2AM drive

by YorkshireTea

Published July 6, 2026

12+ Violence

In Shorts

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It was two o'clock in the morning when Sonny Lee decided to go for a drive. His parents had gone away over the weekend for a concert, so he was home alone, with the exception of his mongrel named Dexter, who was fast asleep on the sofa; it wasn't just Sonny taking advantage of his parents being away. He walked downstairs, stepping over the stair gate as he had done so many times before in the dark, before fetching his keys from a kitchen cabinet. Saying goodbye to his dog, "Alright, Dex, you're in charge. I'll be back soon, alright," he put on his thin olive-green hoodie in the knowledge that his old car's heater would struggle on a cold night before walking out of the door and locking it behind him. Sonny listened to the sound of his Crocs hitting the wet bricks beneath his feet that made up Wheatcroft Street before focusing on his white 2012 Ford Fiesta, which he had been forced to buy from a family friend, sitting on the family's driveway. With one click, the doors unlocked and amber lights flashed across the windows of nearby houses. Sonny wondered whether this was really such a good idea: going on his first night drive without any kind of assistance to call upon should the worst happen.

With the sound of The Crane Wives coming from the speakers, the Fiesta, driven at a steady 10 mph, weaved through the parked cars of the sleepy Wheatcrofts before reaching the main road. Sonny had set a destination on his phone of Ladybower Reservoir, with an estimated journey time of fifty-five minutes, although he considered it likely he would turn back before then. Driving out of town at a strict 30 mph under the watchful eye of his insurance company's black box, Sonny settled in for the long (by his standards) drive, adjusting to the mix of dark night and LED streetlights. Sonny's driving experience up to this point had been a stressful one, involving a failed driving test, two minor collisions that he had failed to report to anyone other than his mother, and a collision with a stationary van that had threatened to write off the car he never really wanted. Naming a car, however, can form a very powerful emotional bond between a young man and his vehicle; Sonny had named his car Felicity after both his love of alliteration and Fantastic Mr Fox, so he kept the car and repaired it, even adding a few things such as silica gel bags and air fresheners.

Now firmly on the country roads, Sonny could start to enjoy the pleasures of driving on an empty road. He changed into fifth gear as he passed between fields and woodland until his phone sent him down a single-track road. The route chosen by the GPS was not the same one Sonny had selected, as construction work was being carried out on the tops of the Peak District, so he had been diverted through the twisting maze of single-track roads that cut into the hillside. Turning his attention briefly away from the weak orange haze emitted by his headlights, he saw in his rear-view mirror a white Transit van. Transits are of some renown in the UK, as they have a reputation for aggressive driving by aggressive drivers.

Now increasing his speed as much as he dared, Sonny started to sweat as he drove down the fast, winding strip of tarmac, but no matter how fast he drove, the van remained only a few feet behind, its own lights enveloping the inside of the Fiesta. Felicity had done battle before with a van and lost; neither of them was about to let history repeat itself. Sonny went into a corner a little faster than he should have, narrowly avoiding a crash, but he didn't have time to be relieved yet and floored it out of the bend, creating a large gap between himself and the Transit. Up ahead, he saw a junction, at which, as he slowed, the van reassumed its position only a foot away from Felicity's rear bumper. Sonny stopped at the junction, which had a lone car coming down the road, forcing him to wait with the Transit breathing down his neck. Revving the engine to the red line and jumping off the clutch, the Fiesta sprang across the junction and continued along the inky-black single-track roads. Sonny could only hope the Transit wouldn't follow.

Fixating on his rear-view mirror, Sonny watched as the Transit skidded onto the road, its tyres screaming as the beast veered to the left and out of sight. With that, Sonny started to enjoy the quiet road and the relaxing melody of the music playing from the car. The rest of his journey through the Peaks was carefree as he passed over Neolithic bridges and flowed with the twisting and turning of the hazy orange highway until reaching a straight A-road that would carry him to his intended destination. The revs of the engine increased along with the speed, which was now above the 60 mph speed limit. In no time at all, the blue arrow pointed to the next right. Making the turn came with a sense of disappointment, as it was yet again a single-track road, only this time made of gravel. The rumbling sound of driving over the gravel, with the occasional stone flung into the underside of the car, drowned out the music until Sonny turned it up louder. Driving at a steady pace, he realised this was a logging track, with dense forest on one side and the reservoir on the other. Continuing the rumble down the track, he saw the reflection of a car's rear lights. Thinking nothing of it, he continued on at a slow pace until reaching a small outcrop turned car park with two cars parked up, their boots and doors open with the interior lights on. A stocky, bald white man with a large chain and a black vest stepped out of the driver's seat of one of the cars and watched Sonny as he drove by, locking eyes briefly as he passed. Once again watching his rear-view mirror, Sonny saw the car reverse out onto the track before starting to follow him. Suspecting he had seen something he shouldn't have, Sonny pressed the accelerator into the Fiesta's floorboard, revving the engine and sending the car scrambling across the gravel.

A bump in the road escaped Felicity's orange glow, with the car going airborne at close to 60 mph. Inside, Sonny felt weightless as his seatbelt loosened. He tightened his grip on the wheel, bracing in cautious anticipation for his return to the ground. Crashing back down, the Fiesta's suspension compressed past its limits, with the underside scraping the ground ever so briefly with a heart-stopping clunk. Sonny straightened up and tapped the brakes, determined never to fly a car again, but also determined to escape his pursuer, who was now out of sight, although Sonny was sure it was still behind him. Felicity, seeming to want the situation to end as well, managed to illuminate an upcoming gate leading to a farmer's field, with just enough room in front of it to turn around. Sonny slammed hard on the brakes, causing the car to skid to a stop beside the gate. Checking quickly for headlights and seeing none, he grappled with his phone, his hands slipping as he tried to release it from its holder. Succeeding, he began plotting the route home, only to realise that, like something straight out of a Hollywood film, there was no signal. At the sight of this unbelievable and overused trope, Sonny couldn't help but take a second to nervously laugh as he saw the irony of a cliché he had often mocked to family and friends as unrealistic happening to him. Ignoring the phone and reasoning that the logging track only went in one direction, he turned around and headed back towards where he had seen the two vehicles. Approaching slowly, he could see that the car which had pulled out after him was parked back where it had been, but much worse, the other vehicle had reversed to block the track entirely. Sonny feathered the throttle to move slowly towards the two cars as he thought about how to get past.

Sonny was a large fan of action films and hoped to become a police officer one day. The use of violence was not something he had ever shied away from; however, he recognised the potential consequences of escalating the situation. His first thought was to ram the vehicle that was blocking the path. After all, it was not much larger than his own, and at speed he was confident of pushing its rear end aside. The problem would be that his Fiesta would most likely be undriveable after such a collision, and running through the woods after a car crash seemed a sure-fire way to die. Option two would be to see if the car moved out of his way or even to get out and ask them to move it. Option two seemed almost worse than his first idea, as if these people did mean him harm, stopping and potentially leaving his only shelter could end badly for Sonny. During this thinking, Felicity had slowed to a crawl and was getting too close for comfort to the vehicles in front. Sonny put his foot down once again and swerved through the parking space in front of the car blocking the track before darting back onto it, keeping enough speed to avoid sending himself airborne again. The car that had been blocking the track gave chase, its LED headlights allowing Sonny to see much further than he had been able to all night. Sonny had managed to remain calm up until this point but was starting to struggle and could feel his heart thumping faster and louder whilst his breathing become more shallowed with each subsequent breath. The car followed him all the way back to the main road. Sonny thought they might try to follow him home, but before he could continue the thought, the car undertook him and turned onto the main road. Not wanting to push his luck, Sonny turned the opposite way and drove another three miles before plotting his route back to Wheatcrofts.

The next morning, Sonny inspected his Fiesta, fearing the suspension had collapsed and that the whole thing would need to be scrapped, but to his surprise, Felicity was fine, with the exception of some insulation around the exhaust having shaken loose, which was quickly repaired. Since his 2 a.m. drive, Sonny has spent many nights enjoying the empty roads after dark, but he has yet to return to that same logging track which made his first night drive so memorable.

Comments & reviews · 4
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vulpesvelox
Review
vulpesvelox wrote a review Review · Jul 12

Hello! :mrgreen:

His parents had gone away over the weekend for a concert, so he was home alone, with the exception of his mongrel named Dexter, who was fast asleep on the sofa; it wasn't just Sonny taking advantage of his parents being away.


The last part is cute and tells us that Dexter presumably isn’t usually allowed on the sofa, but this sentence is doing quite a lot at once. I’d probably separate the detail about Sonny’s parents from the little joke about Dexter so the joke has more room to land. Also, "Mongrel named Dexter" sounds off. Unless Sonny regularly thinks of Dexter as a mongrel, something like "his dog, Dexter" would feel more natural and affectionate.

Saying goodbye to his dog, "Alright, Dex, you're in charge. I'll be back soon, alright," he put on his thin olive-green hoodie in the knowledge that his old car's heater would struggle on a cold night before walking out of the door and locking it behind him.


This needs breaking up. The dialogue, hoodie, heater and departure are all squeezed into one sentence, which makes a very ordinary sequence of actions difficult to follow. The opening also creates a awkward construction because "Saying goodbye to his dog" runs directly into the spoken words and then into "he put on." I’d give the dialogue its own sentence and then describe him getting ready to leave.

I do like him telling Dexter that he’s in charge. It gives Sonny a pleasant, awkward personality before the danger of the story starts.

Sonny listened to the sound of his Crocs hitting the wet bricks beneath his feet that made up Wheatcroft Street before focusing on his white 2012 Ford Fiesta, which he had been forced to buy from a family friend, sitting on the family's driveway.


This is another sentence with too much information packed into it. Grammatically, it also sounds as though the family friend is sitting on the driveway rather than the Fiesta! You could introduce the wet street first, then the car. The exact make, model and year make sense because Sonny is clearly interested in his vehicle, but being told that he was forced to buy it could wait until you explain his complicated relationship with it.

There are perhaps too many car details in the opening, though. The black box, failed test, previous collisions, stationary van, name, alliteration, film reference, repairs, silica gel and air fresheners arrive in quick succession. They’re individually fun, but together they slow the journey down before the main tension starts. I’d spread some of that information through the drive.

With the sound of The Crane Wives coming from the speakers, the Fiesta, driven at a steady 10 mph, weaved through the parked cars of the sleepy Wheatcrofts before reaching the main road.


"Wheatcrofts" confused me because the street was previously called Wheatcroft Street. It sounds here as though Wheatcrofts is the name of the wider town or estate, but later Sonny plots a route back to Wheatcrofts as well. That may be intentional, but I’d make the geography clearer when you first introduce it.

Revving the engine to the red line and jumping off the clutch, the Fiesta sprang across the junction and continued along the inky-black single-track roads.


This is quite a dramatic move for someone who is being watched by an insurance black box and was previously sticking rigidly to the speed limit. That isn’t necessarily unbelievable because panic makes people behave irrationally, but I’d like to feel the moment when Sonny abandons all his earlier caution. The car is also treated as if it acts independently in several places. That works as part of Sonny’s attachment to Felicity, though it might be worth making it clearer that this is how Sonny thinks about the car rather than the narrator literally presenting it as conscious.

The rest of his journey through the Peaks was carefree as he passed over Neolithic bridges and flowed with the twisting and turning of the hazy orange highway until reaching a straight A-road that would carry him to his intended destination.


"Neolithic bridges" stopped me because it sounds historically questionable, or at least unusual enough to require more explanation. Do you mean ancient stone bridges, packhorse bridges or bridges near Neolithic sites?

I like "hazy orange highway," though "highway" feels very American compared with the otherwise strongly British setting. Road would probably fit the voice better.

At the sight of this unbelievable and overused trope, Sonny couldn't help but take a second to nervously laugh as he saw the irony of a cliché he had often mocked to family and friends as unrealistic happening to him.


I like the idea of Sonny recognising the no-signal cliché because it suits the self-aware tone of the story. The explanation is too long, though. We understand why he laughs once we know he has no signal, so you don’t need to tell us that the trope is unbelievable, overused, mocked by him and now happening in real life all in one sentence.

Since his 2 a.m. drive, Sonny has spent many nights enjoying the empty roads after dark, but he has yet to return to that same logging track which made his first night drive so memorable.


The move from past tense to "has spent" and "has yet to return" makes the ending sound like the conclusion to a supposedly true story or an anecdote being retold later. If that’s the intention, it works reasonably well, though the rest of the piece should perhaps establish that framing voice earlier.

I’m surprised the experience encourages Sonny to continue taking night drives. He’s pursued twice, drives dangerously, becomes stranded without a signal and potentially interrupts something criminal. I can believe that the excitement awakens a love of driving, but I’d like something showing that change in him rather than jumping straight from the frightening night to his new hobby.

***

There’s a lot of fun personality in this. Sonny feels like a believable young driver: overcautious about some things, reckless about others and deeply attached to a car he initially didn’t even want. Felicity is probably the most memorable part of the story, and the way Sonny thinks of the car as a partner makes the chase more entertaining. His conversations with Dexter, his music, the Crocs and his awareness of film clichés all give him a clear identity.

The main issue is that the sentences are often much too long. A lot of them contain an action, an explanation, some background information and a joke at the same time. That makes the opening slow and the chase less immediate than it could be. During the dangerous sections, shorter sentences would make everything feel faster and give everyone less time to relax.

There’s also a lot of explanation where the action could speak for itself. We’re told about the reputation of Transit drivers, the emotional importance of naming a car, Sonny’s entire driving history, his opinion of the no-signal cliché and all the possible consequences of his escape options. The observations are often amusing, but they make the narrator sound as though they’re telling us an anecdote after everything has already happened. That style can work, especially with the retrospective ending, but it weakens the suspense because I never quite feel trapped in the car with Sonny.

I think you need to decide how threatening the other drivers actually are. The ambiguity is potentially the most interesting part of the story. Sonny may have stumbled across something criminal, but he may also be an inexperienced driver frightening himself on unfamiliar roads at two in the morning.

Cheers, thanks for sharing this story!

Lipton

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Ranger
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Ranger wrote a review Review · Jul 12

Hello YorkshireTea!

It's your friendly neighborhood Ranger here to write a review on your short story!

This was a great read! I absolutely love how you portrayed the feeling of a 2AM drive with all of the description! From experience, late at night, things really do have a unique difference to them then they have during the day which I feel was really well employed here with the exact description of things such as the exact model of car Felicity is. In addition to this, the long sentences gave the perfect calm flow that a late night has, especially when raining or just after the rain.

In contrast to the calm flow of a late night drive on country roads, there was the perfect amount of anticipation and tension in the action scenes! The context provided in these scenes really helps add to them, especially for those not in the UK like myself. I could picture myself in those scenes with the context and description!

Overall, I have to say I only truly have one critique on this work! That being said, the story had very good flow overall however, it felt a little repetitive having the character's name, Sonny, put into nearly every sentence. In my opinion, it would have felt a bit smoother having it used slightly less, especially since there aren't any other characters with names specifically mentioned.

This was a great read in all and had the perfect balance between a calm and lazy night drive and tense action! It was an absolute pleasure reviewing this piece and I hope you had as much fun writing it as I did reading it!

Keep writing and have a wonderful day/night!

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cactuslily
Review
cactuslily wrote a review Review · Jul 12

Okay first off, woah... Oh my goodness this was based on your first night drive experience?!? This was such a crazy ride, both in your case and me reading this lol. You do such an amazing job at letting the story unravel itself. From the calmness of leaving the house, turning on some music in the car, to the urgency of having those cars tailgate Sonny and eventually blocking him in completely?? Also side note- I love that you mentioned an actual artist. This is my first time listening to The Crane Wives, and I am obsessed. I just had to play their song Caleb Trask to get fully ~immersed~ haha.

Going throughout this piece, I love how you set it up with the first several paragraphs! It feels so nostalgic, reminding me of my own driving experiences. From the old hand-me-down car after a failed driving test (totally relate) to Sonny sharing about his own collisions (also totally relate to lol). If feels like all those 2am drives with the windows down, cool breeze, and the sound of the tires on the pavement.

I really enjoy the call outs that feel so relatable:

Naming a car, however, can form a very powerful emotional bond between a young man and his vehicle; Sonny had named his car Felicity after both his love of alliteration and Fantastic Mr Fox, so he kept the car and repaired it, even adding a few things such as silica gel bags and air fresheners.

Or perhaps I’m pretty biased in my own personal adoration of Wes Anderson and naming my first car- her name was Sheila. Nonetheless, this exposition part feels super nostalgic, relatable and provides this sort of comfort and familiarity. Night drives are something many people can relate to and you do such an amazing job at capturing the feeling of that here.

Alas, this comfort is disrupted in such a great way! It doesn’t feel forced nor does it feel like it sorta comes out of nowhere. Once the first car- the Transit- appears, it's one of those things where you look at your rear-view mirror and think “huh, that’s kinda weird and concerning” and try not to have it ruin that night drive. But woahh once the other cars show up in that car park?? The Transit was one thing but it’s pretty hard to brush off cars that you know are following you. My eyes couldn’t help but try to read faster at this point. That whole sequence with Sonny whipping the car to avoid those two cars that blocked him in was top tier. The callout to no reception didn’t feel cliche at all though, if anything it was the perfect amount of irony on top of Sonny’s interest in action movies and future aspirations in law enforcement.

Okay, most of my review is pretty much praises because this was such an amazing read and now I want more. The only thing I will say though- which is mainly because I want to read more- is the drive back to Wheatcrofts. I would love to see this expanded upon! How did Sonny feel once he pulled into the driveway, unclicking his seatbelt and opening the front door? Is Dexter okay? When did the parents come back and did they notice that Sonny went on a night drive? I have so many questions. Other than that, I do love that he checked up on Felicity and how he continued the 2am drives.

Overall, this was such an AMAZING read that my only suggestion was because I wanna read more.
Cheers!
-cactuslily



Turn your demons into art, your shadow into a friend, your fear into fuel, your failures into teachers, your weaknesses into reasons to keep fighting. Don’t waste your pain. Recycle your heart.
— Andréa Balt