Page 1-3 Panels
Page 1 Panel 1-est. shot, which occupies the top ½ of the page. We’re inside a brightly-lit conference room, with the center dominated by a pill-shaped table with people seated around it. On the left-hand side, there are 3 people (2 women and a man) who are all casually dressed, but look a little ragged, as if just woken up. This group of people may also be referred to as the scientists. They all arranged as follows (from farthest to closest to Renee Salinger): Hispanic female, white male and white female. On the right-hand side, two people (a man and woman) sit in business suits. At the far head of the table, a casually dressed woman stands, hands and arms out as if she’s explaining something to the scientists. Behind her on the wall is a rather large HDC (Human Dynamics Corporation) logo, which should incorporate a DNA strand/helix into the design. The wall behind the scientists contains a TV, while the wall behind the suits has binders and books.
CAP.
HUMAN DYNAMICS CORPORATION FACILITY, LOS ANGELES CA. OCTOBER 10TH, 2000. 1:04 AM.
RENEE SALINGER (WOMAN STANDING)
I WANT TO THANK EVERYONE FOR SHOWING UP ON SUCH SHORT NOTICE. WE’RE MEETING IN THE HOPES THAT WE CAN RESOLVE THIS SITUATION QUICKLY.
DR. PETER GARBER (MALE SCIENTIST)(YELLING)
THEN WHAT ARE THE SUITS DOING HERE?!
KENDRA ASHCROFT (FEMALE SUIT)
DR. GARBER, AS HDC’S* SECURITY EXPERTS, IT’S MY COLLEAGUE MR. DANIEL’S AND MYSELF’S JOB TO FIX THIS PROBLEM FIRST, AND WORRY ABOUT CULPABILITY LATER.
RENEE SALINGER
ALRIGHT. APPROXIMATELY 2 HOURS AGO, ISOLATED EXPERIMENT SUBJECT 5 ESCAPED FROM THIS FACILITY…
*EDITORS NOTE-HUMAN DYNAMICS CORPORATION
Page 1 Panel 2-this panel takes up ¼ of the page. Three men lie in hospital beds, heads and hands heavily bandaged and a variety of IV tubes stretching from their forearms and noses (so they receive oxygen and nutrients).
RENEE SALINGER (V.O.-CAP)
…AND IN THE PROCESS DISABLED 3 OF OUR SCIENTISTS, PUTTING ALL OF THEM IN LIFE THREATENING COMAS.
Page 1 Panel 3-this panel takes up the remaining ¼ of the page. A security guard with both thumbs interlocked in his utility belt stares off to the left of the panel, eyes a bit tired looking. Behind him, a door marked ‘EXIT’ is open, and the last of someone’s foot is slipping through.
RENEE (V.O.-CAP)
DUE TO INEPT SECURITY, SUBJECT 5 HAD NO TROUBLE ESCAPING. ABOUT AN HOUR LATER, WE OVERHEARD A POLICE TRANSMISSION…
Page 2-6 Panels
Page 2 Panel 1-fairly large (maybe the top 1/3 of the page) panel that depicts the mangled front end of a diesel truck. It looks like it’s hit some sort of pole, and the passengerside window has been busted out from the inside. To the right of the truck (or the left-hand side of the panel), the driver and a uniformed officer speak. Behind them is a dark alley with some trashcans. Perhaps crop in a firetruck and ambulance.
RENEE SALINGER (V.O.-CAP)
THE TRUCK DRIVER CLAIMED A NAKED WOMAN RAN IN FRONT OF HIM, AND IT WAS TOO LATE TO SWERVE. SHE THEN GOT UP AND RAN AWAY. THE POLICE PROBABLY THINK HE’S EITHER CRAZY OR A DRUNK, BUT HIS WIFE WAS THROWN THROUGH THE WINDSHIELD AND HURT VERY BADLY. WE AREN’T SURE WHAT SHE KNOWS.
Page 2 Panel 2-small inset panel of Renee Salinger with arms folded, looking over in the "suits" direction.
RENEE SALINGER
WELL, THAT’S WHERE WE’RE AT RIGHT NOW. MR. DANIELS, MISS ASHCROFT, ANY QUESTIONS FROM THE EITHER OF YOU?
Page 2 Panel 3- closeup of one of the female scientists, Dr. Elizabeth Rocha. She’s Hispanic, with curly black hair and pretty young (no older than 31); she leans on the table, with Dr. Garber and the last female scientist seated closest to Renee Salinger.
DR. ELIZABETH ROCHA (WHISPER)
THIS SUCKS.
Page 2 Panel 4- straight-ahead view of Brandon Daniels (the male suit) clicking a pen in his right hand. Kendra Ashcroft should be slightly cropped into the panel, maybe a shoulder and arm.
BRANDON DANIELS
YOU’RE RIGHT ON THAT ONE DR. ROCHA. DO YOU HAVE AN EXPLANATION FOR HOW SUBJECT 5 OVERRODE THE NEURAL IMPLANTS?
Page 2 Panel 5- Dr. Rocha explodes from her chair, leaning on the table with one arm while pointing a finger at the off-panel Brandon Daniels.
DR. ELIZABETH ROCHA (YELLING)
IF YOU’D READ MY REPORTS, YOU’D KNOW THAT I WAS AFRAID THIS COULD HAPPEN ALL ALONG! WHO KNOWS, SHE COULD’VE HAD AN EMOTIONAL REACTION…
BRANDON DANIELS (OP)
TO WHAT?
DR. ELIZABETH ROCHA
HOW THE HELL SHOULD I KNOW?!
Page 2 Panel 6- panel of Kendra Ashcroft, who has both of her elbows on the table and her fingers interlocked, creating a rest for her chin. She looks somewhat relaxed.
KENDRA ASHCROFT
DR. McGOWAN, DID YOU ADD ANY NEW SKILL OR WORD PROGRAMS THAT MIGHT TRIGGER SUCH AN "EMOTIONAL REACTION"?
Page 3-6 Panels
Page 3 Panel 1- Doctor Maureen McGowan leans back in her chair, clearly the most relaxed of the 3 scientists. She’s in her early 40’s, with short blond hair and wears glasses. Crop in Dr. Garber in his seat with arms folded, fuming with anger and anxiety.
DR. MAUREEN McGOWAN
I SERIOUSLY DOUBT IT, EVEN TAKING INTO ACCOUNT THE NEURAL IMPLANT MALFUNCTION WE HAD A COUPLE YEARS BACK. BUT I’M NOT SURE IF SHE RECEIVED THE LAST DOWNLOAD BEFORE ESCAPING.
Page 3 Panel 2- Dr. McGowan is now leaning forward in her chair, glancing at a folder in front of her.
DR. MAUREEN McGOWAN
YEAH, THE WORD GROUP PROGRAM WAS PRETTY TAME, A BUNCH OF SELF-REFLECTIVE STUFF. "I AM", "I FEEL"-THAT SORT OF THING.
Page 3 Panel 3- Dr. Garber is looking over his notes, profusely sweating and wiping some of it off with a white handkerchief.
BRANDON DANIELS (OP)
THANK YOU DR. McGOWAN. DOCTOR GARBER, WHAT ABOUT TRACKING HER THROUGH THE NEURAL IMPLANTS?
DR. PETER GARBER
WE ALREADY TRIED THAT. WHEN SHE MADE HER ESCAPE, THEY WERE STILL OFF. THEY WON’T COME BACK ON FOR ANOTHER 7 HOURS. WE COULD DRIVE AROUND WITH A PORTABLE ACTIVATION UNIT, BUT IT’S GOT A LIMITED RANGE…
Page 3 Panel 4- large panel of Brandon Daniels and Kendra Ashcroft, with Daniel’s hands animated for his dialogue. Ashcroft looks straight ahead, gauging the expressions of the scientists.
BRANDON DANIELS
LET ME MAKE SURE I UNDERSTAND THE FACTS SO FAR.
BRANDON DANIELS
YOU’RE TELLING ME THAT A TOP SECRET MILITARY EXPERIMENT WORTH OVER 300 MILLION DOLLARS TO THIS COMPANY IS ON THE LOOSE, AND YOU HAVE NO WAY RELIABLE OF TRACKING IT OR PREDICTING IT’S BEHAVIOR?
DR. McGOWAN (OP)
IT DOES GIVE ONE PAUSE, CONSIDERING YOU REJECTED THE MILITARY-PROPOSED SECURITY UPGRADE LAST YEAR.
BRANDON DANIELS
SPEAKING OF THE MILITARY, HAVE WE HEARD FROM OUR LIASON YET?
RENEE SALINGER (OP)
AS A MATTER OF FACT, YES…
Panel 3 Panel 5- a small collection of tropical islands illuminated by the sun.
CAP.
POLILLO ISLANDS, THE PHILIPPINES. OCTOBER 10TH, 2000. 5:04PM LOCAL TIME.
RENEE SALINGER (V.O.-CAP)
…WE’RE STILL WAITING FOR WORD BACK.
Page 4-7 Panels
Page 4 Panel 1- small, square panel of a man in traditional US army camouflage gear, handing an Iridium phone to an outstretched hand, with the rest of the person’s body off panel. An Iridium phone is about the same size as the old Army phones, with black casing and a long antenna that looks like a silencer.
LIEUTENANT HENSLEY
GENERAL SIR, IT’S FOR YOU-TOP PRIORITY.
GENERAL GARLAND GRAZER
SIGH.
GENERAL GRAZER
GIVE IT HERE THEN.
Page 4 Panel 2- a "sliver" panel, very thin (think some of the panels from Dark Knight Returns) of the phone pressed against the General’s left ear, with a thin trail of smoke rising up by the phone. The reader should think that the General’s back is turned to them.
GENERAL GRAZER (ANGRY/YELLING)
WHAT?! IS THIS SOME SORT OF JOKE?!
Page 4 Panel 3- this panel is the same size as panel #2, and we see the other side of the General similarly cropped. He holds the cigar out, ashing it over an off-panel ashtray.
GENERAL GRAZER
I UNDERSTAND. I’LL BE THERE TO PERSONALLY OVERSEE THINGS. GOODBYE.
SFX
CLICK!
Page 4 Panel 4- in another smaller panel, the General hands the phone back to the soldier.
GENERAL GRAZER (OP)
THANK YOU LIEUTENANT. NOW WHERE WERE WE…
Page 4 Panel 5- a large panel that dominates the page. A nearly naked man suspended from the ceiling by chains, his legs bound together with heavy rope and sitting in a bucket of some clear liquid (it’s gasoline). His legs and feet have numerous cuts, some healed but most open and bleeding. His chest also bears quite a few cigar (and perhaps cigarette) burns, bruises and cuts-it’s obvious he’s been tortured for quite a while. His facial expression indicates that he’s begging or pleading. Behind him is a red brick wall, and on the left side of the panel is a small table with various instruments of torture. General Grazer stands with his hands on his hips, cigar clutched in his teeth and the lieutenant next to him, making a call on the phone. Two other soldiers are in the panel, one standing by the table and another standing to the left of the prisoner. Both have standard sidearms, and all soldiers wear traditional Army uniforms.
Page 4 Panel 5 (Con’t)
GENERAL GRAZER
PLEASE PARDON THE INTERRUPTION SANDOV. ARE YOU READY TO DISCLOSE THE LOCATION OF THOSE BIOCHEMICAL WEAPON SAMPLES NOW?
SANDOV (CRYING)
I’M TELLIN’ YOU, I DON’T KNOW! ASK ANSON!
GENERAL GRAZER
I DID, AND HE POINTED THE FINGER RIGHT BACK AT YOU. STRANGE, AIN’T IT?
SANDOV (SHOUTING)
HE’S LYING!
GENERAL GRAZER
YOU MIGHT BE TELLING THE TRUTH. HOWEVER…
Page 4 Panel 6- closeup of General Grazer with a slight smirk on his face, holding a cigar in his right hand. Should be him leaning forward on one of his knees, with everything else omitted from the panel, including a background.
GENERAL GRAZER
…ANSON IS WHAT WE IN THE INTERNATIONAL INTELLEGENCE COMMUNITY REFER TO AS "RETIRED". AS A MATTER OF FACT, HE RAMBLED ON ABOUT QUITE A FEW THINGS. SUFFICE TO SAY, MY BOYS ARE STILL FINE TUNING THEIR TORTURE TECHNIQUES.
Page 4 Panel 7- the soldier by the table holds one of the scalpels up, shooting a big toothy grin in Sandov’s general direction.
GENERAL GRAZER (OP)
I HAVE TO LEAVE NOW, BUT I’M LEAVING YOU IN CAPABLE HANDS. IF YOU DON’T TELL THEM WHAT I WANT TO KNOW, THEY’LL SHOW YOU WHAT WE DID TO ANSON.
Page 5-5 Panels
(Artist’s note-for this page, I’d like panel 5-the plane taking off-to take up the right side of the page, as if it were taking off of the page.)
Page 5 Panel 1-the General and the lieutenant speed off in a jeep, with a dilapidated 2-story brick structure behind them hidden by dense jungle foliage. A couple of soldiers stand guard outside, armed with Heckler and Koch assault rifles.
SANDOV (OP-SCREAMING)
AAAAAAAAAAHHHH!
GENERAL GRAZER
SOUNDS LIKE ROBERTS IS STARTING EARLY. MAKE SURE IF SANDOV GIVES UP ANY INTEL, WE FOLLOW IT UP BEFORE GETTING RID OF HIM.
LIEUTENANT HENSLEY
YES SIR.
Page 5 Panel 2- the jeep negotiates a thin, zigzag trail that’s been carved into the hillside.
GENERAL GRAZER
I DON’T WANT ANOTHER ANSON OCCURRENCE.
Page 5 Panel 3- shot of a high-tech looking aircraft sitting on a floating landing strip, with a cement dock next to it. I leave the design of the ship to you, but try to make it look very sleek. In the panel background, the jeep can be seen tearing down a straight dirt road, with a trail of dust behind it.
Page 5 Panel 4- a fairly small panel, the General stands at the entrance to the ship, twisted around at the waist and saluting.
SFX
RRRRRRRRR! (THESE ARE SUPPOSED TO BE JET ENGINES WARMING UP)
LIEUTENANT HENSLEY (SHOUTING)
GOOD LUCK GENERAL SIR!
GENERAL GRAZER (SHOUTING)
THANK YOU LIEUTENANT HENSLEY! KEEP ME UPDATED!
Page 5 Panel 5- as mentioned before, this panel will take up the rest of the page. The jet quickly takes off of the landing pad and speeds off into the sky, with the exhaust filling in some of the dead space. If possible, include Lieutenant Hensley seeing him off or the jeep to indicate he hasn’t left. Perhaps do a "stop motion" thing, where the plane takes off in stages and still have the plane at the top of the panel-whatever works best for you.
SFX
VROOOM!
SFX
WHOOOSH!
Page 6-7 Panels
Page 6 Panel 1- the General sits in a large chair that looks very comfortable, pressing an inset button on the right armrest and looking out the window, mouth open as he speaks.
GENERAL GRAZER
JUNE, WHAT’S OUR CURRENT ETA?
JUNE, THE PILOT (OP-RADIO)
AT OUR CURRENT SPEED AND COURSE, 2 HOURS AND 9 MINUTES.
GENERAL GRAZER
GOOD. I’LL ALSO NEED A SECURE LINE OPENED TO WALKER OUT IN LOS ANGELES.
Page 6 Panel 2- shot of a computer screen with a young man’s face on it, built into the seat in front of him.
DREW WALKER
HELLO GENERAL. THE SEARCH IS ALREADY UNDERWAY-WE SHOULD HAVE SUBJECT 5 IN CUSTODY BY THE TIME YOU SET DOWN.
GENERAL GRAZER
DON’T TEASE ME. AND WALKER, MAKE SURE SOMEONE’S WAITING FOR ME AT HDC’S CORPORATE TOWERS.
DREW WALKER
I’LL SEE TO IT PERSONALLY SIR.
Page 6 Panel 3- horizontal, rectangular panel of 2 uniformed police officers waiting by a doorway, in the hallway of a hospital. The one who leans against the wall with hands shoved into his jacket pockets is MATTHEW STANTON; white, good build and no older than 26. The one standing is MIKE CARTER; black, stocky build and he’s 24.
CAP.
ST. JUDES HOSPITAL, LOS ANGELES , CA. 1:19 AM.
OFFICER MATTHEW STANTON
WHADDA YA SUPPOSE HAPPENED?
OFFICER MIKE CARTER
NOT SURE. THIS KINDA THING ISN’T THE COUNT’S STYLE.
OFFICER STANTON
YEAH WHATEVER-THEY’RE ALL SCUMBAGS.
Page 6 Panel 4- the door next to Officer Stanton opens; an older female doctor comes out, quickly closing the door behind her. She’s holding a file in her hand.
OFFICER STANTON
WELL, WHAT’S THE PROGNOSIS DOC? IS IT RAPE?
DR. LEILA EICHORN
MY NAME IS DOCTOR EICHORN, NOT DOC. AND NO, I DON’T THINK SHE WAS.
Page 6-Con’t
Page 6 Panel 5- the doctor hands Officer Stanton a fairly thick manila folder.
DR. EICHORN
WE RAN ALL THE STANDARD TESTS, AND COULDN’T FIND ANY EVIDENCE THAT A RAPE HAD OCCURRED.
Page 6 Panel 6-closeup of Officer Carter standing with his arms crossed, glaring at his off-panel partner.
OFFICER STANTON (OP)
YOU’RE TRYIN’ TO TELL ME THAT GIRL’S STILL A VIRGIN?!
I FIND THAT HARD TO BELIEVE.
Page 6 Panel 7- closeup of Officer Stanton thumbing through the file. He is oblivious to the stare, which he gets at least once a day. The dialogue balloon from panel #6 could also be linked to this panel, and viceversa.
OFFICER CARTER
THANKS DOCTOR EICHORN, WE’LL TAKE HER DOWN TO THE STATION.
Page 7-6 Panels
Page 7 Panel 1- establishing shot of a bunch of police and detective cars parked in front of a brown, multi-story building.
CAP.
17TH PRECINCT POLICE HEADQUARTERS.
Page 7 Panel 2- small panel of a door with a smoked glass window that reads in black lettering ‘Captain Ronald Jeffers’. Two silhouettes (our 2 officers) stand inside.
OFFICER MIKE CARTER
YEAH, THIS WHOLE THING IS STRANGE-
Page 7 Panel 3- shot of the 2 officers standing, with the focus on Officer Carter, who has his hat in his hands. Officer Stanton looks very bored/disinterested. There should be some photographs and plaques on the walls, although they aren’t important enough to detail.
OFFICER MIKE CARTER (CON’T)
-WE RAN HER FINGERPRINTS, PUT HER DESCRIPTION THROUGH MISSING PERSONS…NOTHING CAME UP. PLUS, WE CAN’T GET HER TO TALK, ALTHOUGH THE DOCTOR DOESN’T THINK SHE’S IN SHOCK.
Page 7 Panel 4- Captain Jeffers sits behind his desk, clutching a cup of coffee. His desk is very messy, with stacks of paperwork. A map of the police territory hangs behind them, but again there isn’t a need for detail-just trying to establish the atmosphere of the office.
CAPTAIN RONALD JEFFERS
DID YOU FIND ANY EVIDENCE IN THE PARK?
OFFICER MATTHEW STANTON (OP)
NOPE, BUT WE THINK THE COUNT’S GANG MIGHT’VE TAKEN HER STUFF.
CAPTAIN JEFFERS
THEN DROP THE CASE-WE’RE WAY BEHIND AS IT IS, AND IT DOESN’T SOUND LIKE WE COULD GET A CONVICTION.
Page 7 Panel 5- closeup of an open file at the top of the Captain’s desk, with the label ‘Jane Doe’ on the inside. Things such as fingerprints, typed up police reports and mug shots are visible, but can’t be made out.
CAPTAIN JEFFERS (OP)
CARTER, YOU AND STACY TAKE THAT GIRL DOWN TO THE WOMEN’S SHELTER. I’LL SEE IF WE CAN ASSIGN A DETECTIVE IN A COUPLE OF DAYS.
OFFICER CARTER (OP)
YES SIR.
Page 7 Panel 6- a desktop level panel, with the ‘Jane Doe’ file sitting in a ‘Waiting To Be Processed’ outbox,, with the 2 officer’s making their exit. The phone on the Captain’s desk ring.
SFX
RING RING!
Page 8
Page 8 Panel 1- Stacy and Officer stand outside of a heavy wooden door, with a fading sign that reads ‘Project Outreach’. Some mailboxes set into the wall to the left of the door. Stacy smokes, while Officer Carter stands with his hands stuffed into his pockets.
STACY TRAVERS
IS SHE NOT THE WEIRDEST PERSON YOU’VE EVER MET?
OFFICER CARTER
YEAH, THERE’S JUST SOMETHING ABOUT HER, BUT I CAN’T PUT MY FINGER ON IT…
Page 8 Panel 2- small panel of Stacy flicking her cigarette away.
STACY TRAVERS (OP)
HAVE YOU HEARD FROM CARRIE?
OFFICER CARTER (OP)
NO.
Page 8 Panel 3- fairly large panel with a long shot with the burning cigarette in the foreground, and the pair talking in the background. Cars are parked along the sidewalk. In one of the second story windows, a silhouette watches.
STACY TRAVERS
THAT SUCKS. OF ALL THE PEOPLE WHO DESERVE TO HAVE A PARTNER LEAVE THEM, IT CERTAINLY ISN’T YOU.
OFFICER CARTER
THANKS STACY. I KEEP THINKING MAYBE I’LL BE BETTER OFF.
STACY TRAVERS
YEAH.
STACY TRAVERS
LISTEN, YOU WANT A RIDE HOME?
OFFICER CARTER
NAW, I THINK I’LL WALK. THANKS ANYWAY.
Page 8 Panel 4-shot from behind of Officer Carter waving as Stacy’s detective car pulls away from the curb.
Page 8 Panel 5- Officer Carter walks across a street, with the Project Outreach cropped in for a visual reference of how far he’s walked.
Page 8 Panel 6- Officer Carter inside the lobby of his apartment-add some backwards name on the glass doors, maybe ‘Villa Vista’ or something of that nature.
Page 8 Panel 7- Officer Carter putting the key in the lock of his door (number 7, which denotes he lives on the first floor). The shadow of another person looms over him. Maybe crop out most of his body to accentuate the shadow.