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 and the colors of the pavement and surrounding vegetation are muted, only through the headlights of a passing car can their true hues be seen. The car looks to be a Hatchback of some kind. 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: Somewhere in Connecticut... · Frame 2: The muted tones of the woods are carried 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 cloaked. This person, let’s call them the Traveler, is being chased by two other figures with flashlights. Once again, the true color of the trees can be seen through light from the flashlights. These figures look like police SWAT team members. From now on, these SWAT guys are called 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. Just like with the car, it helps the reader get a sense that these two events are happening at the same time, just in different places. The reason for the different directions is that these two events will come together later on down the page. -Soldier 1: After her! Don’t let her escape! · Frame 3: We continue on the Traveler. It’s a head and shoulders shot. For the cloak itself, think old school-type medieval cloak. Like Robin Hood and whatnot. Her cloak is burlap and looks as though it has taken a beating through the years, with some fraying in places. She’s looking back yet will still do not see her face. She’s holding the cloak closed with her left hand. She rests her right hand on a tree to help her look back and get a moment’s rest. Two arrows whiff by her head, one arrow sticks into the tree by her hand. -FX: Whiff -FX: Whiff -Traveler: ~ pant pant ~ -FX: Thunk! -Traveler: Damn! · Frame 4: Back to the driver. It’s a head and shoulders shot as well. We see the driver through the front driver’s side window. The light from the dash illuminates his face enough to see who this guy is. The driver is a young 20-something. He is clean shaven and isn’t too bad on the eyes, even in this light. He looks much like the images of the many Internet start-up kids from the mid-90’s. The driver has on a flannel shirt over a T-shirt. He’s tapping the steering wheel his left hand, holding in the wheel with his right hand and enjoying whatever he’s 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’s running towards a paved road. From this angle, we can now see she’s wearing boots and that she’s running at a fair clip. 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. This is the first time the bow gun is really seen, but definitely not the last. The bow gun is the weapon of choice for the Soldiers. It’s a small device, a lot like a crossbow. The one main difference is that it has a lever for resetting the bow and loading in another arrow, 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 also notice that Soldier 2 is not quite human, they have 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 with Soldier 2 and Soldier 1 in the background, Soldier 1 just now catching up to Soldier 2. 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 only thing we see of the arrow is like a speed line and a small trail of blood from the Traveler’s wound. -FX: Slice! -Traveler: Ah! · Frame 3: Back to the Driver. This is a shot looking into his car through the windshield. The "camera" would be slightly up and to the driver’s side. The Driver is bending over slightly to turn up the radio. He’s also talking to himself, but most importantly, his eye’s are not on 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. Like 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 an 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 is poking his back up just in time to see the person falling in front of his car. A look of confusion on his face. -Driver: What the...? · Frame 8: Here’s the "Impending Doom" shot. A slight bird’s eye view from just above the car’s roof as the car is bearing down on the Traveler stuck the middle of the road. The road itself does have enough room on the shoulder to avoid things 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’s turning the wheel hard to avoid the Traveler. The car wheels are squealing and the Driver is giving it all he’s got just to keep his car under control. He’s bearing his teeth and squinting, 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 Hatchback in the background facing the viewer, it’s headlights shining bright. On the ground near the car can be seen some skid marks so fresh they’re still smoking. A small plume of dirt and smoke is visible from the 180 degree turn the Driver just did. The Driver is standing by his car, hands on his head, with the driver’s side door open. The trees, grass, and midnight sky can be seen. Be sure to leave room at the bottom for the important information like 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 with one hand on his car and one on his head. He is obviously distraught about 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’s moving a bit and hurt from the fall. We can see some light from the flashlights of the Soldiers in the woods. We still can not see her face. -Driver: (Out of frame) Hey! Are you okay? -Traveler: (Quietly) ~ Ugh ~ H-Help... · Frame 3: Cut back to the Driver jogging towards the Traveler’s side. There is a small flip phone in his hand, we can see that he’s 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. It’s from over the shoulder of the Traveler, giving the reader a good look at the Traveler’s worn and torn cloak. The Driver is about to touch the Traveler’s arm with his right hand, the other has 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’s lifting her arm, like she’s 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: This is a close up shot of the Traveler’s hand. Her hand is black, like an animal’s, with a brown leather fingerless glove. We see she has only three fingers. Note - For now, don’t put too much detail into the hand itself. I want to hint at the Traveler’s true looks for right now, but not give the whole thing away. Play the detail down, like making the hand seem like it is in a lady’s formal glove. The fingers on those gloves tend to come to rounded points because of the fingernails. -Traveler: Please... · Frame 7: Close up on the Driver, who has a concerned look on his face. The cell phone is still by his ear. -Driver: Uh... -Cell Phone: Hello? -Driver: Uh... Yeah. There’s been an accident... · Frame 8: Same frame set-up as last time, only this time the cell phone is dust. The phone’s ear piece is sliced in half and the Driver’s face is turned away from it a bit. -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 turned to see what just took out his cell. There is blood from a cut by his ear where the cell was. The Driver is looking towards the reader, at an arrow stuck in the foreground. -FX: Step step step step -Driver: What the...? -Traveler: D-Don’t... · Frame 2: In this frame, the Driver is helping the Traveler up. The Driver has one of the Traveler’s arms over his shoulders with his right arm around the Traveler’s waist. The Driver is talking to the Traveler but looking toward his car. -Traveler: Don’t let them... -Driver: Just stay with me. I’m getting us out of here. · Frame 3: The Driver, with Traveler in hand, is up and the two are moving towards the car. It’s head and shoulders shot and the Driver has a look of concern on his face. The Traveler is passed out. -FX: Step step step step -Driver: ~ Ugh ~ My head. Damn it. · Frame 4: The Driver is back in the car with the Traveler, who is slumped over slightly, buckled up in the passenger’s seat. The Driver is ready to drive off in a hurry. -Traveler: ~ Ugh ~ -Driver: It’ll be okay... I promise. · Frame 5: This is the largest frame on the page. It’s a back shot of the car driving off. The two soldiers head’s can be seen really clear now. Both have a face mask covering their mouths, though you can tell something is up. Think small animals, like squirrels, with a shorter muzzle. These animals could pass as 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: This one will be a long shot, a good ol’ fashioned scene change. It’s a bedroom that’s been very simply dressed. There’s a night stand under a window with drapes. The night stand has an alarm clock and lamp. There is a heap of old clothes just barely piled in a basket next to a dresser with very little on it, maybe a picture in a frame. There are like two posters on the wall. They have something to do with animation. They hang just above a simple bed. We can see the Traveler sleeping on the bed, curled up in the 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 someone who has been on their own for something like a year. Like the room of a college student, very little items yet still livable. -Text: The next day... -Traveler: Uh... · Frame 2: Close up on the Traveler, now sitting up in bed. She’s leaning forward, all her weight is supported by her uninjured hand. She still has her head covered, though she’s holding it with her injured hand. -Traveler: ~ Uh! ~ My head! Where am I? · Frame 3: The Traveler is now sitting on the bed, about to get up and find the door. Her head is turned to the side, looking at something out of frame. -Traveler: What happened to me last night? I remember running and lights... ~ Ugh ~ Damn... · Frame 4: Yet another scene change. This is a long shot of the living room. There is a sofa, some shelf units with books and videos. A magazine and a game controller is on a large coffee table. It’s the same kind of setup as the bedroom, very little stuff but livable. Yet again, there are one or two posters on the walls. This time around the posters are comic book related. There are windows casting shadows in the room, yet another set of blinds. The Driver is asleep on the couch, his head on a throw pillow and a blanket hanging down about half way on the ground. The Traveler is standing in the doorway that we now see leads to the bedroom. She’s leaning pretty heavily on the door, still groggy from the events of last night. -Driver: Snerk -Traveler: Hello? Is anybody here? -Driver: Huh? Wha?! · Frame 5: Close up on the Driver, who’s rubbing his eyes and yawning, is sitting up on the couch. He’s wearing the same clothes that he had on last night (Flannel shirt over a white T-shirt.) We see that the Driver has on a pair of cargo khaki pants. He’s holding on to the throw pillow like it’s some kind of stuffed animal. -Driver: Oh, hey... you’re up. Sorry about the place and all, I didn’t plan on having company over. ~ Yawn! ~ Come and have a seat, you look pretty tired. · Frame 6: We see the couch in full. The Driver is piling 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 now. The Traveler is in the foreground looking down while the Driver is telling 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: Like the last frame, only the Driver is in the foreground. -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: This page pretty much takes place in the living room, with both characters sitting on the couch. I know a ton of dialogue kills the flow so I’m counting on your art skills to keep folks interested in this. This set-up is actually a necessity. · Frame 1: We see the Driver and Traveler on the couch. The Driver is bending over to put the pillow and blanket away. The Traveler’s head is turned a little in the Driver’s direction. She’s rubbing 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 again. The Driver is a little more comfortable on the couch now, all leaned back into his corner. -Driver: I do have a question for you. Why were you out there? -Traveler: I was running... · Frame 3: Same idea as last frame only we see the Traveler with the Driver in the foreground. The Traveler has stopped rubbing her arm but has her arms crossed slightly. It’s more like she’s halfway hugging herself. -Driver: From who? -Traveler: I can’t say... -Driver: You can’t say? -Traveler: No. · Frame 4: A good shot of the two on the couch. The Driver has a confused look on his face. The Traveler seems to have scrunched in a little tighter, like she’s trying to make herself a little smaller and hide from the Driver. -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, who’s head is turned a little toward the Driver. Her body language tells us that last comment miffed her a bit. Like after someone trips and falls, you and the person have a laugh and it’s over. You say something that has to do with falling or tripping on stuff by accident and the person gets miffed. This situation is like that. -Traveler: That’s not funny. · Frame 6: Back to the two on the couch, focusing a little more on the Driver. The Driver has a "What did I do?" look about him. The Traveler, well... she’s still miffed. -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 like before, only focusing more on the Traveler. The Traveler’s head is tilted towards the Driver. -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. The Traveler’s head is still tilted like before with her pointing 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. She’s pulling her hood off, we begin to see the her nose at this point and the outline of her face. -Traveler: All right, here it goes... · Frame 3: Close in on the Driver. He is up out of his seat and moving back, practically on top of his side of the couch. He is shocked and very awake. -Driver: Holy Sh--! · Frame 4: This panel takes up the rest of the page. It’s a slight bird’s eye view of the Traveler with her hood off. She is quite literally a fox. Not "She’s hot!" but she is actually a fox. Try to make her look feminine without making her too human. As far as her more human traits, she has shoulder length back hair and bangs. Her hair is straight, though it does curl slightly at the end. She is looking down, the reaction of the Driver hurt her a bit. She’s holding on to the base of her hood, though it’s more like she’s holding her heart. -Traveler: Yeah... I thought that’d happen. · Frame 5: Back to the two on the couch. We focus on the Driver, slowly getting back into his seat. He’s still shaken from the shock he just received. -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: We see the two on the couch. They’re both sitting down, 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 table in front of the couch. He’s rubbing his neck with his right hand. He’s motioning with his left hand like someone would if they were shrugging. -Text: A cup of coffee later... -Driver: Okay. That was... surprising. Sorry ‘bout that. 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 accepted Kyle’s handshake and she too has a slight smirk on her face. She definitely looks happier now. like a weight has been lifted a bit. -Traveler: I’m Ora. And... thank you for your help. · Frame 4: Back to the both of them sitting on the couch. Kyle and Ora are looking at each other. This shot will continue through the next few frames to Frame 7 with very little change. Also, from here on out I will be referring 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 is sitting back in her spot, her hands on her lap and looking down at her cup of coffee. Kyle is sitting back in his spot as well. He’s facing forward but he’s 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’s a little more energetic about it. He’s confused again about the whole situation that’s presented itself here. Ora looks miffed 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: Shot of the two on the couch, with the focus more on Kyle. Both Kyle and Ora look miffed, 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. It’s back to the two of them on the couch with Ora shooting a "Look of Doom" at Kyle. As you can start to see, animal jokes or sayings don’t go over well with her. Kyle has his arms up like he’s apologizing for his Freudian slip. -Kyle: Sorry, sorry. · Frame 3: Close in on Ora. She looks a little better now, a little less miffed and a little more composed. -Ora: We, my people, have evolved in the same way as you. · Frame 4: Shot of the two with the focus on Kyle. Kyle looks more composed as well. -Ora: You’re 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 shot as the last frame with focus on 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 who is looking down now. We can’t see her eyes, but we can see her hands. Her hands are in fists on her lap, she’s trembling a little. You can tell she’s emotional about this without the need to see an actual facial expression. -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: No, Kyle, 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 up with 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: Yes please. I’ll get my own though, thank you. · Frame 2: Kyle, with mug in hand, is catching Ora as she attempts to stand on her own. Ora is still weak from last night, it can definitely be seen in her face now. -Ora: ~ Ugh ~ -Kyle: Careful now. You’re still pretty banged up from last night. · Frame 3: The scene has shifted to the kitchen area of Kyle’s small house. It’s not a kitchenette exactly, but it is pretty tight. There is a normal sized fridge with countertop space around it. Kyle has a smaller then average stove with some countertop space on one side and a single sided sink on the far wall near a back door. This room also has very few items. A coffee maker and a microwave can be seen 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: So, 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 Kyle and Ora. Kyle is facing the reader while Ora is pouring herself another coffee. Kyle is stirring a spoon, most likely after putting in some milk and/or sugar. Kyle has a look of confusion on his face. -Kyle: Folks were shooting arrows at you... dipped with what exactly? -Ora: A powerful sleeping potion. Used in a tranquilizer dart, it could drop a horse easily. It’s normally used to disable... not kill. · Frame 5: Close up on Ora, she has a look in her eye. She knows what could’ve happened that night and has a look of a sadness with the determination to continue on no matter what. -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 is leaning on the counter with her back turned to the coffee maker. She’s sipping her coffee. Now after hearing that last part, Kyle looks a little pepped up like he’s ready for action. -Kyle: So... what can I do to help ya’? -Ora: No. · Frame 7: Same like before, only Ora has literally turned her back to Kyle. Kyle looks a little miffed at Ora telling him 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: A complete switch of locations. It’s a 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, recent yet weathered markers of two graves. One says Fredric while the other says Athena. There are two text boxes, the top is Ora and the bottom is location. -Text: "... Not again." -Text: Elsewhere... · Frame 2: Enter the cave. We see a long shot of a man-made walkway of sort going deep into the cave. The walkway, made of wooden boards, is lined with generators and lighting rigs. It almost resembles something that would be seen at a common construction site. There are small bundles of cables and wires that lead into the depths of the cave as well. There are voices, but the come 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 by far 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 looks like the NASA mission command done cave-style. There are many small TV sized screens with random news casts on them spread about the place. 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 is highlighted in red. Off in a non-cluttered corner of the room, we see a squirrel dressed in that same SWAT type outfit as the two soldiers from the beginning of the story. His helmet is off, the face mask is down and his tail is clearly seen. There is no doubt that this guy is not human. 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 one’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’s now obvious that the general is a fox, like Ora. He holds a key card in his hand. The card itself is attached to a small chain around the general’s neck. He seems to be eyeing the key card like a hunter would a deer. -General: It’s only a matter of time. Once I have that second key, we animals will never have to live in caves or dwell in darkness ever again. · Frame 5: We see a tech holding a print out of Kyle’s license. He’s giving this 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 grinning mug on it. -Lab Tech: General Odysseus! We have the results of the plate number, sir! · Frame 6: Close up on Kyle’s grinning mug on screen. -General: Very good. End Page 12. Begin Page 13. · Frame 1: Back to Kyle’s house, namely his bedroom. The sheets were plain, 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 tending to her wounds while Kyle is handing her gauze and bandage items. Ora is out of her cloak, it hangs off the side of the bed. Ora is wearing a baby-t and a pair of jeans, both of which look second hand. Her jeans have slices in them, 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: Close in on Kyle, Ora is in the foreground. Kyle has a confused and upset look on his face, like he can’t believe what he’s hearing and he doesn’t 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 off with their tails between their legs! · Frame 4: A shot of the two of them on the bed. Ora is shooting Kyle yet another "Look of Doom." Kyle looks like he’s protecting himself from a possible punch to the arm from Ora. -Kyle: Right, right! Sorry! I forgot... · Frame 5: Close in on Ora, who’s about to get up off the bed. The left over bandage items and gauze fall to the floor. She looks miffed from the last comment. -Ora: That’s it. I’m leaving... · Frame 6: Close in on Kyle catching Ora. Ora is leaning 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 is sitting back down on the bed, looking away from Kyle and towards the window. She looks sad, not from the pain but the fact that she can’t hide it. Kyle is gathering 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 it 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: Open on a long shot with a bird’s eye view of Ora in bed. It’s night and Ora is half wrapped in sheets. Her sleep looks fitful, her forearms are wrapped and she is still in the clothes she was in previously. She’s 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, 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 can see a large room, there is a rally of animals and addressing them is Odysseus who is in the same General’s uniform. He is standing 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 all the panels. -Text: "How were we supposed to know?" End Page 14. Begin Page 15. · Frame 1: Note - As before, these panels are in sepia tones. They are part of Ora’s dream, her memories of what happened to her just before the book began. 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 have a small ID tag clipped to the left breast pocket. Behind them can be seen a projected image of old military schematics. They are the layout to 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 on the ground, most likely dead. Ora looks as though she’s about to break the grip of the of one of the Soldiers holding her. -Text: "Please no, Odysseus! No... no!" · Frame 3: Back to the Real World and the regular muted colors of the night. Ora is back in bed. It’s a close up of Ora sitting up on bed reaching out with one hand towards the reader. You can see tears coming down her face. She is obviously distraught. This will be the largest panel on the page to give it that extra bit of emotion. -Ora: Stop! · Frame 4: Cut to a long shot, a profile of Ora in the room who is leaning forward and 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: An over the shoulder shot of the cat Soldier arriving at door, one like you would find leading into a classroom. On either side of the door are Soldiers of a different kind. Again, to show diversity, one is a raccoon and the other a rabbit. These Soldiers are wearing a more military outfit. The outfits still look a little worn but they are definitely military MP style. 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 and fills a fair amount of the frame. This frame 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 is standing at attention and saluting. -Soldier: Sir. The village has been assembled in the Hall, sir. -Odysseus: Good. · Frame 4: A long shot of Odysseus walking down a hallway, most likely towards the Hall. There are Soldiers of various species standing and saluting as Odysseus passes them by. -FX: Step step step step step End Page 16. Begin Page 17. · Frame 1: A 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: A close up of Odysseus and the Guards as Odysseus begins to address the crowd from the podium. The Guards will be cut off half way by the frames edge. They are there for show really. The Guards do 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 images is a classic image of Cavemen. -Text: "We lived off the same land, hunted the same game, even sharing our kills." · Frame 4: This frame is of a smog choked city with it’s crowded highways and towering smokestacks. -Text: "But something happened. Man lashed out, driving our kind into woods and caves while they spread like a plague upon our once glorious planet." · Frame 5: This frame is that of a mushroom cloud rising high into the air, like those of 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 is next to the last three, taking up the remaining space along the right side. It’s a slight worm’s eye view of Odysseus giving the big part of his speech, a fist 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: A long shot of Odysseus and the Guards silhouetted against the crowd again. The crowd cheers with approval. -FX: Yeah! End Page 17. End Page 18. · Frame 1: We see a head a 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: Closer in on the image of the pictures from before. The picture of Kyle is larger and more "Up Front" than the Ora’s. Odysseus is in the foreground. -Odysseus: She is aided by a human. His name is Kyle Hallington. · Frame 3: Closer in on the image, this time it has changed to an image of the outside of Kyle’s house. The picture of Kyle is placed in the top corner of the image. Odysseus is finally out of frame, yet he can still be heard. -Odysseus: He will be the first to face judgment for humanities crimes. · Frame 4: We are now actually outside of 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 into 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 of 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’s a head and shoulders shot of her on profile, her ears perked and eyes open. She knows what’s next. -FX: Step step step step -Ora: They’re here. End Page 18. Begin Page 19. · Frame 1: Ora is up now and going towards the door to the living room. She’s pulling on the pair of 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 is sleeping in jeans and a T-shirt. From the looks of things, he’s sleeping pretty soundly too. -Ora: Kyle... get up. -Kyle: Zzzzz · Frame 3: Flip to the Soldiers standing outside the front door. The lead Soldier, Soldier 2, is holding the 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, now shaking 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’s now literally pulling Kyle up and off the couch. Kyle looks a little shocked from the very sudden awakening. They’re headed 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. -Ora: Now! -Soldier 1: Freeze!! -FX: Spang! Spang! End Page 19. Begin Page 20. · Frame 1: Close in on Kyle from behind as he’s 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 were around back. There are troops lined up on the stairs and they’re firing around those in front of them. -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: A head and shoulders shot of Ora holding the bow gun and aiming it with one hand at the Soldiers off panel, she’s shaking a little from her old wounds. She’s passing 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 doesn’t look happy. -Soldier: She’s bluffing. We have them surrounded, there’s no escape. End Page 20. Begin Page 21. · Frame 1: An 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 that 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: A long shot of Kyle and Ora making their way down the fire escape. A Soldier gets knocked off while another gets knocked down the stairs. -FX: Smack! -FX: Crack! -Falling Soldier: Aaaaah! · Frame 4: A 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 can see the car, there are two Soldiers covering it. Soldier 1 is positioned behind the car taking aim while Soldier 2 is running towards 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, hitting Soldier 2 in his side. Ora fires and arrow off at Soldier 1, hitting them 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 being sliced by the arrow. All that’s seen of the arrow slicing 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 headed towards 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’s 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 being 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.