Far From The Trees // First Read Radio

Far From The Trees

Far From The Trees // First Read Radio

Turning short films scripts into radio plays! First Read Radio is a beefed up table read professionally recorded with voice actors and sound designed by a team of top-notch audiophiles all while under the direction of an experienced storytelling team.

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The saying goes “boys will be boys,” however when a prank goes too far for Gillian, she conjures the creature of the forest to help her settle the score. But, how far is too far?


Written by: Gary Jones
Directed by: Gary Jones
Sound Supervisor and Editor: Ryan Gottshall + Gary Jones
Produced by: Awfully Good Media


Narrator: Sean Barnhill
Gillian: Jamie Creedon
Billy/Teacher: Simon Hill

Have a script you’d like to hear on the show? Submit today! We’re accepting scripts 15 pages or less for season 2 now.

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Far From the Trees


Written by

Gary A. Jones



Angle on a large black eyeball, not human, but amphibian. Reflected is an old brick and mortar school house. A GECKO crawls across a concrete wall, making its way toward the main planters on the other side of the walkway.

A loud bell RINGS out, stopping the little guy in his tracks.

Countless pairs of feet storm passed it as the gecko tries to evade multicolored shoes stampeding toward the front doors of the building.


And just like that, the gecko is flattened. A rock is pulled back to reveal a dark haired boy with cold eyes brandishing a hellish grin; this is BILLY, 13. He quickly admires his work, then hustles back with the rest of the STUDENTS.

We are left staring at a gruesome murder scene of one defenseless gecko. GILLIAN, 13, wears a generic plaid school uniform and unconventional fiery red hair.

Billy observes from a distance as Gillian gently picks up the carcass and places it into a small hole dug into the soft soil. Sending the gecko to a place of rest.

The last bell RINGS as...


...Gillian sits in the center of an unruly classroom buried deep into a book designed with beautifully ornate foliage and gold leaf ink. The title on the front reads: Tales from the Mythic Forest.



Students sprint across a green field tossing balls, playing tag. Gillian sits perched against a tree, flipping through pages of old Celtic drawings depicting a man grown from the earth.



Gillian straddles a cement wall, rummaging through a brown paper sack. She pulls out a sandwich and unwraps it. A gentle breeze flows through her hair and for a brief moment she takes time to be present with Mother Nature.

Billy and a brood of his idiotic buddies, maybe 2-3, watch as Gillian feels the wind move all around her. It’s weird.


The moment passes and Gillian takes a bite of her sandwich. Immediately she springs to her feet spitting everything to ground. She looks to find a tail of the gecko on the floor.

Billy laughs uncontrollably, starting a chain reaction of giggles and pointed fingers throughout the yard.



A ruler hits against a chalkboard held by a TEACHER wearing a tweed jacket and a greasy comb-over, his names not important, all that’s important is the word CHAMELEON written across the board.


Who can tell me how the chameleon manages to stay alive in the wild?

Rows of kids roll their eyes. Some asleep. Some glazed over looking off into nothing.

Agitated tapping is heard behind Gillian who's sketching flowers and vines onto paper.

The tapping develops into a loud and heavy rhythmic thud with ever stroke of her pencil. Gillian peers at the ticking clock on the wall. The second hand in sync with the tapping.

Quickly it builds momentum till aggravation sets in. She presses the lead deeper and deeper into the paper unit, snap!

She swiftly turns behind her to find the source of her angst coming from Billy who's staring right at her. His dirt infested fingers tapping on the desk.



Gillian’s face turns red as she looks around the room to, everyone staring back at her.

She stands from her desk. All eyes on her.




What about it?

Gillian finds Billy glaring at her intently.


It’s used to blend into an environment so it can be hidden.

Billy’s eyes are fixed on Gillian as she stands there. Uncomfortable in her own skin. Naked and in the open.




Gillian storms out of the school doors, rushing down the stairs as fast as her legs can move. She trips, falling to the ground, pages of floral drawings scatter everywhere.

Kids rush from behind, paying no attention.

Billy strides past Gillian, eyes beaming and a grin that makes her skin turn to R.L. Stein goosebumps.

The wind kick her pages into the air, blowing further away from her reach. She chases them down as each gust scatters them further into it the...


She grabs the last drawing and finds herself far from the school. Isolated from anyone. Wind rushes through the trees.

Sounds of inaudible whispers creep from behind her. Gillian turns quickly to find nothing but rustling leaves and branches.

She takes notice to a beautiful autumn tree, splashed with vibrant orange, yellow and red fronds.

She takes in the breeze, gently closing her eyes feeling it as it passes through her body.


The sounds of the wind moves through the trees all. In the distance, birds chirp at the sun. All of it, together, transforms into one harmonized symphony. Then...


(whispers) Hide.

Gillian snaps out of her trance to find Billy standing nose to nose.

Billy shoves her against a tree. Gillian's frightened but not quick to run. Billy reaches into his pocket and pulls out a KNIFE. He thrusts it against her thigh.


Let’s see if you’re really a redhead, huh?

The knife glides along her leg and up her skirt. Gillian stands strong, eyes fixed on his. She gasps as the knife slowly digs into her skin. Not too deep. Just enough to get Gillian to squirm.


I don’t see you stopping me.

Blood cascades down her leg as the knife sinks deeper...

BOY (O.S.)

Billy! Come on...

A group of BOYS, 2-3, stand in the distance. Billy puts his knife back into his pocket.


See you around.

And just like that, he disappears into the woods. Gillian wipes the tears from her cheeks.



Gillian sits at a cluttered vanity mirror, studying herself. She pulls up her skirt to find a puncture mark.



Wedged between her disconnected PARENTS Gillian stares off into a television her FATHER channel surfs through. Nothing but bullshit advertisements for cookware and golf equipment.

He leaves the channel on an old black and white Creature Feature: Creature from the Black Lagoon.


The gray sea MONSTER bursts out of the water, grabbing it’s victim and dragging them into the depths of the sea.


Gillian’s eyes come back to life. She leans in closer to the screen.


Gillian rummages through old boxes of COSTUMES, uncovering an old ghillie suit and a box of leaves from a production of something with tree’s.


Billy glares at Gillian’s empty desk.


Billy and his group kick rocks and light firecrackers as they make their way through the woods.

The wind picks up and a gentle howl moves through the trees. Billy takes notice.



The Boys stop and all listen. Another faint HOWL in the distance.


What the hell is that?


A wolf?


No wolfs out here.


Yeah there is. My dad told me--


Shut up.

A gust of wind blows through the trees and the Boys turn behind them to find a LARGE GREEN MAN, ten feet tall with hands the size of a bears and face like vines.

The Boys escape to the woods for dear life, squealing.

Billy slips over his feet and nose dives into a rock, knocking him out cold.

The Green Man stands laughing watching the Boys shriek in terror and high tail out. Gillian takes the mask off.



You should have seen your face.

Her eyes widen as she looks at Billy's who’s not moving. She quickly turns him over, revealing a blood soaked mouth.

Gillian peers around for help, but the Boys are already too far. She looks back to Billy who leaps from his unconscious state and wraps his hands around Gillian's neck.

Gillian fights with everything she has, gasping for any bit of air she can.

Gillian's hands fumble to find anything to defend herself with.


You like playing games...

She reaches into Billy's pocket, pulling out his KNIFE.

Billy smacks it out of her hand. A brief moment of air. Gillian takes a large gasp before Billy’s hands regroup around her throat. This time tighter.

Gillian’s eyes flutter as life begins to flee. She takes comfort in the wind and the rustling tree branches.

A strong gust blows leaves through the air, revealing a large rock.

Gillian’s fingers stretch toward it and in an instant she pulls up the rock and smashes it again Billy’s head.

Quickly, Gillian straddles Billy and begins to shatter his face into unrecognizable pieces. Blow after blow. She screams out in fear.

With one final THUD, Billy’s body goes limp.

Gillian gazes at the lifeless body. She moves to her feet as the tree’s begin to sing. Wind blows through her, she can feel its energy.

The wind blows leaves that begin to covering Billy’s body. Camouflaging it with the earth.

Gillian stalks past the mound, and blends into the beautiful autumn trees as we...



Fauve // Films de chez nous


Best Short 2019

Set in a surface mine, two boys sink into a seemingly innocent power game with Mother Nature as the sole observer.

Director Jeremy Comte’s heartfelt live action short portrays an innocent power game between two boys that escalates beyond their control. The film is a psychological thriller that places the audience in an isolated world alongside these two rebel-seeking boys. After winning six Oscar-qualifying film awards, it is no surprise that Fauve is nominated for a 2019 Academy Award for Best Live Action Short Film. We've had the absolute pleasure to discuss with our fellow Montréal filmmaker and Oscar Nominee Jeremy Comte about his incredible film.

First of all, congratulations on your Oscar Nomination. Was this a surprise for you and are you enjoying the response you are receiving?

Jeremy: Thank you so much! It was a complete surprise. I really tried to keep low expectations , so I am completely over the moon. It’s pretty unbelievable all the love that Fauve has received so far. My goal with this project was always to make the best film within my capacities and the repercussions from it are beyond my expectations. What amazed me the most is that the film has received awards from almost every continent around the world, from professional juries to young student juries and the public. It means a lot to me that it can reach a wide audience. The shortlist is one step closer to a big dream of mine so crossed fingers for the next steps!

One simply can’t make up a story like this, it’s got to come from somewhere, a dream, a personal experience… Tell us how it all came about?

Jeremy: You are so right! Growing up in the countryside, the inspiration for Fauve came from some childhood nightmares I had at that time. These dreams kept visiting me throughout all my life at different moments, where I could recall the emotion and a clear scenery from them, but I didn’t mind them too much. About four years ago, I was running on a small muddy road under a light rain in the countryside and it all came back to me. I knew at this moment I had to make a film out of theses memories, exploring childhood in a raw and authentic way.

The kids, Félix Grenier and Alexandre Perreault are just enormous in telling the story. Their rawness tells me they are not trained actors, which actually makes this film feel all the more realistic.

Jeremy: At first, my casting director Victor T.B and I started to cast young actors in Montreal, but they were mostly too ‘proper' for what we were looking for. Growing up in the countryside, I wanted kids that are used to playing in the outdoors, with a “rough around the edges” kind of energy. We reached out to many schools around the area where we were shooting and auditioned 50 boys. Felix and Alexandre had both a natural charisma and transparency that struck me. Their own personality and their suggestions on the project brought the script to another level and certainly to a more genuine one. I did a lot of rehearsals with the boys before shooting and I let them be free to explore the locations. By observing the way they were interacting between each other and what they would naturally do on location, I rewrote the story. Because it was their first shoot, I ran through the shots with them before end, using my Iphone as a camera and telling them how it would happen with position and movement. They became used of the repetition of many takes during rehearsal. At the end, we mostly had a lot of fun and I could say I became a child for some moments.

The translation for “Fauve” is wild and uninhabited, we can certainly see the connection to it, but what made you stick to that title?

Jeremy: It was hard to translate the title in English honestly because the word Fauve has multiple meanings in French. First off, it means wildcats or beast which I found to be appropriate with the two boys and the tone of the film. Even in French, we can call kids Fauve when they are pranksters. I wanted an almost aggressive and primitive sounding word. Second, it is also a specific color, which is close to a burnt orange. That color ties together two strong symbols in the film. And finally, the art current Fauvism where painters used to portray vivid countryside landscapes, brings us to the last scene of the film. That specific scene was pretty much inspired by Fauvism.

The setting and landscape in this film is quite magnificent, it almost takes on a character of its own. I didn’t even know such landscape existed in Québec. How did you find the surface mine? And was the location exactly what you had in mind? Or did you have to adjust the script or vision once you came across it?

Jeremy: I knew the main location was a surface mine, but didn’t know any location like the one I had in mind. So I went on "Google map” satellite and start searching around Montreal. Then, I scout with my producers the ones that seemed interesting. At the end of the day, we stumbled into this magnificent surface mine and I was jumping like a kid. It was so perfect for the main actions of the film so we knew right away it was this one. However, at first, the opening scene of the film was with the boys playing around old abandoned cars. It happened that there was abandoned trains beside that same quarry. It was really meant to be. So I rewrote the beginning of the film to adjust to this new location.

How did you create the sinking sand in a safe way, and how did you convince the kinds to go in up to their necks?

Jeremy: We worked really hard with a special effect supervisor for a long time to find the right way to do it. We ended up, digging a small hole in the ground and strengthening it with wood, then filling it with oatmeal to bring a nice dirt texture. The deepest that Alexandre could go, really was up to his waist, so he had to fake the rest. There was a stunt and medic on set, and Alexandre was attached with ropes, just to reassure everybody, but really there was no risk. The illusion seemed very real. The real problem was that it was cold inside, so we took Alexandre’s temperature after every take and we had to stop at one point because he was getting too cold.

Merci Jeremy, on est tous derrière toi et on espère bien te voir sur le podium des Oscars. Bonne chance!

Jeremy: Merci énormément

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I Am Your Friend

A friendship is put to the test when two teenage boys are left alone for the weekend. As the teenagers confront their neighborhood rivals, horseplay escalates to violence throwing their loyalty to one another into question.

Director's Notes

I AM YOUR FRIEND is inspired by my experiences with toxic masculinity while growing in New England and how my friendships were either made stronger or fell apart. Our relationships as kids are complicated and fragile. The dynamic between two teenage boys is supportive and competitive, intimate and violent, loyal and mistrustful, all at the same time. Those dynamics are influenced by rivalries with other teens, girls, drugs, sex, violence and straight-up poor decision making. With this film, I wanted to send viewers back to that time in our lives, when our worlds depended so heavily on those complex connections with friends.

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Billy Boys

3D printers are more accessible now than they have ever been and the reality is that to make a gun is as simple as the click of a button.

'Billy Boys' takes us to an eerily realistic problem we are going to have in the near future, if it's not already happening in the underground scenes. Director Fraser Rigg doesn't think we really truly realise the power of technology, where 3D printers are more accessible now than they have ever been and the reality is that to make a gun is as simple as the click of a button. 'Billy Boys' is a stylistic thrilling film about the underground world shifting to the digital age.

Welcome to the digital age you old bastard

My close friend and collaborator Mike Wilson and I had just finished shooting our first short film “Repetition” which I wrote and Directed. We were looking for our next project, and I had this idea for a story on 3D printed guns, so I wrote a draft of the script which was half of the idea. I then passed it on to Mike who is a much more talented writer than I am and he came up with the great twist at the end and final punch line of ‘welcome to the digital age you old bastard!’. Thats when our producer Andy Surry became attached, Mike organised a meeting where we pitched him the idea and he got interested in the project. After that it was just a case of finding the right cast, costumes, props and locations.

Composed with a great ballad of acting and a simply stirring and colorful cinematography, the story is driven by rhythm from the impeccable soundtrack by Chris Wilson.

The whole reason of the project was to show what we could do for little money, in total ‘Billy Boys’ cost us £4,000 which we self funded. I also wanted to show off stylistically what I could achieve as director, in my eyes ‘Billy Boys’ is a sci-fi and after ‘Repetition’ I had the urge to shoot something that look sci-fi. Worryingly though, is that the technology already exists to create guns with 3D printers.

Turn up the speakers and fill up your screen to enter the digital age!

Behind The Scenes


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