Panel 1 2/9 page

She's sunk to her knees in front of the front door, reading the letter, shocked look on her face. Silent.

Panel 2 1/9 page

Close up on her hand holding the letter, which is written in hurried masculine script.

Letter: D.

DON'T LEAVE THE HOUSE. THEY MAY BE WATCHING. I WILL COME FOR YOU AS SOON AS I CAN.

DON'T LEAVE THE HOUSE!

F.

Panel 3 1/9 page

Pull the camera back, away from Donna, so that she's small in the panel. This is a level shot, camera is about a foot off the floor.

Donna [small]: What am 1 gonna do? I can't do this by myself

Panel 4 1/9 page

Pulling up shade matching shot. It's late summer now, light should be brighter and warmer. Silent.

Panel 5 1/9 page

Donna is sitting by the kitchen window, pulling the blind open a little bit. This should be colored in summer late morning light.

Caption: 10:50 AM.

Panel 6 1/9 page

Match panel 5, she's in the same position but now she's not holding the curtain open. Her head is turned toward the window, looking out it. Room is now lit in late afternoon light.

Caption: 5:35 PM.

Panel 7 1/9 page

Match panel 5, she's in the same position. But now she's looking down, in hand-wringing despair.

Caption: 7:50 PM.

Panel 8 1/9 page

Donna peeking out the door, it's dark outside.

Page 16

Panel 1 1/6 page

Donna heading down towards Donny's house, down the driveway. Shoot from an angle where we can see part of her house, her figure small on her driveway, evidence of the other house at the bottom. Fairly high angle.

Panel 2 1/6 page

We can see Donny's house by the road at the bottom of the hill, the road, and the driveway up to Donna's house. Donna is approaching Donny's house cautiously, positioning herself behind a tree. Long shot, she's in middle ground.

Panel 3 1/9 page

Shoot from inside the house. We can see that it is abandoned - faded wallpaper with light rectangular patches in areas where photos were taken off the wall and where the wall phone used to be. No furniture, scraps of newspapers, leftover from hurried packing, on the floor. Donna can be seen peering into the window, shielding her eyes up against it.

Panel 4 1/9 page

Bust shot of Donna, from the side, reacting to the sudden light that is pouring out of the window. She's shocked and scared, pulling back. See sketch.

Panel 5 1/9 page

Donna's back is now to the house wall, hiding. A small bit of her arm is still in front of the window (making us wonder if whoever is shining that light might spot her!).

Panel 6 1/6 page

Pull around to the front of the house. A car is idling, and two shadowy figures are inside it. They're shining a floodlight through the front window of the house.

Panel 7 1/6 page

Back to Donna's side of the house. Donna is peering around the comer of the house. Past the house, we can see the car pulling out.

Page 17

Panel 1 2/9 page

Shoot from 3/4 behind Donna, running up the driveway, staying on the side of the road toward the woods as much as she can. She's holding her tummy as she runs, turning her head over her shoulder to look back - as if fearing that she is being pursued.

Panel 2 1/9 page

Shoot from inside the house at Donna, having just come in the door, her back to it and pushing it shut in fright.

Panel 3 1/6 page

Bust shot, close on her, bent partway over in pain, clutching her tummy.

Donna: Aaaaahhh!

Panel 4 1/6 page

Donna staggers over to the couch.

Panel 5 1/3 page

Shot from slightly overhead. Donna on the couch, holding the baby to her breast, looking awful, tired, stringy hair, blood everywhere - childbirth + hemorrhaging. Sheet covering her. Her other arm is limp and bloody, dangling off the couch. Her eyes are nearly closed. Her diary and a pen are on the floor near her hand.

Caption: 5:42 AM.