Author's Note: The basic plot came from a dream I had sometime around 1995. In 1998, I converted it to a screenplay for the drama segment of my creative writing class. The format fits the parameters given in that class as closely as possible. It was never meant to be anything more than an exercise in creative writing, so please, if you're a film major or something, don't get offended at any mistakes I make stylistically.
       Thanks to Joan Cecil, for much of what I know about writing, and everything about editing...and to Boni Alimagno, who has always encouraged me to aim high, even while his own work often humbled me.

Waiting for the Dawn

1    HIGH ANGLE SHOT of a city street.

A dirty, half-hearted mist makes the worn buildings and acid-pitted sidewalks gleam dully. There are no moving vehicles around. Only people crowd the streets. The few cars parked along the curbs are beginning to rust; their tires are flat from long disuse. MOVE IN SLOWLY to FOLLOW one particular pedestrian, SARAH PETERS, making her way through the crowd. The camera keeps following her back until she enters a tall, glass building toward the city's center.

CUT TO:

2    INT. SHOT-LOBBY

Sarah shakes out her umbrella, and we see a front view of her for the first time. Her features are fair, but that is about all that can be distinguished in the dim light. The camera PANS LEFT as she walks to a door marked "STAIRWELL." As she passes a front desk, with the room's only light source upon it, the GUARD seated there looks up.

GUARD
Hello, Mrs. Peters. I'll tell Mr. Peters that you've arrived.

The guard lifts up a phone receiver as Sarah enters the stairwell.

DISSOLVE TO:

3    INT. MED. SHOT-BOARD ROOM

Present in the room are the company PRESIDENT at the head of the table facing the camera, MICHAEL PETERS, the Vice President, on his right, various EXECUTIVES, and Sarah Peters at the foot of the table. We see only the back of her head. The president stands.
PRESIDENT
I'm sorry, Ms. Peters, but I'm afriad you've wasted your time. We are not interested in converting our assembly lines to solar power. With the cloud cover, our production would be cut by half.

SARAH
But, as I told you, with these new solar cells just ten minutes of sunlight would keep your assembly lines running at full capacity for six months. Surely the cost-effectiveness of such a . . .

The president holds up a hand to halt her.

PRESIDENT
Ms. Peters, there hasn't been a break in the clouds for fifteen months now. We have enough power to run our factories for a year yet. There is no crisis. Your product is unnecessary.
(beat)
But if you like, we'll put it to a vote. All in favor?

Not a single hand is raised. Sarah glares at everyone in turn. The executives, unsure, glance at Michael and see that he does not raise his hand. They follow suit, avoiding Sarah's eyes.

PRESIDENT
Well then, Ms. Peters. We're done here. It has been a pleasure to see you again.

Everyone files out of the room but Sarah and Michael. He stands by the door as she puts her things back in her briefcase.

4    2-SHOT-SARAH and MICHAEL

MICHAEL
What are you doing here, Sarah?

Sarah stops as she closes her briefcase and looks at him closely. Clearly there was something there once--there still is--but they are holding themselves apart. This will be an argument they have had before.

SARAH
This world is dying, Michael. Keep denying it for as long as you want, but sooner or later, unless things change, it will be too late to save ourselves.

(CONTINUED:)

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