong. MARNIE: What do you mean? JAMES: The traffic. MARNIE: Babe, it is a bridge, up there. There’s usually traffic. JAMES: Not like this. He glances down at the compartment built into the driver side door, double checking. There is a leather pouch in there. It contains a .38 snub-nose pistol. Marnie has rolled down the window and is now leaning out of the passenger side door with her hand over her eyes, trying to see farther into the distance. MARNIE: You’re right, there’s a bunch of cops. They don’t have their lights on though, so I don’t think it’s an accident. James is visibly shaken. He is gripping the wheel with both of his hands very tightly. She notices. MARNIE: Are you okay? JAMES: Yeah. Just stressed. MARNIE: It’s just traffic, babe. It’ll probably only take an hour. We have the whole weekend, right? Here, look, I’ll begrudgingly take out the phone, I’ll put on Pandora so we can listen to the Stones.

Scene seven continues from yesterday's six: EXT. LOS ANGELES INTERNATIONAL AIRPORT - NIGHT Establishing - LAX, one of the world's busiest airports. INT. LOS ANGELES INTERNATIONAL AIRPORT - ARRIVAL AREA - NIGHT George nervously waits among a group of people outside the exit door of the customs area, a couple of them have hand written signs with names on them. Some passengers come out of the door, George looks for Majo. Majo and other passengers come out of the door. She carries two large, heavy suitcases, she is looking for him. George waves his arms to grabs her attention, she sees him and runs to him, they kiss. INT. CAR - NIGHT George happily drives with Majo at his side, Majo looks at the buildings of downtown L.A. A handsfree car kit on the rearview mirror. MAJO The Chinese Theater! GEORGE I brought you a map so you can go around and see the sights while I'm working. It's on the glove compartment. She opens the glove compartment and takes out a map, unfolds it. GEORGE (points to the map) We should be here, and we're going here for dinner. George's phone rings, he pushes a button on the handsfree. GEORGE Hello. PETER (V.O.) (over phone, filtered) Hey, Georgie boy. Hummm... ¿Busy? GEORGE Yes. What's up? PETER (V.O.) You better come here quickly. This guy, Simon Tavares wants... no, needs a deal. He has some really important information. GEORGE What is it? Come on, tell me. PETER You need to read it yourself. GEORGE Can it way till tomorrow? I'm having dinner with my fiancé. PETER I'm sorry pal, this is huge. The boss wants you here. Sorry. GEORGE Darn. Let me drop her at my place, I'll be right there. He hangs up. GEORGE Sorry honey, he'll have our dinner tomorrow. Work stuff and... MAJO Hey, don't worry. It's fine. It was a long flight and I'm a little tired. It's OK. To be continued...

@heathenistic scene 7. INT. CAR ON RUSH HOUR FREEWAY - DAY Traffic is at a standstill. PAUL and KELLY are in the car. Paul - late 20s, unshaven, tough - drives, hands clench the wheel, teeth grind, car goes nowhere. He vibes 'fuck this.' The passenger is buried behind a large crumpled fold-out map. Chipped red nailpolish, and dirty female fingers. A wisp of cheaply died blonde hair behind the map. This is KELLY - mid-20s, but the mileage says older. PAUL: Where'd you even get that? KELLY: what? PAUL: That. Chris' I didn't know they even sold them things anymore. KELLY: Well, I'd look it up on my phone but - oh yeah, you threw it out the window! PAUL: No phones. KELLY: So what else do you want me to do? PAUL: we're not even moving right now. And we gotta hunnit miles to go. Just put the thing away. k hun? Kelly drops the map in her lap. We see her face - smeared makeup, messed hair - oversized designer sunglasses perched atop her head, and a very low-cut top. KELLY: You know what? you don't get to tell me what to do. PAUL: Here we go. KELLY (continuing over him): You don't own me, you don't talk to me like this. PAUL: You know what? shut up and lemme do my job. I said no phones. Now? - No talking. (grabs map) and... NO MAPS. Under the map, a sawed-off shotgun lays across her lap - short-shorts show tons of leg, bruises and all. Paul starts to jam the map into the backseat, but Kelly grabs it back. KELLY: Oh yeah? FINE. No maps? you're the boss. NO MAPS. she tosses the map out the window. KELLY: Find the place yourself. Dick. Paul just smirks. Happy for a moment of silence. Through the rear window, a black sedan changes lanes and gets right behind them.

**SCENE 7** INT. CAR - I-85, ATLANTA, GA - DAY TYLER (30) stares at the ocean of cars in front of him. Traffic is just above a crawl. Despite the air conditioning, the non-tinted windows are useless at blocking the sun. Tyler shifts against the leather seat, aching to stretch his legs. KHLOE (31) peeks at Tyler behind the large map in her face. When he cuts his eyes towards her, she averts her glance. TYLER: I can see you, you know. KHLOE: I know, babe. Based on the map, it's - well. . . 10 more miles or so. Who knows? I can't read these things. Who can- TYLER: Yes, you can. Don't downplay it. KHLOE: I'm not downplaying. C'mon, hon. You've been weird all morning. TYLER: And that's a shock? Given the day? He stretches his neck. Ever the caregiver, Khloe reaches to massage it. He blocks her hand, gentle but with intent. Khloe scoffs, turns away from him. KHLOE: Thanks, honey. Sure know how to break the tension there. TYLER: Oh, don't start, Khlo. I'm driving us to my parents who hate you- KHLOE (sarcastic): How sweet. You remembered. I didn't know- TYLER: -Had to friggin' beg on my hands and knees to let us stay- KHLOE: Like you'll be alone? I'll be there with you- TYLER: It's not like I wanted to lose my job- KHLOE (tearing up): No, but I didn't plan to get pregnant and forced out of mine. You blame me for everything- TYLER: Oh, here we go. I'm not blaming anyone! I'm just trying to- KHLOE: Oh, oh! There! He did it! Khloe's tears spill over. In an instant switch, she smiles, touches her rounded belly, waiting for the neck kick. TYLER: Babe, you feel him? Khloe pulls Tyler's right hand in response. They both smile, the connection restoring balance in the car. For a moment, all is well. Almost.

**SCENE 7** INT. CAR - I-85, ATLANTA, GA - DAY TYLER (30) stares at the ocean of cars in front of him. Traffic is just above a crawl. Despite the air conditioning, the non-tinted windows are useless at blocking the sun. Tyler shifts against the leather seat, aching to stretch his legs. KHLOE (31) peeks at Tyler behind the large map in her face. When he cuts his eyes towards her, she averts her glance. TYLER: I can see you, you know. KHLOE: I know, babe. Based on the map, it's - well. . . 10 more miles or so. Who knows? I can't read these things. Who can- TYLER: Yes, you can. Don't downplay it. KHLOE: I'm not downplaying. C'mon, hon. You've been weird all morning. TYLER: And that's a shock? Given the day? He stretches his neck. Ever the caregiver, Khloe reaches to massage it. He blocks her hand, gentle but with intent. Khloe scoffs, turns away from him. KHLOE: Thanks, honey. Sure know how to break the tension there. TYLER: Oh, don't start, Khlo. I'm driving us to my parents who hate you- KHLOE (sarcastic): How sweet. You remembered. I didn't know- TYLER: -Had to friggin' beg on my hands and knees to let us stay- KHLOE: Like you'll be alone? I'll be there with you- TYLER: It's not like I wanted to lose my job- KHLOE (tearing up): No, but I didn't plan to get pregnant and forced out of mine. You blame me for everything- TYLER: Oh, here we go. I'm not blaming anyone! I'm just trying to- KHLOE: Oh, oh! There! He did it! Khloe's tears spill over. In an instant switch, she smiles, touches her rounded belly, waiting for the neck kick. TYLER: Babe, you feel him? Khloe pulls Tyler's right hand in response to where their son is moving. They both smile, the connection restoring balance in the car. For a moment, all is well. Almost.

Scene 7 INT. CAR - DAY Crawling in bumper-to-bumper traffic. Molly is behind a map. MOLLY: If we get off this exit, we can probably make better time on surface streets. BRAD: We don't know these roads. On the freeway, at least we won't get lost. MOLLY: But we're late. My mother will literally drop dead if I'm not there when she's installed as president of her local Hadassah chapter. BRAD: Literally. My father didn't even want anybody to show up when he became president of his Knights of Columbus lodge. She won't drop dead. MOLLY: You know how my mother is. Not like your mother with Christmas dinner. "Show up whenever you like. We'll keep something warm." She kept something warm. The ham. I had to eat vegetarian. BRAD: Calm down. Your mother survived us getting married. She'll survive this. MOLLY: You think so? Maybe this is the final nail in the coffin. You want that on your head? You want to be the person who killed my mother? BRAD: If you're gonna blame anybody, blame Obama. Or blame Hadassah for scheduling this the same day Obama is in town. MOLLY: And you have to bring politics into this. Don't mention this at my mother's house. And what's this have to do with the president anyway. He's on the other side of town. BRAD: When they close freeways for his motorcade, it backs up all the freeways that connect, all the way back to here. MOLLY: But maybe it's not that. Maybe it's the traffic to the game. The game I'm sure you'd rather be home watching on TV. BRAD: It's more interesting than what you watch on TV. You have to watch people buying houses we could never afford in places we're never gonna live? MOLLY: It's not about the houses. It's about the process. And we're gonna need a bigger house soon. BRAD: Don't be ridiculous. MOLLY: We are. Really. I'm pregnant. BRAD: Seriously? Aww, honey. (upset) How long have you known? MOLLY: A couple of days. BRAD: And you tell me now? MOLLY: I was gonna wait a little longer. I wanted to tell my mother first. In person. You understand, don't you?

Scene 7 (12th entry) INT. CAR (MOVING) - DAY DAVID and COLLEEN putt putt in traffic. Tension is the third passenger. DAVID Dammit, Colleen. When I said look closer that’s not what I meant. COLLEEN I take things too literally, like you always say. DAVID Here we go again. COLLEEN No, I’m not going to start the fight this time. DAVID Good. Let’s just get to Rick’s party in peace. COLLEEN Fine. A long awkward silence. COLLEEN (CONT’D) (can’t help herself) I mean if I had forgotten the GPS I’d never hear the end of it. DAVID (long sigh) Uh huh. COLLEEN We could have avoided this traffic if someone had remember to do what they said they were going to do. David PUNCHES the HORN. Colleen snaps to him. DAVID Fucking asshole. COLLEEN What did you call me? DAVID No. This guy in front. He’s five car lengths behind the car in front of him. COLLEEN Well he probably left on time for where he has to go so he’s not in a rush. DAVID I’m sorry I had to work late. I’m sorry I forgot the GPS. Is that what you want to hear? COLLEEN I’ve heard so many of your I’m sorries that it really doesn’t mean much anymore. DAVID Then what do you want. A divorce? COLLEEN Ha. Like you could afford it. DAVID Oh and you’ve got plenty of money? From your homemade gift basket empire? David laughs. Colleen fumes. COLLEEN Just drive, David. DAVID Yeah the truth hurts, eh? COLLEEN You don’t know anything about the truth. DAVID What’s that supposed to mean? COLLEEN Ask your brother. DAVID What? COLLEEN Nothing. DAVID Nothing my ass. Are you fucking fucking Rick? COLLEEN Take the next exit.

DAY SEVEN: Write a scene inspired by this photograph. Sarah and Darren have been on the road for hours. They used to love each other before this drive, but they are now pissed beyond comparison at each other. Sarah busies herself with the map while Darren works on anger management breathing exercises. A quick shot of the gear shift as we see that the traffic has been so slow that the car is in “Park.” DARREN: I fucking told you that this road would be busy as all fuck. SARAH: Yes, but I didn’t hear you tell me that you had a better solution, so screw you. Useless asshole. DARREN: And why the fuck are the people behind us not in their cars? SARAH: If they want to get eaten, that’s their business. DARREN (shouting out of the car window): Could you not be dumb and get back in your cars?! Yeah, you assholes! Zombies don’t care if it’s a Porsche; they’ll still eat you! SARAH: Feel better? DARREN: No. Did you bring the kit? SARAH: Don’t act like you suddenly care about zombie preparedness. I had to beg to keep the damn thing. It’s in the trunk. DARREN: I’m sorry if the idea of walking corpses seemed weird to me. Because eff my logic, right? SARAH: Clearly. Because we just had to shoot our neighbor to make it to the car not four hours ago. There is silence as they both kind of look out ahead of them for a few moments, ruminating on this last fact. DARREN: I actually didn’t mind that. SARAH: I hated that motherfucker. Just so— DARREN: Pompous. SARAH: Like he thought his money would always be there to save him or something. DARREN: Arrogant prick. SARAH: Yeah, like having a boat is really going to help him now. I mean, where is going to go on a boat? Another brief silence as Darren shakes his head and continues to assess the traffic ahead and Sarah returns her attention to the map. She notices something. She retrieves a pen from the glove compartment, flattens the map on the dashboard, and begins to make marks on the map. Darren looks over a few times, but tries to keep himself calm and stops after a while. The silence finally gets to him. DARREN: Why are you ruining a perfectly good map? SARAH: Well, I started thinking. That fucker had a boat. Had. He doesn’t need it now. If we hurry up and get more supplies, we could probably get a few people we know on it and get to Treasure Island. It’s not that far. Darren’s eyes narrow at the road. He looks at the map for a moment out of the corner of his eyes, then back at the road, clearly debating between the options that have been presented. He suddenly puts the car in gear and hurriedly starts driving in the opposite direction on the shoulder of the road. Sarah looks simultaneously worried, confused, and excited. SARAH: What are you doing? DARREN: Our therapist did say that I need to start listening sometimes. I still think you’re weird for liking salt and vinegar potato chips, but you may have a point here. They are quiet for a while. SARAH: You’re agreeing now because you know salt and vinegar chips are delicious. She goes into the bag behind them, pulls out a small pack of salt and vinegar chips, and eats a few of them. Darren closes his eyes momentarily in annoyance before he continues driving, making a sharp left off of the highway and onto the nearest road.

SCENE 6 INT. CAR Both WORRIED WARREN and MAURINE MAP are tense and stressed out from their predicament. WORRIED WARREN: I told you we should have gone the other way. MAURINE MAP: We would have had the same problems with traffic. WORRIED WARREN: You think? (a beat) They said four o'clock. It's now ten to. MAURINE MAP: Well they didn't exactly give us much time. WORRIED WARREN: These kind of people. They're just looking for any kind of reason to kick off. MAURINE MAP: They'll wait, they're not exactly going to walk away from the chance of this much money. WORRIED WARREN: Of course. That's why they chose us. MAURINE MAP: Just remember one thing... We can't afford to be weak... They'll want to try everything to walk all over us. WORRIED WARREN: Whatever happens...at the end of the day, it's going to be us or them. (a beat) And everyone in there's going to be carrying a gun. FADE OUT.

Scene Seven.