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Into the Night: part 1

“Animal Instinct”

Three Pages

 

(silent script)

 

By Joshua Gamon

© 2002 Joshua Gamon

 

1st Draft

 

 

PAGE 1    (five panels)

 

PANEL 1:

 

We open up with a tight shot on the full moon.

 

 

 

PANEL 2:

 

The image of the moon is now disturbed into ripples when a deer’s hoof steps into the puddle.

 

 

 

PANEL 3:

 

We now pull back to reveal the setting to be a celestial forest landscape. Overturned trunks of ancient trees and large moss-covered stones litter the bank of a very tiny stream, and two fawns (one is smaller than the other), their mother, and their antlered father are seen drinking from it. Puddles are everywhere. It has been raining for sometime, and everything has a greener hue to it because of the moisture. A light fog has engulfed the background of the panel, creeping its way around the trees and rocks.

 

 

 

PANEL 4:

 

We pull in a little more to the head of a fawn drinking from the stream. There is a larger overturned log in the background, and we can see the mother eating leaves from a small plant growing from in-between it and a rock.

 

 

 

 

 

PANEL 5:

 

The remaining fawn is now rubbing up against its father that is standing in the stream, but he is seen pre-occupied with something waiting in the mist.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE 2    (five panels)

 

PANEL 1:

 

A large gray wolf bursts through the mist as the family of deer explodes into a sprint in every direction.

 

 

 

PANEL 2:

 

The wolf, foaming with hunger, is now in hot pursuit of one of the fawn who is hobbling over a rotten log.

 

 

 

PANEL 3:

 

The wolf smashes through the log and tackles the fawn in one crashing leap. We can see the little fawn wincing in absolute horror under the weight of the beast. Pieces of the log fly everywhere.

 

 

 

PANEL 4:

 

From nowhere, the father deer rams the wolf with its antlers.

 

 

 

 

PANEL 5:

 

The fawn is now hiding behind its triumphant father for protection as the wolf climbs back to its feet. But we can the animal’s pride is no longer there, for the wolf is keeping low to the ground with his ears flat.

 

 

 

 

PANEL 6:

 

The same wolf is now seen howling into the night air.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE 3    (seven panels)

 

PANEL 1:

 

We have a small panel of a pair of eyes reflecting light from within the mist.

 

 

 

PANEL 2:

 

The father deer and fawn are now being stared at by dozens of evil eyes visible from within mist, and they know this. The wolf’s ears are no long flat with disgrace.

 

 

 

PANEL 3:

 

 

The mother and fawn have broken through the forest’s grasp and are now hobbling through a large open field, and they making their way to the long winding road in the far background. The moon’s full light casts the field in a very soft glow.

 

 

 

PANEL 4:

 

The fawn has already crossed to the forest on the other side of the road, but the mother has stopped in the middle when she sees a hint of two headlights coming her way.

 

 

 

PANEL 5:

 

View from inside the approaching car; we can see the mother deer caught in the headlights with a blank stare through the rain-soaked windshield. A wooden crucifix is hanging from the rearview mirror.

 

 

 

PANEL 6:

 

The little fawn has stopped on a moss-covered rock to look back at the road; its head is hanging low.

 

 

 

 

PANEL 7:

 

It dashes off again into the night.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Into the Night: part 2

“The Long Way Home”

Three Pages

 

By: Joshua Gamon

© 2002 Joshua Gamon

 

 

 

PAGE 1    (five panels)

 

PANEL 1:

 

We open up with a close up on the full moon.

 

 

 

PANEL 2:

 

The image of the moon is disturbed into ripples when two fingers are dipped in the liquid.

 

 

 

PANEL 3:

 

We pull back to see an elderly preacher, FATHER CHARLES, is touching his forehead with the wet fingers in prayer. The moon’s light is coming in from the open window to the preacher’s flank. We can see little raindrops collecting at the window’s edge.

 

 

 

PANEL 4:

 

The Preacher is waving to the building’s friendly janitor as he wheels out his mop and yellow bucket from a storage closet. Father Charles is heading to the exit doors at the end of a long hallway.

 

CHARLES:      GOODNIGHT WILLIAM.

 

JANITOR 1:    G’NIGHT, FATHER… A-AND THANK YOU—

 

JANITOR 2:    I THINK YOU REALLY GOT THROUGH TO MY KID TODAY.

 

CHARLES:      YOU HAVE A GOOD SON, WILLIAM…

 

 

 

PANEL 5:

 

The elderly Preacher is now walking across the nigh empty parking lot of an ancient gothic cathedral. It is lightly raining, and puddles are seen littering the lot. The only car in the parking lot is his tail-finned blue Cadillac from the 1950’s, which is parked underneath the only streetlight in the lot. The streetlight’s gleaming beam of light is cascading the light rainfall. The moon is breaking through the cloud cover, casting its warm glow on the roof of the building.

 

CHARLES (CONT) 1:           "HE JUST ROAMS WITH THE WRONG PACK. WHY DON’T YOU BRING HIM TO MY SERMON TOMORROW?

 

CHARLES (CONT) 2:           "PERHAPS THE WORD OF GOD CAN INSPIRE HIM TO TAKE THE LONG WAY HOME."

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE 2     (four panels)

 

PANEL 1:

 

Father Charles is now adjusting the rearview mirror, and we can see a wooden crucifix hanging from it. We can see his image in the reflection. His windshield is drenched from the rain.

 

 

 

PANEL 2:

 

He is now on the road. He is driving down a curvy country road with tight turns, nothing but acres of farmland and woodlands all around him.

 

 

 

PANEL 3:

 

We drives past a DEER CROSSING sign as he adjusts a knob on his classic vintage radio.

 

RADIO (ANNOUNCER):        “WELCOME BACK TO MARYLAND’S FAVORITE EASY-LISTENING STATION. ‘ONE O’ THREE ONE’… THE COAST.”

 

 

 

PANEL 4:

 

We now have an aerial shot of the countryside where we can see two deer hobbling their way across a large open field towards the curvy road. The full moon’s light casts the field in a very elegant glow.

 

RADIO (ANNOUNCER) (VO) 1: “THE FORECAST CALLS FOR CONTINUOUS THUNDERSTORMS THROUGHOUT ALL OF BALTIMORE COUNTY.”

 

RADIO (ANNOUNCER) (VO) 2: “FOLKS, IF YOU’RE ON THE ROAD TONIGHT-- PLEASE DRIVE SAFELY...”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE 3    (four panels)

 

PANEL 1:

 

We see the Preacher rubbing the inside of the fogged up windshield with a small cloth. The rain is now coming down even heavier than before.

 

RADIO (ANNOUNCER) (VO) (CONT):        “CAUSE IT LOOKS LIKE IT’S GOING TO GET MUCH WORSE BEFORE IT GETS ANY BETTER.”

 

 

 

PANEL 2:

 

A very large deer is now caught in the headlights of the approaching car. The rain is cascaded in the headlights.

 

 

 

PANEL 3:

 

Extreme close up on the deer’s face still caught in the headlights.

 

 

 

PANEL 4:

 

A large bolt of lightning streaks across the sky.

 

 

 

PANEL 5:

 

We have a shot of the front of Father Charles’ car. The front of it has been severely damaged, covered in blood, and both headlights have been smashed. Charles is out of his car, but is standing behind the driver’s door now ajar. We can a silhouette of the deer a couple of yards in front of the car. We can see the rain washing away the blood from both the car and the road.

 

CHARLES (SOFTLY):            MY… GOD.

 

 

FIN