The graphic on the book cover is from a Hogarth illustration that depicted Tyburn, the place of the gallows in London. A major location in my screenplay.
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Tag Archives: Peter and the Serpent
Chalk Up Another Book Cover Design
Two more of the script’s antagonists – Sean and Egbert – picking on the canine Codger.
Finally getting the title all together last time was a big improvement. So, wanting a graphic with more scale and with a feeling of location, I called up a former one. Getting closer.
Available for preorder on Applebooks. One day to go until release.
Look! Look! A Sixth Book Cover Version
The lair of the Ratcatcher, one of the antagonists from my screenplay Peter and the Serpent.
Two days to go before my third publication comes out.
Available for preorder on Applebooks. Amazon for Kindle, paperback and hardbound soon.
Fifth Book Cover Design and Counting
Meet Jacob, a minor character in Peter and the Serpent, hard at work protecting the community.
Some minor alterations, but I want to experiment some more.
Peter and the Serpent launches in three days time. It is available for preorder at Applebooks (Kindle coming up shortly, as well as paperback and hardbound editions).
Up on the Rooftop for a Fourth Attempt
Where else would you find a chimneysweep at work?
Though you will find Peter – up and down – and all about the town of London – in Peter & the Serpent which launches in four days time.
Available for preorder now at Applebooks.
Will the Third Time Be the Charm?
Nah! But Alice is a charmer – one of the characters in Peter and the Serpent.
My friend Howard Kazanjian consented to write a few words about Peter and the Serpent.
Now available for preorder at Applebooks, launching in five days.
Back to the Drawing Board for a Second Try
Simpler, but not quite there. Need to flesh a few more things. (Gabriel is one of the characters in the screenplay).
Six days until launch. Peter and the Serpent is available for preorder at Applebooks. More on the way.
First Off the Drawing Board for Peter and the Serpent
Judged it too busy. And not well put together. Had the idea of a storyboard construct, but it would take better graphic skills than I have to make it pop. And that serpent -UGH!
I found the English illustrator William Hogarth to be a greet inspiration in writing Peter and the Serpent.
Arriving in Seven Days
Film script covers were usually light blue, front and back. They and the script covers were submitted to a three hole punch, and the results secured with two brads – top and bottom, leaving the middle one empty.
My first film script – Peter and the Serpent – will be available on December 6. Pre-orders can be put in at Applebooks. With more to come, including paperbacks and a hardbound edition.
St George and the Dragon
I recently came across an old computer file on my PC, and realized it was the second draft of my first screen play.
The following is the first sequence that was dropped when I completely revised the next draft, switching the protagonist from George Whitefield to a young fatherless chimneysweep.
It is based upon a true incident in the life of the 18th Century Evangelist. Hope you enjoy it.
(Apologies in advance for the odd look to the formatting. I have not yet found a fix on WordPress).
FADE IN:
EXT. A SCOTTISH MOOR – DAY (1741)
Two figures on horseback crawl at a snail’s pace across the empty moor.
IAN
I dinna think you shoulda given money to that
there widow, Mr. Whitefield.
GEORGE
Come now, Ian, if the good Lord makes us aware of someone
in distress we should relieve them.
GEORGE AND IAN
The young clergyman and his older companion slow their mounts as the road at this point steepens.
IAN
I be a-thinkin’ that four shilling would ha’ done for her.
Perhaps three e’en.
GEORGE
Her creditor was suing for a guinea and six. Less would
not gain back her furniture for her.
IAN
So she said.
They stop and dismount to lead their horses up the hill.
AT THE TOP OF THE HILL
A HIGHWAYMAN sits astride a horse keeping watch from behind an outcropping. He has a fine tricorn hat and lace at his throat, but his coat is faded and tattered. His hand rests on one of two pistols jammed in his belt.
HALFWAY UP THE HILL
George and Ian stop to rest.
IAN
(Panting)
Did ye ever stop and think of the debt you were
a-owing yerself?
GEORGE
The thought of that debt never leaves me.
IAN
And it never will if you persist in giving money away. Ye wit well,
the Lord commands us to be good stewards.
Ian picks up the reins of his steed and walks it onward. George remains at a standstill and casts his eyes up to heaven.
GEORGE
(In a low voice)
Vindicate me, O Lord.
TOP OF THE HILL
The highwayman backs his mount deeper into the cover of the outcropping. The horse snorts and paws the ground.
He puts a steadying hand to her muzzle.
He screws his face up in the effort to hear his approaching prey.
George and Ian crest the hill and draw near to his hiding place.
He takes the reins in his teeth and with his pistols at the ready, kicks his mount into action.
The highwayman at once blocks their path, drops the reins and shouts:
HIGHWAYMAN
(With larcenous relish)
Stand and deliver.
George and Ian stand beside their mounts stupid with surprise.
HIGHWAYMAN
Give me your purses.
George draws his purse out.
It falls with a TINKLE at the feet of the highwayman’s horse.
HIGHWAYMAN
Damn your eyes. Pick that up and give it me proper.
George walks over, picks it up and hands it to the highwayman.
HIGHWAYMAN
(To Ian)
I’ll have yours, and be quick about it.
Ian grudgingly takes out his purse and hands it to George who passes it up to the highwayman.
GEORGE
Will you spare us the price of a meal?
HIGHWAYMAN
(Laughs coarsely)
No, but I’m much obliged for the price of mine.
The highwayman spurs his horse around and gallops away.
A LITTLE FURTHER DOWN THE ROAD
George’s face, wreathed in a smile, beams at his friend.
GEORGE
It’s much better that our widow has the money
than that outlaw, wouldn’t you say?
Ian GRUMBLES an assent.
At the SOUND OF HOOVES they both look round. It’s the highwayman again.
George and Ian huddle behind their horses. The highwayman charges to a stop.
HIGHWAYMAN
I’ve decided that you will oblige me by trading coats.
George takes off his coat and hands it up to the highwayman.
GEORGE
You have much more need of the coat of righteousness.
HIGHWAYMAN
Save your sermons, parson.
The highwayman puts on the fine coat and tosses down his tattered one, turns his horse and gallops off.
LATER
On the road now nearing a village, George pulls the tattered coat closer about him to ward off the cold. The pair rides on in silence.
Ian turns his head at the SOUND OF GALLOPING HOOVES.
IAN
It’s him, again! Ride for your life!
George and Ian kick their horses into a gallop, and streak towards the village. The highwayman BELLOWS in anger at them to stop.
George and Ian reach the village and the highwayman, reins in his horse and shakes his fist in rage. Then turns and flees back down the road.
THE VILLAGE
The village’s single street is empty, only by the curl of smoke from each of the chimneys do we know that the village is inhabited.
George and Ian stand beside their mounts to catch their breath.
IAN
I was sure he was a-meaning to kill us that time.
GEORGE
Aye. Thank the Lord we were so close to this village.
Ian eyes his companion with a wry smile.
IAN
You look a very scarecrow, Mr. Whitefield.
George lifts the hem of the coat, and feels the heft of a considerable weight.
He tears at the lining of the hem and takes out a small but heavy sack.
GEORGE
Bless my soul, Ian, will you look at this.
George pours the contents out into the palm of his hand.
IAN
Gold?
GEORGE
Aye! It must have been what he came back for. With this I
can get some material to send to my orphans for winter clothes.
IAN
But…but..
GEORGE
I know..I know.. It could be used to pay the debt. But this
falls very short of what the orphanage owes and is
remarkably close to what the material will cost.
IAN
You’ll be returning to London without repaying that debt?
CUT TO:
The title sequence follows as the conversation continues against the backdrop of London.
Watch This Space 