OPENING CREDITS
EXT. VALLEY – NIGHT – ESTABLISHING
We see a sparse valley silhouetted against the dark sky. There are no trees in the valley, however there are trees surrounding it. As it approaches dawn, the camera pans across the valley until there is enough light to see an unnaturally shaped hill. It is short and narrow, with steep inclines. It becomes apparent that there is a figure sat on the ground, silhouetted against the top of the hill. The camera slowly spirals round the hill, zooming in on the silhouette, until all that can be seen is his upper body, and head outlined against the sky, and scraggy tie blowing to the side.
The camera zooms out from the man on the hill, and pans across to a motorway. A car (blue-grey) comes towards the camera, and is followed on its way past until we can see the hill with the man on it again.
CUT TO:
INT. CAR – CONTINUOUS ACTION
Inside the car, are MATTHEW TAYLOR and EMMETT GREEN, both around 27. EMMETT is wearing very formal clothing, whereas MATTHEW is wearing a Hawaiian shirt.
MATTHEW
Hey! Look who it is over there!
As Matthew turns, the hill is revealed beyond his shoulder.
EMMETT
Do I have to look? He's always there. He never moves.
MATTHEW
Wouldn't you just love to know why? Someone should drag him off somewhere. Like the other side of the hill.
As the car continues to move, the figure can be seen framed in the car window, as if he is sitting on its edge. He is now illuminated. The figure is a late-middle aged man. He is dressed in fairly plain, dark, working clothes, but they are worn and dirty. He has dark brown hair, a little better kept than his clothing. His expression is of slight confusion. The grass of the hill is brown-green.
EMMETT
No. I would not like to know.
EMMETT looks at his watch
EMMETT
(Wryly)
It's gone twelve. If we hurry up, we might just make it home in time for your breakfast.
The camera zooms out of the car, keeping the man framed in the opposite window. The road appears slightly smoother than it should, and the car is very stream lined, but also plain.
MATTHEW
No need to get like that Mister Green. I know just the thing to cheer you up.
The car turns onto a dirt road, but there is no dust kicked up by the car.
EMMETT
You seriously can't want to go see that man.
MATTHEW
I want to know what he's doing up there.
EMMETT glares at MATTHEW, who shrugs, pulling over.
MATTHEW
You never know, he might have some money. So if you hold him down...
EMMETT
NO!
MATTHEW
Heeeey, I'm just kidding. Lets go ask him.
MATTHEW and EMMETT walk from the car to the man on the hill. MATTHEW waves, trying to catch the man's attention. The man turns his head slowly, a blank expression across his face. The pair walk towards the man, their footsteps sounding clean against the dirt and gravel of the track.
MATTHEW
Hello there! We wanted to ask you something!
EMMETT
Yeah...
MATTHEW
What are you doing on this hill? I mean, I've never seen you anywhere else. You never move. Come on, why?
They move closer to him, and climb up the hill, which closer to, appears very rounded, and the grass is very even and short but the earth cannot be seen underneath. Closer to him, the grass becomes thicker, and more nettles etc. Can be seen. As the pair approach the man, he begins to speak, halting their progress.
OLD MAN
(In prophetic/poetic tone. Dryly)
I have built me a spire. A subject to hide behind, and see? The longer hair. I sat myself upon a spike, tall and thin a pillar it was. Fortune favoured the brave. But on my spike, I have no riches. From this outpost from my home, I see other holes. My feet are resting in this dream. They just dangle, draped across the smooth dirt
The sky becomes cloudier, putting the man in shade again. EMMETT and MATTHEW turn round, to face the camera again, becoming lit up against the dull man and the hill.
MATTHEW
Hey Emmett. This guy is totally whack. What do you think he's on?
EMMETT
Whatever... I want to know what he's doing there. I mean, who just sits there mumbling none-sense?
MATTHEW
Him, apparently. Whatever he's on, I want some of it too. You know what? This guy's getting to me a little. Lets call it a day. You've had enough excitement.
MATTHEW leads EMMETT away, back to the car, EMMETT resisting mildly. As they leave the man, EMMETT's suit trousers snag against a branch lying in the grass, becoming slightly frayed. EMMETT follows MATTHEW back to the car, after looking back at the OLD MAN.
CUT TO:
INT. FLAT - AFTERNOON 1
Adding your comment: