Into Darkness

1. Ext.  Opening credits-montage of people in the small town of Cordaine 
Wells during the day.

2. Ext.  Night.  The camera sweeps the town.

3. Ext.  Crane shot from up above a house, the camera loweringto become framed on a
white house with a brick porch.  The front door is open and a kid about the age of ten is
walking out.

4. Ext.  Medium shot as he opens the screen door and starts to walk out.  He turns around
and looks back into the house he is walking out of.

Michael
I'll see you tommorrow, Grandma

5. Ext.  Full shot as he closes the screen door behind him, the front door is still open.  He
starts to walk forward down the steps.  He makes it a few steps when his Grandmother
opens the screen door.

Grandma
Call me when you get home.

Michael doesn't stop walking, he barely looks back.   He just keeps walking toward the
camera.

Michael
I will.

He keeps walking toward the camera, when he starts to near the camera-the road-the
camera starts to pull back across the road in the opposite direction he is turning to walk. 
He crosses the road to the vacant lot across from the house.  He walks under a street light
on the other side of the street.

6. Ext.  Medium shot, Michael still walking away from the camera.  Up ahead can be
seen a heavily wooded and dark area that is getting closer.  

END OF SCENE 1

7. Ext.  Full shot, profile, behind is the one block downtown just over a block away,
Michael picksup a stick and starts to swing it around.  There is some shouting a block
away.  Michael stops, and looks away from the camera toward the downtown.

8. Ext. Full shot outside "The Boardwalk" tavern.  There is two woman, who are yelling
at each other.   One of them starts to attack the other.

9. Ext.  Full shot-profile-of Micheal as he turns his head away from the fight, and
resumes to walk.  The camera starts to pull around to behind him and he walks by a tree
to his left.  There is sand hills to his right.  Up ahead is trees and darkness.  He makes it
to a barricade that blocks off the path.  He stops abruptly at it.

10. Ext.  Long shot up a slight rise.  It is from the bottom of the path, looking up at the
top of the path.  It is all framed in the darkness of the woods.  At the top of the path, the
street light shines from behind the entrance.  Micheal stands there.   The camera quickly
moves up the path in a dash to a close-up of Micheal face.  His breath catches.

11. Ext.  Medium shot of Micheal as he looks back over his shoulder.  Then he turns back
to the front.

12. Ext.  Full shot of Micheal as he steps on the bar barricade and lands at a run.

13. Ext.  Medium shot, following Micheal as he runs.  he makes it about half way down
the path until he trips.

14. Ext.  Medium shot from ground.  Is of Micheal as he hits the ground. He lies their for
a second.  Slightly in pain, but mainly listening to what might be around him.  In the
stillness a dog is heard howling-barking.

15. Ext.  Close-up a rabbit, hopping through some under brush

16. Ext.  Close-up a snake, slithering through the grass.

17. Ext.  Close-up the dog, howling at blackness

18. Ext.   Medium shot of Micheal, in same position on the ground as before.  The dogs
howling turns into an abrupt yelp of pain.  Micheal is obviously scared.

19. Ext.   Full shot of Micheal, front but off to the side as he quickly scramples to his feet
and starts to run to the end of the path.

20. Ext.  Full open shot outside-end of path.  The camera is from across the street,
looking towards the path.   Micheal comes out of the path at full speed, and doesn't stop
until he is in the streetlight outside the end of the path.

21. Ext.  Full body shot as Micheal is keeled over, breathing hard, and trying to catch his
breath.  Then he stands, takes a brief look back at the path, and then starts to walk along
the road.

22. Ext.  Side shot as he is only a few steps from where he came from the path.  The
street light above him goes out.  

23. Ext.  Low angle shot with Micheal's head turned upwards towards the streetlight.  The
street light can't be seen.  Nothing can be seen beyond Micheal.  No stars, No previous
shining full moon.  Nothing.

24. Ext.  Close-up Micheal's face as he looks all around him.

25. Ext.  Micheal's Pov as it looks around.   Nothing can be seen.

26. Ext.  Close-up of street lamp, lit.  The camera then moves down to where Micheal is,
and the woods behind where he stood disappears to a black darkness.  Everything is
silent, and barely it can be heard, Micheal Screaming.  His hand breaks from the darkness
at one spot, making it appear out of nowhere.  Then it dissapears back into the darkness.

END OF SCENE 2