These Strange Phonecalls Script

1. NIGHTFALL SPRINGSEPISODE ONE - THESE STRANGE PHONE CALLS
concept by Michael Rodber
scripted by Sam Sharpe & Michael Rodber
1.1 EXT - DESOLATE STREET - NIGHT.
FADE IN: Phone Booth illuminates the surrounding vicinity. The
landscape is parched and somewhat void of life, apart from this
mysterious and lingering Phone Booth.
SFX: PASSING CARS IN DISTANCE
DREW enters, wandering the cold night streets searching for a
sense of escapism. He’s determined to find some purpose or new
taste of adventure. Clearly not happy, searching for distraction.
SFX: PHONE RINGS
The Phone Booth sparks into life, emitting an almost sinister ring
which stands out against the bleakness of the setting.
As DREW approaches this mysterious ringing, intelligible voices
become interwoven with the standard phone call - heard faintly is
RADIO MAN [from The Space Man] giving his daily news report.
RADIO MAN:
Tonight in- Night- Night- Fall-
The distortion continues, seemingly growing in strength as DREW
steps even closer with cautious intrigue.
KEY SHOT: DREW RIGHT FOREGROUND - OUT OF FOCUS
PHONE BOOTH LEFT/CENTRAL - IN FOCUS
DREW hesitates - paradoxically enthused. Before long, however, he
continues to the Phone Booth and answers the phone.
KEY SHOT: THIS MOMENT SHOULD BE WIDE ANGLE - DISTANCE US FROM THE
ACTION COMPLETELY - FIELD OF VISION OBSCURED.
Although we are distant from the events, the sound is crystal
clear as if we’re hearing the scene directly. Obscure.
There is nobody on the other end of the phone, DREW is totally
disconnected. At a moment of hope, thinking he’s found a new
strange occurrence in the world, it turns out to be nothing.

2. DREW exits the Phone Booth, and slips on a pair of headphones;
grabbing his phone and starting some music. As he leaves, the
sounds of static and interference can still be heard, but muffled
and void of clarity.
There’s a faint pitch, however, DREW hears it as if a gun has just
fired beside him. He halts in his tracks, mutes his music and
turns to face the Phone Booth.
Only upon facing it, does the ringing return. DREW is now
cautious, but more so mesmerised.
It’s almost as if… the phone is ringing for him?!
DREW:
What the hell?!
KEY SHOT: WIDE ANGLE - PHONE BOOTH TO LEFT, DREW APPROACHES FROM
RIGHT AS RINGING CONTINUES.
DREW re-enters the Phone Booth, this time he waits for a much
longer period before answering the phone.
Upon answering-
DREW:
Who is this?
But it’s purely static for a moment, before cutting to nothing.
Pause for effect.
SFX: DREW CALMLY PLACES THE HANDSET BACK ON THE RECEIVER
DREW backs out of the Phone Booth completely.
As he walks away, VERONICA enters **SEE KEY SHOT WIDE**
VERONICA:
Where the fuck have you been I’ve-
VERONICA instantly notices the look of concern, almost fear, on
DREW’s face and she quickly stops herself.

3. VERONICA:
What… what’s wrong? … Drew?
CUT TO:
1.2 INT - CAR PARK - NIGHT.
DREW is sat with VERONICA in her car, whilst he’s staring blankly
out of the window she turns the radio on - RADIO MAN sparks into
life…
RADIO MAN:
It’s another terrifying evening
here in Nightfall Springs…
RADIO MAN is quickly drowned out by the return of phone static.
DREW continues to stare out of the window, phased by the unusual
phone calls. VERONICA is unheard and out of focus whilst she tries
to get through to DREW - her body language becomes more and more
animated.
CUT BACK TO:
1.3 EXT - THE PHONE BOOTH - NIGHT.
We return to the Phone Booth for one final shot. The camera tracks
gradually inwards as the ringing returns for one final time.
On the final ring, the screen cuts to black.
CUT TO BLACK.