The Good Samaritan — synopsis & script — proposal purposed
“The Good Samaritan”
She should have left him to die.
A lonely woman on a lonely road passes something she perceives to be dead on the side of the road on her way home one night. She continues along the road until she thinks she sees the dead thing move. Stopping to investigate, the woman finds an impossibly good looking but barely conscious man who has been severely beaten and bloodied lying in the tall grass along the road. She hefts the poor soul who only wants to be left alone up and into her car.
Despite his protests, the man is helpless to the helper’s able body and stronger will. The woman takes the man to her home, bandaging his cuts and salving his bruises after he loses consciousness again.
When he awakens in a panic, he tells her why she should have just left him to die. He groggily tells the woman a story of a creature chasing him. Having his scent, the creature will never let him go, not until he is dead. This is why he did not want to be saved. This is why he did not want to go to a hospital. He was trying to save people’s lives, trying to save her life. The creature will kill anyone he has come in contact with in its search for him.
The gorgeous young man passes out again just before it is revealed that the creature has found him again. The woman turns and realizes it was real. Everything the man was saying was the truth. She had been so blinded by her infatuation with him; she had helped put him back together like a broken doll, thinking car accident or random act of violence. She hadn’t even thought the man’s protests could have been because of something like this, not by something real.
She should have left him to die.
Panel 1 (Panels 1, 2 &3 should be side-by-side clone/similar panels going across the top of the page.)
Medium shot/Straight Frontal shot – The interior of a car shows a woman looking straight ahead while driving.
CAP Narrator: I saw it while driving home one night.
Medium shot/Straight Frontal shot – The woman should be looking off to the side of the road to her right.
CAP Narrator: It was just another dead thing on the side of the road…
Medium shot/Straight Frontal shot – The woman leans forward to look into her rearview mirror with a puzzled look on her face. Behind her, on the side of the road obscured by tall grass and shadow is something that could possibly be a hand.
CAP Narrator: …until it moved.
Panel 4 (Panels 4, 5, & 6 should be wide angle shots layered one on top of the other, depicting the woman stopping the car (Panel 4), getting out (Panel 5), and walking toward the back of the car toward the dead thing she just passed in the road (Panel 6).)
Wide shot/Side shot – Exterior of the car coming to a screeching halt on the lonely road it is traveling.
Same Wide/Side shot – The car is parked now and the woman has stepped from the car and is walking toward the back. The headlights are still on and her driver’s side door is open.
Same Wide/Side shot – The woman has passed the car in this shot and is continuing her short trek across the page toward the dead thing in the road she has just driven by. The dead thing is Off Panel to give Panel 7 a more dynamic feel when we first see it is a man and not roadkill.
Over the shoulders shot from behind the shocked/surprised woman – She is standing over a beaten, bloodied and barely conscious mess of a man. The man is lying partially obstructed in tall grass on the side of the road as if he had been running away from something and simply collapsed due to exhaustion.
Man: Oh, God…
Large shot/Wide shot – The woman is lugging the barely conscious, bloody man toward her vehicle. I would like to show the woman’s face as she summons all her strength to move the man’s (virtually) dead weight.
CAP Narrator: The gorgeous creature tried to fight me, shove me away. Kept saying I shouldn’t be getting involved.
Man: Don’t help me… Don’t… Don’t get involved.
CAP Narrator: Imagine that.
CAP Narrator: Barely conscious, about to die and still arguing with a helping hand.
The woman is back behind the wheel of her car. She is looking worriedly at the road ahead of her while she drives. Part of the now unconscious man can be seen in the backseat.
CAP Narrator: What’s wrong with men?
Medium shot/Wide shot/Side shot – Car parked in the driveway of an old, country looking house. The woman has now slung the man’s arm around her shoulder to get leverage while “walking” him up the driveway to the old house. She is still hefting him and bearing the brunt of his weight while his feet are dragging along the drive. The single porch light from the house should be the only thing combating the darkness and shadows that seem to be following the two characters. (Half the panel should be black/grey shadows, giving a spooky feel, like they are following the lead characters. Personify them sort of. Give the shadows personality.)
CAP Narrator: Every single step was like lugging a filthy child kicking and screaming to a bathtub we both knew he had zero intention of stepping into of his own accord.
CAP Narrator: Of course, this particular child was a hundred and seventy-five pound, mid to late twenties, half-conscious, beautiful, bloody mess who needed a great deal of medical attention…
The two are inside the house now. It should be obvious the woman lives alone. No pictures of anyone on the walls. A clean TV tray is set before a couch in front of an old television somewhere in the panel. The TV is on, lighting up the dark house a bit and casting a dim glow on our characters.
CAP Narrator: …and I had taken a few semesters of nursing school.
Wide shot – The woman has just flipped on the light switch to a room with pink covers on the bed, colorful stickers everywhere, spiral notebooks that say “Diary: Keep Out!” on the front. Should look like a young girl’s room although there is no evidence of someone else there.
CAP Narrator: So I took him home.
Panel 2 (Panels 2, 3 & 4 should be small, close shots of the woman’s delicate hand stitching the man’s many cuts and abrasions.)
Close shot – Hands stitching up a large gash on the man’s torso. Only the hand and the gash should be seen.
Woman: Such a beautiful man.
Close shot – Hands stitching up a set of four gashes on the man’s chest. The gashes look like claw marks, but not obviously so.
Woman: I’m happy I could save you from your fate tonight.
Close shot – The woman’s hand is placed warmly on the man’s chest next to a stitched cut.
Woman: I’m happy you moved.
The panel opens up a bit to see the woman sitting next to the man lying on her pink bed. Light glistens from the man’s face. (Make him look tragically, almost romantically, hurt with worry displayed clearly across his eyebrows in his sleep.) There should be blood smudges on the bed but the man has been cleaned up. Rags in a small bowl of water, needles and thread, etc. are set on the nightstand next to the bed. The woman is in her own world, talking to herself and happily caressing the man’s face with a warm rag.
Woman: I can’t wait for you to wake up, my sweet prince. We’ll have to best talk about how I saved your life. You’ll say, “Thank you for saving me.” Oh, it was nothing, really. Why of course, it’s okay to fall in love with me–
Woman: Oh my God.
The woman is in the doorway with a hand on the doorknob, about to close the door, and another hand having just flipped the light switch off. The light from the television casts a glow on her in the background while the man’s worried face is seen in the foreground.
Woman: I could be looking at my future husband right now!
The woman is in her living room walking toward her bedroom with the TV tray (a steaming plate of food is on it now) when she hears the man screaming from inside the dark room.
Man (from inside room): No! Oh, God, where am I?!
Medium shot – The man is sitting up in the pink bed as the woman has entered the room holding the tray. The look on his face should be one of terror or panicked alarm while the woman is not uncertain at all. She should be smiling and trying to soothe him while offering him the tray. (I want to convey that she has no idea what he is talking about is real.)
Woman: Hush, now. I’m a doctor. I think you’re in shock. That or you banged your head in the accident. You got hit by a car or something but you’re going to be okay. Here, I made you some–
The man swats the tray away, sending the tray of food crashing to the floor. The woman is confused.
Man: What part of “don’t get involved” don’t you understand?!
Woman: What? I saved your life, mister…?
Man: You had no business!
Reaction shot – The woman is reacting confusedly to the man’s outburst. Behind her in the doorway, the light from the television has turned dark. The TV is no longer on for some reason.
Woman: What are you saying? That you really would have rather me leave you on the side of the road?
Man (Off Panel): Something is after me!
The woman tries to fluff the pillow for the man but he does not lie back.
Woman: It’s definitely shock. Here, lie back on the pillow.
Man: Look, TPC genetically engineered this thing to follow my DNA. So any hair, any dead skin particles, blood: all that forms a trail for it to follow. Somber wasn’t far behind me. I had already accepted my fate when you drove by. I didn’t want anyone else to die because of me.
Woman: So if not here, where do you want me to take you, Mister Crazyman? The sun will be up in a bit so your bogeyman–
Man: Oh, God.
Small panel – Reaction shot – The man is asking the question with panicked fear in his eyes.
Man: How long was I out?
Woman (Off Panel): A few hours. Why?
Small panel – The woman’s eyes light up in alarm as she turns her head. (I need this shot to be a close up of the side of her face as she finally realizes the man was telling the truth and he wasn’t just crazy.
Man (Off Panel): Then it doesn’t matter… Nothing matters… We’re already dead.
CAP Narrator: As he passes out again I hear a noise coming from the doorway. Only now do I realize why he said I shouldn’t get myself involved.
Large shot/Rest of the page – Open-mouthed surprise on the woman’s shocked face as she turns toward the dark doorway where something menacing lurks. The creature, Somber, should look like a humanoid sloth only a lot larger with large muscles, a lazy stature/demeanor and an almost sad look on its face. It should be partially shadowed for a more menacing effect.
CAP Narrator: I really did have no business.