Title: Instinctive Issue #1: When World's Collide (Part 1) Written by Erik Amill Begin Page 1. * Frame 1: We open on a long shot of a wooded stretch of road. It's midnight. The color of the pavement and surrounding vegetation is muted by the twilight. Only through the headlights of a passing car are the true hues of the road will be seen. The car looks to be a blue Toyota Matrix. Note - All frames on this page involving the car has the car facing the left side of the page unless otherwise noted. This idea is key to the next few parts of the story. The use of somewhat similar panels will give readers the feeling these events are happening together, just in different areas. -Text: Franklin, Connecticut * Frame 2: The muted tones of the woods carry over into a second long-shot. We see the silhouetted movements of three figures. The figures are moving quickly through the underbrush, which is about waist high, and moving to the right. The figure out in front (Closest to the right) is in a cloak. This person, let's call her the Traveler, is being chased by two other figures with flashlights. Once again, the true colors of the trees show through in light from the flashlights. These figures have gear similar to police SWAT team members. From now on, call the SWAT guys Soldiers. Soldier 1 is farthest from the cloaked figure while Soldier 2 is about midway into the frame. Note - All frames involving this cloaked figure will have said figure moving towards the right. Like with the car, it helps the reader get a sense of time. The feeling that these two events are happening at the same moment, just in different places. The reason for the different directions is that these two events will come together later on down the page. -FX: Rustle rustle rustle -Soldier 1: After her! Don't let her escape! * Frame 3: We continue on the Traveler. It's a head and shoulders shot. The cloak is made of burlap and has a very medieval design to it. It shows signs of wear with fraying around the edges. The Traveler looks back, her face still in shadow, while she braces herself with her right hand against a tree. She holds the cloak closed with her left hand. Two arrows whiff by her head, one striking the tree by her hand. -FX: Whiff -FX: Whiff -Traveler: ~ pant pant ~ -FX: Thunk! -Traveler: Damn! * Frame 4: Back to the driver. This, too, is a head and shoulders shot. We see the driver through the front driver's side window. The light from the dash illuminates his face enough to see his face. The driver is a young 20-something who is clean shaven. He wears on a flannel shirt over a T-shirt. He's tapping the steering wheel his left hand and is enjoying what he is listening to on the radio. -Driver: Boom Badoom Ba Badoom Ba... * Frame 5: Back to the cloaked traveler. We are behind her, looking over her shoulder and down slightly. She is running towards a paved road. From this angle, we can now see that she is wearing boots and running at a fair clip. There is a small mass that looks to be a tail. Another arrow whizzes by. -FX: Whiff -Traveler: A road! * Frame 6: Here's a fun shot. A close up on Soldier 2 and his bow gun. The bow gun is the weapon of choice for the Soldiers. It is a small device that closely resembles a crossbow. The main difference is that it has a lever for resetting and reloading, much like a hunting rife. The viewer is essentially staring down the tip of the arrow. Soldier 2 is lining up his shot like a sniper, carefully waiting until the time is right to fire. We see that Soldier 2 has some animal facial features. -Soldier 2: Gotcha'... End Page 1. Begin Page 2. * Frame 1: This is a long shot of the arrow sailing through the air. Soldier 2 and Soldier 1 are seen in the background, Soldier 1 just reaching Soldier 2's position. The arrow itself would brake frames -FX: Spang! -FX: Whissssss * Frame 2: A "Head and Shoulders" type side shot of the Traveler. Her arm is grazed by Soldier 2's arrow. This has knocked her off balance. The arrow is seen as a speed line with a small trail of blood from the Traveler's wound. -FX: Slice! -Traveler: Ah! * Frame 3: Back to the Driver. We are looking into the car through the windshield, above slightly and to the driver's side. He is bending over slightly to turn up the radio and has taken his eyes off the road. -Driver: I love this song... * Frame 4: Note - These next four frames should overlap slightly, messing even more with the reader's concept of time. Consider it a comic book version of a slow motion save, where both objects are moving at the same time and the reader gets to see both actions instead of just one. A full body side view of the Traveler. The hit from the arrow knocked her off her feet and she begins to fall forward, turning slightly and unable to catch herself. Two more arrow speed lines whiz by. -FX: Whiff -FX: Whiff -Traveler: Ugh... * Frame 5: Close up on the Driver's hand and the radio. -Radio: Foxy Lady... * Frame 6: Another full body shot of the Traveler. She just hit the ground hard on her injured arm, her back toward the viewer. -FX: Thud! * Frame 7: The Driver pokes his head back up in time to see the Traveler falling in front of his car. A look of confusion on his face. -Driver: What the...? * Frame 8: Here is an "Impending Doom" shot. A slight bird's eye view from just above the car's roof as the car bears down on the Traveler lying middle of the road. The road itself has just enough room on the shoulder to avoid without becoming one with the woods surrounding it. -Driver: Oh Sh--! End Page 2. Begin Page 3. * Frame 1: A close up shot on the Driver as he turns the wheel hard to avoid the Traveler. The car wheels squeal as the Driver gives his all just to keep his car under control. He bares his teeth and squints, throwing his weight towards the driver's side door. -FX: Screeeeeeeeeeeeech! * Frame 2: This shot takes up the rest of the page. The Traveler is in the foreground, taking up a small portion of the frame. The little hatchback in the background facing the viewer, it's headlights shining bright. On the ground near the car can be seen fresh skid marks. A small plume of dirt and smoke is visible from the 180 degree turn the Driver made. The Driver stands by his car with his hands on his head, the driver's side door open. The trees, grass, and midnight sky are clearly seen. Be sure to leave room at the bottom for the story title and names of the folks who worked on it. -Driver: Oh my god. End Page 3. Begin Page 4. * Frame 1: A head and shoulders shot of the Driver. He has one hand on his car and the other on his head. He is obviously distraught over the fact he almost hit someone. -Driver: Not good. Not good. Oh man, I can't believe this. * Frame 2: We see the Traveler on the ground. She is moving a bit and hurt from the fall. We see some light from the Soldiers' flashlights in the woods. The Traveler's face is still hidden. -Driver: (Out of frame) Hey! Are you okay? -Traveler: (Quietly) ~ Ugh ~ H-Help... * Frame 3: Cut back to the Driver jogging towards the Traveler. He has a small flip phone styled cellular phone in his hand and dialing with his thumb. -Driver: Don't move! I have a phone and I'm calling for help! -Traveler: (Out of frame) ~ Ugh ~ * Frame 4: We see the Driver kneeling beside the Traveler. The shot is from over the Traveler's shoulder, giving the reader a look at the Traveler's cloak. The Driver is about to touch the Traveler's arm with his right hand, his cell next to his ear. -Driver: I'm right here. Everything will be alright... -Cell Phone: 9-1-1. What is your emergency? * Frame 5: This is a full body shot of just the Traveler. She lifts her arm as if she is going to reach for the Driver. One of the Driver's knees is in the way, blocking view of the Traveler's hand. -Traveler: H-Help... me... * Frame 6: Close up on the Traveler's hand. It is black, like an animal's, with a brown leather fingerless glove. We see she has only three fingers. Note - For now, do not put too much detail into the hand itself. I want to hint at the Traveler's true form for now. Play the detail down, making the hand seem like it is in a lady's formal glove. The fingers on such gloves tend to come to soft rounded points because of the fingernails. It gives a pointed, claw-like look to the hand. -Traveler: Please... * Frame 7: Close up on the Driver. He has a concerned look on his face. His cell phone is still by his ear. -Driver: Uh... -Cell Phone: Hello? -Driver: Um... There's been an accident... * Frame 8: Same set-up as the last frame. In this shot the cell phone is broken. Its ear piece is sliced in half and the Driver's face is turned away from it. -FX: Smash! -Driver: Aagh! End Page 4. Begin Page 5. * Frame 1: In this frame, we have a slight worm's eye view of the Driver and the Traveler. The Driver is looking towards the reader, at an arrow stuck in the foreground. There is blood from a cut on his temple near his ear. -FX: Step step step step -Driver: What the...? -Traveler: D-Don't... * Frame 2: In this frame the Driver helps the Traveler up. He has one of the Traveler's arms over his shoulders and his right arm around the Traveler's waist. He is talking to the Traveler while looking toward his car. -Traveler: Don't let them... -Driver: Just stay with me. I'm getting us out of here. * Frame 3: A head and shoulders shot of the Driver with the Traveler in hand. The two are moving towards the car. The Driver looks concerned for the Traveler who has passed out. -FX: Step step step step -Driver: Damn it. * Frame 4: The Driver is back in his car. The Traveler is slumped over slightly while the Driver buckles her up in the passenger's seat. -Traveler: ~ Ugh ~ -Driver: It'll be okay... I promise. * Frame 5: This is the largest frame on the page. We see the car driving off into the background. The two soldiers stand in the foreground, their heads can be seen clearly now. Both have face masks covering their mouths, though it is clear they are not human. The Soldiers do not have normal mouths but short muzzles. These animal people could pass for human from afar. Soldier 1 is standing next to Soldier 2, both are off to the side a bit. -Soldier 1: Should we follow? -Soldier 2: No. I have the plate number, the human is wounded. They won't get far. End Page 5. Begin Page 6. * Frame 1: Scene change. A long shot of a simply dressed bedroom. There is a night stand with a lamp and alarm clock under a window with drapes. There is a heap of old clothes just barely piled in a basket. It rests next to a dresser with a picture frame on it. There are two movie posters on the wall that look to be from an animated film. They hang just above a simple bed where the Traveler is sleeping. She is curled up in the same position she was in on page three. Light is shining in through the window, the shadows cast in the room show the window has blinds in it. Note - If anything, think of this as a bedroom belonging to a college student. It may have very little items but it is still livable. -Text: The next day... -Traveler: Uh... * Frame 2: Close up on the Traveler, now sitting up in bed. She is leaning forward with all her weight supported by her uninjured hand. Her head remains covered as she holds it with her injured hand. -Traveler: ~ Uh! ~ My head. * Frame 3: The Traveler is sitting on the bed about to get up. Her head is down slightly and turned to the side. She is looking at something out of frame, most likely the door. -Traveler: (Thinx) What happened to me? I remember running and lights... -Traveler: ~ Ugh ~ Damn... * Frame 4: Another scene change. A long shot of the living room. There is a sofa and some shelf units with books and videos in it. A magazine and a game controller sit on a large coffee table in the middle of the room. It is the same idea as the bedroom, very few items but livable. Once more we see there are two posters on the walls. They are comic book related and resemble book covers. There are windows casting shadows in the room like before. The Driver is asleep on the couch. His head is on a throw pillow and his is covered up by a blanket hanging half way on the ground. The Traveler is stands in the doorway to the bedroom. She leans heavily on the door, still groggy from the events of last night. -Driver: Snerk -Traveler: Hello? Is anybody here? * Frame 5: Close up on the Driver. He rubs his eyes and yawns, he is sitting up on the couch. He is wearing the same clothes that he had on last night (Flannel shirt over a white T-shirt.) We now see the Driver has on a pair of cargo khaki pants. He holds the throw pillow like a child would a stuffed animal. -Driver: Oh, hey... you're up. Sorry about the place and all, I didn't plan on having company over. -Driver: ~ Yawn! ~ Come and have a seat, you look pretty tired. * Frame 6: We see the couch in full. The Driver piles the blanket up, clearing a space for the Traveler to sit down. The Traveler is just coming into frame. -Driver: You were in pretty bad shape when I found you last night. -Traveler: What happened? -Driver: I was driving out to meet some friends and I saw you lying in the road. * Frame 7: Both the Driver and the Traveler are siting on the couch. The Traveler is in the foreground looking down while the Driver tells her about the events from last night. -Driver: At first, I thought I hit you. I got out of my car and went to see if you were okay. It looked like you'd been shot in the arm. -Traveler: Really? -Driver: Yep. I went to call for help but someone shot my phone, almost hit me too. * Frame 8: Same setup as the last frame. This time the Driver is in the foreground. The Traveler's face remains hidden in shadow. -Traveler: So, how did I get here? -Driver: I couldn't just leave you there, so I helped you into my car and drove home. Almost didn't make here... End Page 6. Begin Page 7. Note to the Artist: The next few pages take place in the living room with most of the action happening on the couch. * Frame 1: The Driver bends over to put the pillow and blanket away. The Traveler's head is turned a little in the Driver's direction. She rubs her injured arm. -Traveler: So, you saved me a brought me here. -Driver: That's about the gist of it. -Traveler: Thank you. * Frame 2: We are looking at the Driver, the Traveler is in the foreground looking down at the table. The Driver is a little more comfortable now and is leaned back into his corner of the couch. -Driver: I do have a question for you. Why were you out there? -Traveler: I was running... * Frame 3: Same setup as before. The focus has shifted to the Traveler, the Driver is in the foreground. The Traveler has stopped rubbing her injured arm. She has her arms crossed slightly. It is clear through her body language that she is uncomfortable. -Driver: From who? -Traveler: I can't say... -Driver: You can't say? -Traveler: No. * Frame 4: We see the two on the couch. The Driver looks confused by he heard. The Traveler has scrunched in a little tighter, like she's trying to make herself a little smaller and hide from the Driver's sight. -Driver: Okay. You're running from someone, I save you... -Traveler: ... Which I thank you for... -Driver: True. But why were you being hounded down in the woods late at night? * Frame 5: Close in on the Traveler. Her head is turned a little toward the Driver. Her body language tells us that the Driver's last comment upset her a little bit. -Traveler: That's not funny. * Frame 6: Back to the two on the couch. The focus is shifted more on the Driver. The Driver has a confused look on his face. The Traveler is still upset. -Driver: What do you mean "That's not funny"? -Traveler: That remark... "Hounded me." That wasn't funny. -Driver: It's a common expression. * Frame 7: Same setup as before. The focus is more on the Traveler. She is looking toward the Driver, her face still hidden. -Traveler: Don't you know who I am? -Driver: Yeah, some girl who's in trouble. -Traveler: You really don't know... do you? End Page 7. Begin Page 8. * Frame 1: We see the Traveler, the Driver is in the foreground. Her head is down slightly as she points to her hood. -Driver: Know what? -Traveler: You never looked under this thing, not once, when you saved me? -Driver: Hell no. I put you on my bed and crashed out on the couch. That's it. * Frame 2: Close up on the Traveler. As she pulls off her hood, we begin to see the tip of her muzzle and the outline of her face. -Traveler: All right, here it goes... * Frame 3: Close up on the Driver. He is out of his seat and moving back, practically on top of his side of the couch. He is shocked at what he sees. -Driver: Holy Sh--! * Frame 4: This panel takes up the rest of the page. It is a slight bird's eye view of the Traveler, her hood is now off. She, like the Soldiers from before, is not human but a fox. She has shoulder length straight hair and bangs. Her hair is curled slightly at the end. She looks down, the reaction of the Driver hurt her a bit. She is holding on to the base of her hood, though it is more like she is holding her heart. -Traveler: Yeah... I thought that'd happen. * Frame 5: Back to the two on the couch. The focus is on the Driver who is slowly getting back into his seat. He is still shaken from the shock of the Traveler's true looks. -Driver: I... I- I'm sorry. But... I've... and you're... and... -Driver: I- I need some coffee. End Page 8. Begin Page 9. * Frame 1: Back to the two on the couch. They are both sitting down and much calmer than before. The Traveler is holding on to a steamy coffee mug with both hands. She looks a little better than before but she still seems sad. The Driver has his mug on the coffee table. He is rubbing his neck with his right hand and shrugging. -Text: A cup of coffee later... -Driver: That was... surprising. Sorry 'bout that. -Driver: Let's try this again. * Frame 2: Close in on the Driver. His right hand is outstretched for a handshake and he has a slight smirk on his face. -Driver: Let's talk miss... Fox lady-type person. I'm Kyle. * Frame 3: Close in on the Traveler. Coffee in hand, she accepts Kyle's handshake and she too has a slight smirk on her face. She definitely looks happier now, like a weight has been lifted off her shoulders a bit. -Traveler: I'm Ora. And... thank you for your help. * Frame 4: Back to both of them sitting on the couch. Kyle and Ora are looking at each other. Note to the Artist - This shot will continue through the next few frames to Frame 7 with very little change. From here on out I will refer to these two by their real names. * Frame 5: Kyle speaks up to kill the silence. Ora places her coffee mug on the coffee table. -Kyle: So... what are you exactly? -Ora: I'm a Fox. -Kyle: Ah. * Frame 6: Yet another frame of uneasy silence. Ora sits back in her spot, her hands on her lap and looking down at her cup of coffee. Kyle sits back in his spot as well. He is facing forward but he is looking at Ora out of the corner of his eye. * Frame 7: Once again, Kyle is the one to break the silence. This time he is a little more energetic about it. He is confused about the whole situation that has presented itself here. Ora looks upset again and is just as energetic about the comment made. -Kyle: But how? Why?? -Ora: I knew this would happen. You seem like you're so elite in your cities and all yet you just don't understand... -Kyle: Understand what? Last I remember people were the only walking, talking things around! End Page 9. Begin Page 10. * Frame 1: We see the of the two of them. The focus is more on Kyle. Both Kyle and Ora look upset, though Kyle is still showing a state of confusion. -Ora: And you're wrong. Why do you always think you're the only ones to do things? -Kyle: Hold up. "You"? Have you been tailing me or something? * Frame 2: Consider this a funny shot. We see to the two of them, Ora shooting a "Look of Doom" at Kyle. Maybe you can draw them in a super deformed style to add to the impact. As you can start to see, animal jokes or sayings do not go over well with Ora. Kyle has his arms up as he apologizes for his Freudian slip. -Kyle: Sorry, sorry. * Frame 3: Close in on Ora. She looks a little better now, a little less upset and more composed. -Ora: We, my people, have evolved in the same way as you. * Frame 4: We see the two of them. The focus is on Kyle. Kyle looks more composed as well. -Ora: Your kind went out and hunted. You spread and were happy once. We stayed in our ways, living off the land and staying to ourselves. -Kyle: So why haven't folks seen you before? -Ora: They have. * Frame 5: Same as before with focus shifted to Ora. She looks a little sad now, looking down slightly and away from Kyle. -Ora: In ancient times, we were thought of as animal spirits or gods. But then... something happened... -Kyle: What do you mean? * Frame 6: Here's a strange shot. A slight bird's eye view of Ora. She is looking down now, her eyes covered by her bangs. Her hands are in fists on her lap as she trembles a little. Her body language shows she is emotional about what she is about to say. -Ora: Humans... changed. They became more and more violent as time passed, driving my people deep into the woods and caves. But we still felt the need to keep an eye on you. * Frame 7: Close in on Kyle with Ora in the foreground. Kyle is looking down, a bit ashamed after hearing Ora's story. -Kyle: I see... -Ora: It's not your fault. It was the people that came before you that did this. End Page 10. Begin Page 11. * Frame 1: We see Kyle starting to stand with his mug in hand. Ora remains seated, watching Kyle get up. -Kyle: Hey, I'm gonna' get another cup of coffee. Want me to get you a refill or anything? -Ora: Thank you but I can get my own. * Frame 2: Kyle, with mug in hand, catches Ora as she attempts to stand on her own. Ora is still weak from last night and it shows in her expression. -Ora: ~ Ugh ~ -Kyle: Careful now. You're still pretty banged up from last night. * Frame 3: The scene shifts to the kitchen area of Kyle's small house. It is not a small kitchen but it is a tight space with few appliances. There is a normal sized fridge with countertop space around it, a smaller than average stove with countertop space to one side and a single sided sink on the far wall near a back door. A coffee maker and a microwave can be seen near the stove as well as plastic containers for sugar and coffee grinds. Kyle is by the coffee maker, pouring another cup while Ora is leaning on the counter across from him, holding onto her mug. We see a side view of them both. -Kyle: I know you won't tell me what happened last night. That's cool. But could you tell me what almost hit me? -Ora: You're lucky to be awake right now. That was a dipped arrow that grazed you. * Frame 4: Close in on the two with the focus on Kyle. He faces the reader while Ora pours herself another coffee. Kyle stirs a spoon in his coffee, a look of confusion on his face. -Kyle: Folks were shooting arrows at you dipped with what exactly? -Ora: A powerful sleeping potion. When used in tranquilizer darts, it could drop a horse easily. It's normally used to disable... not kill. * Frame 5: Close up on Ora. She knows what could have happened that night and has a look of a sadness and determination in her eyes. -Ora: The arrows aimed at me were dipped hunting arrows. If they didn't kill me with one shot... * Frame 6: Shot of the two of them. Ora leans on the counter with her back turned to the coffee maker. She is sipping her coffee. After hearing that last part, Kyle looks like he is ready for action. -Kyle: So... what can I do to help ya'? -Ora: No. * Frame 7: Same setup as before. The focus has shifted to Ora, who has turned her back to Kyle. Kyle looks upset at being told no. -Kyle: Wait, someone's out to kill you and you don't want help? -Ora: I must do this on my own. I can't... I won't let anymore people die... End Page 11. Begin Page 12. * Frame 1: Scene change. Long shot of a small patch of woods. We see the mouth of a small cave in the background. In the middleground lies two crosses with recent yet weathered markers of two graves. One says Fredric while the other says Athena. -Text: "... Not again." * Frame 2: Enter the cave. Long shot of a man-made walkway going deep into the cave. The walkway, made of wooden boards, is lined with generators and lighting rigs. It resembles that of a common construction site. There are small bundles of cables and wires that lead into the depths of the cave. There are voices coming from off panel deeper into the cave. -Voice 1: Sir. The Target escaped, sir. -Voice 2: Have you been able to locate her new position? -Voice 1: Not yet, sir. She escaped in a human civilian transport, sir. * Frame 3: This is the largest panel on the page. It shows where all those wires and cables lead to. The room is huge and filled with electronic equipment. It resembles NASA mission control. There are many small TV sized screens showing random news casts spread about the room. There are many woodland-type creatures in second hand lab coats manning computers and taking notes. There is a TV wall displaying a map of New England, the state of Connecticut highlighted in red. Off in a non-cluttered corner of the room, we see a squirrel dressed as a Soldier. His helmet is off and his face mask is down, his tail is clearly seen. He speaks to a slightly taller creature wearing a second hand general's outfit. The outfit has been modified were needed for his tail. We only see this person's back. -General: Did your men see the vehicle's plates? -Soldier: Yes, sir. My team is running them as we speak. -General: Very good. You are dismissed. -Soldier: Sir. Yes, sir. * Frame 4: Close-up on the general. It is seen now that the general is a fox like Ora. He holds a key card in his hand. The card is attached to a small chain around the general's neck. He eyes the key card like a hunter would a deer. -General: It's only a matter of time. Once I have the second key, we animals will never have to live in caves or dwell in darkness again. * Frame 5: We see a tech holding a print out of Kyle's license. He gives it to the general who looks pleased about this latest breakthrough. There is a computer monitor in background showing Kyle's license as well. Though the monitor is in the background a bit, we can clearly make out Kyle's picture on it. -Lab Tech: General Odysseus! We have the results of the plate number, sir! * Frame 6: Close up of Kyle's picture on the screen. -General: Very good. End Page 12. Begin Page 13. * Frame 1: Back to Kyle's bedroom. The sheets were plain and the walls a light blue color. There are two plastic yellow bats by the side of the headboard. Ora and Kyle sit on the bed facing the reader. Ora is tends to her wounds while Kyle hands her gauze and bandage items. Ora is out of her cloak which hangs off the side of the bed. She is wearing a baby-t and a pair of jeans, both of which look to be second hand. Her jeans are sliced. It is proof of Ora's luck and the Soldiers' bad aim. -Kyle: You know, you can crash here as long as you need to. -Ora: Thank you, but I must be off as soon as possible. You are in danger as long as I am here. -Kyle: And? You need rest. You're in no condition to be out there running from folks. * Frame 2: Close in on Ora with Kyle in the foreground. Ora looks angry at Kyle. -Kyle: Besides, it's not like they know you're here or anything... -Ora: And what if they do? What if they come looking for me? -Kyle: Okay, let's say they do. I'll do what I have to... * Frame 3: The focus is shifted to Kyle, Ora is in the foreground. He has a confused and upset look on his face. He can't believe what he heard and he does not like it. -Ora: And you'll die! -Kyle: Hey! I'm not the pushover you think I am. If they come, I'll send them running with their tails between their legs! * Frame 4: A shot of the two of them on the bed. Ora shoots Kyle another "Look of Doom." Kyle looks like he is protecting himself from a possible punch to the arm from Ora. -Kyle: Sorry! I forgot! * Frame 5: Close in on Ora, who is about to stand. The left over bandage items and gauze fall to the floor. She is upset. -Ora: That's it. I'm leaving. * Frame 6: Close in on Kyle catching Ora. She leans forward on the headboard, a pained look on her face. -Kyle: I don't think so. You're going to lay down and get some sleep * Frame 7: Ora sits back down on the bed. She is looking away from Kyle toward the window. She looks sad, not from the pain but the fact that she cannot hide it. Kyle gathers the bandage stuff and gauze off the bed. -Ora: Fine... I'll just sneak out the window when you leave. -Kyle: I don't think so, fox lady. You haven't look out that window yet, have you? -Ora: Why? * Frame 8: A long shot from outside the window in question. It's located at the top of an old style Victorian house. There is no fire escape. -Kyle: We're three stories up and that's not the Fire Escape. -Ora: Damn. End Page 13. Begin Page 14. * Frame 1: Long shot with a bird's eye view of Ora in bed. It is night and Ora is half wrapped in sheets. Her sleep looks fitful and her forearms are wrapped. She is still in the clothes she was in previously. She is curled up a little and facing the wall. -Text: That night... -Ora: No... no. * Frame 2: Close up on Ora. She has tossed away from the wall. From this vantage point, we can clearly see this is not the sleep of dreams but that of nightmares. -Ora: Odysseus... Stop... * Frame 3: We enter into Ora's dreams and all is in sepia tones. They are memories of her past. They come in flashes as they play out in theater of her mind. We can see a jackhammer and other smaller hand-held digging gear being held by mole construction workers. They are in a small cavern working on an outcropping of rock. We can see a metallic patch in the rock wall, it is scuffed from the tools. -Text: "They found something in the rock..." * Frame 4: We see a large room. There is a rally of animals and addressing them is Odysseus who is in the same General's uniform as before. He stands behind a podium. -Text: "Odysseus wanted to investigate..." * Frame 5 - 8: The next few panels will have muted colors. There is the glow and trail from a plasma cutter going through thick steel. At the end is a bright light coming from the opening that has just been made. A single line of text goes across the top of the panels. -Text: "How were we supposed to know?" End Page 14. Begin Page 15. * Frame 1: We return to Sepia tones. Ora along with two older foxes, a man and a woman, address the crowd this time. In front of them is the podium from Frame 4 of Page 14. All three foxes wear lab coats, each of them has a small ID tag clipped to the left breast pocket. Behind them can be seen a projected image of old military schematics. It is the layout of a missile silo. -Text: "Mom... Dad... You only wanted to help..." * Frame 2: A worm's eye view shot of Soldiers attacking Ora and her parents. Ora and her mother are being restrained while Ora's father lies dead on the ground. Ora looks as though she is about to break the grip of the Soldier holding her. -Text: "Please no, Odysseus! No... no!" * Frame 3: Back to reality and the regular muted colors of the night. Close up of Ora sitting up on bed reaching out with one hand towards the reader, tears streaming down her face. She is obviously distraught. This will be the largest panel on the page to give it an extra bit of emotion. -Ora: Stop! * Frame 4: A long shot profile of Ora in the room. She leans forward crying. She and the bed are silhouetted against the blue wall of the bedroom. Shadows from the window add to the scene. -Ora: Odysseus... ~ sob ~ why? End Page 15. Begin Page 16. * Frame 1: We return to the caves where Odysseus and his Soldiers are based. We see a long shot of a soldier walking down a hall with the same kind of makeshift lighting set-up as before. To show how diverse the animals are in the cave, this Soldier is a cat. The hallway is practically empty except for him and the lighting rigs. -Text: At that moment... -FX: Step step step step step * Frame 2: Over the shoulder shot of the cat Soldier arriving at door. The door is reminiscent to that leading to a classroom. On either side of the stand a raccoon and a rabbit dressed in military police uniforms. Their outfits look a little worn. These new kind of Soldiers are called Guards. The cat Soldier salutes them. -Guard: State your business. -Soldier: Sir. I've come to see General Odysseus, sir. -Guard: Proceed. * Frame 3: Enter Odysseus' study. He is seated at a desk filling much of the frame which is the largest of the page. Odysseus' study has a large table and a full bookshelf. He is reading a well-worn copy of Machiavelli's The Prince. The Soldier is just inside the doorway standing next to a bare metal chair in the corner. The Soldier stands at attention and salutes. -Soldier: Sir. The village has been assembled in the Hall, sir. -Odysseus: Good. * Frame 4: Long shot of Odysseus walking down a hallway towards the Hall. Soldiers of various species stand and salute as Odysseus passes by. -FX: Step step step step step End Page 16. Begin Page 17. * Frame 1: Long shot of the crowd as Odysseus, accompanied by the two Guards from outside his room, walk out towards the podium. The frame takes up about 2/3rds of the top of the page. Odysseus and the Guards are in silhouette. -FX: Step step step step * Frame 2: Close up of Odysseus and the Guards. Odysseus begins to address the crowd from the podium. The Guards will be cut off half way by the frame's edge. They are there for show. The Guards have their bow guns in hand, both presented in the hand near Odysseus. The frame takes up the last 1/3rd of the top of the page. -Odysseus: In Ancient Times, Man and Animal lived as equals. * Frame 3: The next few frames are close-ups of what's being projected to the crowd. They go down in a column on the left side of the page. They are about half a page wide each. The first of these is a classic image of Cavemen. -Text: "We lived off the same land, hunted the same game, even sharing our kills." * Frame 4: We see a smog choked city with its' crowded highways and towering smokestacks. -Text: "But something happened. Man lashed out, driving our kind into the woods and caves while they spread like a plague upon our once glorious planet." * Frame 5: We see a mushroom cloud rising high into the air. It is an image from tests done in during the 50's, 60's and 70's. -Text: "They've poisoned our world. They've killed our kind. All in the name of Progress." * Frame 6: This frame fills the space on the right side next to the last three. It is a slight worm's eye view of Odysseus giving the big part of his speech. His fist is poised and ready to strike. Behind him is an image of a launched missile. Beware, this is a bit of speech to go into this panel. -Odysseus: But their time is over. We have watched and waited and now we have the very thing they hold so dear... -Odysseus: We have Power! * Frame 7: Long shot of Odysseus and the Guards silhouetted against the crowd. The crowd cheers with approval. -FX: Yeah! End Page 17. End Page 18. * Frame 1: A head and shoulders shot of Odysseus and the image behind him. The focus is on the image. Shown is the picture of Kyle from his driver's license and a picture of Ora from her lab ID that was hinted at in her dream. -Odysseus: As I speak, troops are tracking the rouge scientists with the final component to our plan. * Frame 2: Focus is shifted to the image behind Odysseus. Kyle's picture is larger and placed in front of Ora's. -Odysseus: She is aided by a human. His name is Kyle Hallington. * Frame 3: Close in on the image. It has changed to a night vision live feed of the outside of Kyle's house. The picture of Kyle is placed in the bottom corner of the image. Odysseus is finally out of frame but is still heard. -Odysseus: He will be the first to face judgment for humanity's crimes. * Frame 4: We are now actually outside Kyle's house. The house colors are muted in the night while troops are taking their places around the back and front. The troops are in silhouette. -Text: "The day has come." * Frame 5: Close up of the Soldiers moving into the front doorway of the house and starting up the stairs towards Kyle's place. -Text: "The fall of mankind shall be swift." * Frame 6: The Soldiers are outside the door, bow guns drawn and awaiting the signal to enter. -Text: "Victory shall be ours!" * Frame 7: Long shot of Ora, like a continuation of the last frame she was in. This time it is a head and shoulders shot. Her ears perked and eyes open. She knows what is next. -FX: Step step step step -Ora: They're here. End Page 18. Begin Page 19. * Frame 1: Ora is out of bed and moving towards the door to the living room. She is pulling on her fingerless gloves as she goes. She has a plastic yellow bat in her hand from Kyle's room. -Ora: Damn. * Frame 2: Ora is in the living room now heading towards the couch. Kyle sleeps soundly on the couch in sweat pants and a T-shirt. -Ora: Kyle... get up. -Kyle: Zzzzz * Frame 3: Flip to the Soldiers standing outside the front door. The lead Soldiers are the ones from the beginning of the book. Soldier 2 holds a battering ram and about to strike. It has "Knock knock" written on it. Soldier 1 is giving orders. -Headset: ~ Skersh ~ Beta Squad in place. Over. -Soldier 1: Orders are we take them both back alive. -Soldier 2: Damn. -Soldier 1: Enough. On my mark... * Frame 4: Close in on Ora with bat in hand. She shakes Kyle in an attempt to get him up. Kyle looks painfully out of it. -Ora: Get up damnit! -Kyle: ~ Snerk ~ W-what? No... not yet. -Ora: Kyle! * Frame 5: Ora is pulling Kyle up and off the couch. Kyle looks shocked from the very sudden awakening. They head in the direction of the kitchen. -Ora: We have to go... * Frame 6: The troops go in through the front door. The door is busted from the battering ram and the troops are firing their bow guns. -FX: Bam! -Ora: Now! -Soldier 1: Freeze!! -FX: Spang! Spang! End Page 19. Begin Page 20. * Frame 1: Close in on Kyle from behind as he is pulled into the kitchen by Ora. Arrows are landing in the wall next to Kyle's head. -FX: Thunk! Thunk! -Kyle: Whoa! * Frame 2: Note - This is the largest frame on the page. All other frames look like they're laid on top of it. A slight bird's eye view of Ora busting through the backdoor of the kitchen and out to the fire escape. There she meets up with the troops that went around back. There are troops lined up on the stairs, firing around those in front of them. -FX: Bam! -FX: Whiff -Ora: Damn! -Soldier: Halt! -FX: Whiff -FX: Whiff * Frame 3: Close in on Ora coming up with a big kick to the closest Soldier's chin. She grabs the Soldier's bow gun while he sails back into the Soldiers behind him. -FX: Crack! * Frame 4: Head and shoulders shot of Ora holding the bow gun, aiming it with one hand at the Soldiers off panel. She is shaking a little from her old wounds. She passes off the yellow bat to Kyle while keeping her eye on the Soldiers. There is a Soldier coming up from behind Kyle. -Ora: Kyle, take the bat. -Kyle: Got it. -Ora: Next soldier moves, they're dead. * Frame 5: Close in on the troops. The Soldier that was hit is back up and has a hand to his jaw. You can see his eyes through the goggles and he looks mad. -Soldier: She's bluffing. We have them surrounded, there's no escape. End Page 20. Begin Page 21. * Frame 1: Over the shoulder shot from behind Ora. We see the Soldier she hit coming up and under to avoid the bow gun. Ora fires off a shot but it grazes a Soldier and lands square in the flak jacket of another, knocking him backward. -FX: Spang! -FX: Slice -Hit Soldier: Gah! * Frame 2: We see Kyle coming around with the yellow bat, hitting the lead Soldier that completely dodged Ora's shot and knocking him clear off the stairs. Ora ducks to avoid being hit herself. -Kyle: Ora! Get down! -FX: Smash! -Soldier: Umf! * Frame 3: Long shot of Kyle and Ora making their way down the fire escape. A Soldier is knocked off while another is knocked down the stairs. -FX: Smack! -FX: Crack! -Falling Soldier: Aaaaah! * Frame 4: Head and shoulders shot of Ora and Kyle coming off the stairs. Ora is back in the lead. -Kyle: The car's around front. There's a spare key in the passenger's visor. You go ahead, I'll cover you. * Frame 5: We see the car. Two Soldiers cover it. Soldier 1 is positioned behind the car taking aim while Soldier 2 runs toward Ora and Kyle who are out of frame. -Soldier 2: Here they come! -Soldier 1: I got 'em! * Frame 6: Ora dodges Soldier 2's attack while Kyle gets the rebound and hits Soldier 2 in his side. Ora fires and arrow off at Soldier 1, hitting him square in the shoulder. -FX: Thwack! -Soldier 2: Guh! -FX: Spang! -FX: Thulk! -Soldier 1: Ragh! * Frame 7: Close in on Soldier 2 who is on the ground. He fires off a shot at Kyle, who is out of frame. -Soldier 2: Not so fast, human! End Page 21. Begin Page 22. * Frame 1: Close in on Kyle, his right leg is sliced by the arrow. All that is seen of the arrow is a line of blood from the wound. Kyle is at the passenger's side door while Ora is around the other side of the car. She is headed toward the driver's side door. -FX: Slice -Kyle: Ugh! -Ora: Kyle! * Frame 2: We see Ora and Kyle in the car. Kyle is handing off the spare key and looks like he is about to pass out. -Kyle: Ora... -Ora: Stay with me Kyle. It's going to be all right. * Frame 3: A close up shot of Ora turning the car key. -FX: Vvroom vroom * Frame 4: This frame takes up the rest of the page. We see the car screeching off into the night, leaving smoke from tires as it peels out. Soldier 1 is helped up by Soldier 2 in the foreground. -FX: Screeeech! -Ora: Don't you die on me, Kyle. -Text: To Be Continued... End Page 22.