Tuesday, September 13, 2016

Mirror of My Mind (first scene)

Mirror of My Mind
 (first ten pages unformatted)

A Screenplay

By

Jason W. Rist

FADE IN:

EXT. MCGINNIS HOUSE - DAY - EVENING

MARTIN (male, late 30s) and SERENA (female, seventeen), pull up in his
truck.
Her eyes are deep blue pools of emptiness.
Martin quickly sets up the wheelchair and then
yanks, wheelchair,
Serena and all up the front steps.
Storm clouds darken the horizon.
The dark, leaden clouds of a Texas 'blue norther'
loom behind the tiny farmhouse.

CUT TO:

Martin wheels Serena in to the living room; by the
couch.
He folds it out into a bed.
Then gingerly, lovingly places Serena in it.
He pulls up the covers and tucks then under her
chin.
He pecks her on the cheek.

MARTIN
Good night sweetie. I love you.

He sweeps back an errant strand of blonde hair and
wraps it over her ear.
All he gets back in return is a vacant stare.
He goes outside to the woodpile to get some more
wood for the fireplace.
Martin unloads a bundle of firewood by the
fireplace.
He places some of the logs on the grate and stokes
the coals to life.
He looks at Serena; sleeping, and goes upstairs.
When he reaches the top he SOBS.

ANGLE ON: Axe, stuck in a stump.

FADE TO:
DARLA (female, mid 30s) and Martin lay asleep in a post-coital
embrace.
She stirs as the lightning crashes and the rain
lashes against the windows and vinyl siding.
Her eyes open to the sound of the back screen door
BANGING against the side of the house.
She gets up and walks down to the kitchen.
She latches the screen door shut and closes the
back door.

ANGLE ON: Stump. The axe is missing.
Just as she is entering slumber, a CRACK of
thunder shakes her awake.

Martin stirs just a bit.
She looks over at him.
She rolls over on her back.
There, silhouetted by another huge lightning bolt
is a soaking wet Serena; axe held up high over her
head.
Darla REACTS.
Thunder RUMBLES.

DARLA
Whore. . .

An emotionless Serena brings the axe home with a
sickening, blood-splattering THUD.
She sinks the axe deep in Darla's cranium.
Martin springs to his feet.
The horror freezes him.
Serena, like an automaton, delivers several more
fatal blows.
The gore washes over Serena, Martin and the room.
Martin comes to his senses.

MARTIN
Serena! Stop. Oh, my God.

He starts for Serena but, slips in the widening
pool of blood.
He scrambles to her and yanks the axe from her
hands.
He pauses for a second to get his bearings;
absorbing
He gets the phone and DIALS 911.

CUT TO:

EXT. MCGINNIS HOUSE - DAY - DAWN

With a lead-gray sky overhead, a POLICE OFFICER
leads Serena, hands cuffed behind her back and
wearing a blank expression, to a police cruiser.
An ambulance spits gravel as it moves up the
driveway.
The siren WAILS.
Martin is interviewed by DETECTIVES.
The cruiser pulls away.
Serena just stares out the window of the cruiser.
Sleet PELTS the window.

FADE TO:

INT. DAYCARE CENTER

Serena, six, cotton blonde hair pulled back in a
ponytail, stares into the night through a frosted
window.
Sleet pellets TAP at the window.
She has multi-colored scratch paper fanned out,
haphazard, on the floor all around her.

ANGLE ON: DRAWING

One drawing has a red, two-story house with a
smoke-bellowing chimney.
A depiction of herself has her in swing.
It hangs from a huge tree in the front yard, her
dog is on her left, and her mommy and daddy are on
her right.
The sun is a golden crowned prince beaming its
happy face from the top, right corner.
The moon, on the left, is his princess girlfriend.
The phone RINGS.

A DAYCARE WORKER answers it.

DAYCARE WORKER(O.S.)
Hello? No. She's still here. Oh. I
understand, ma'am. Okay. Serena,
you're mom.

SERENA
Hi momma. I want to go home.
CANDICE, Serena's mother, is at a gas station
phone booth.

Sleet pellets TAP the phone booth glass.

CANDICE
I'm going to get daddy to come get
me. Then we will come and get you,
sweetie. Okay?

SERENA
Okay.

CANDICE
What the. . .Whuuu!

SERENA
What, mommy? Mommy?

There is the sound of CRUSHING METAL on the other
end.
Then, only DIAL TONE.

SERENA
Mommy.

SMASH CUT TO:

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