Part 1: In the Beginning...

Part 1:  In the Beginning...

Page 1

Panel 1:  An overhead close-up of a sort of cowl (that would cover the eyes and go over the hair but not the rest of the head) made of rough leather and dyed blood red—because it was dyed with blood.

Caption (top):  This is how it began…

Panel 2:  An overhead close-up of a loincloth made of the same leather and also dyed blood red

Panel 3:  An overhead close-up of a spear made entirely out of gold.  No fancy adornments or anything, just a regular spear only made of gold.

Panel 4:  The same as Panel 1, except now there’s a man’s hand (a big, beefy hand with some hair on it) reaching down to pick up the mask

Panel 5:  A straight on view of a big, burly guy with long, wild hair, sort of a caveman-looking guy with the mask covering his eyes and the top of his head.

           

Panel 6:  This will take up the rest of the page—or maybe one side of it—a straight on view of the guy from Panel 5, only now we see his whole body.  He’s naked except for the leather loincloth and obviously he’s in good shape.  He has the golden spear in his right hand, holding it like a staff with the point up.

            Caption:  He was the first.

Page 2

Panel 1:  A wide side view of our guy from the previous page thrusting the spear into a monster.  This monster is another big, burly guy, only he’s wearing a helmet that’s the skull of a wolf coated black with deer antlers sticking up from it.  On his hands he has sort of gloves made from the paws of a black bear; the claws should look really sharp and nasty.  He’s taking a swing at the half-naked guy with the gold spear.  Behind them is a village of crude huts.

            Caption (bottom):  But not the last…

Panel 2:  A wide side view with two combatants in similar positions.  Only now instead of the guy in a loincloth and cowl, he looks like a Roman centurion, only the breastplate is red and the cape is gold.  He’s holding a golden short sword, thrusting it into the other guy.  This other guy is another big guy wearing a black helmet with spikes on it and some other bits of armor on his chest and legs so that he looks like a nasty character from “Gladiator.”  He’s wielding a black trident, that he’s trying to stick into the centurion-looking guy.

            Caption (bottom):  Our war has raged for millennia…

Panel 3:  Another wide side view that again is like the first two panels.  Only now the guy in red-and-gold is wearing samurai-looking armor and wielding a gold samurai sword.  The guy in black is wearing similar armor, only his is spikier and his eyes are glowing red.

            Caption (bottom):  It’s taken us to every populated continent…

Panel 4:  Another wide side view only now our two characters are in their modern configurations.  The one in the red-and-gold is the SCARLET KNIGHT, who is wielding a gold sword that is the same from Panel 3.  The other is the BLACK DRAGOON, who is using some very nasty claws on the end of his gauntlets.  (His claws come from his fingers so they’re not like Wolverine’s or anything.)  Behind them is a European city in Victorian times—which city doesn’t really matter.

            Caption (bottom):  Through every generation…

Page 3

Splash Panel:  This is our big “hero shot.”  We have a side view of the Scarlet Knight standing on the rooftop of an old apartment building, looking down at the city.  He has one foot up on the edge of the roof and the other back and straight.  Above is a big bright moon and off in the background is the skyline for Rampart City, which pretty much looks like New York.  One special note is the largest building—Robinson Tower—is unfinished with a hint of scaffolding around it to indicate it’s under construction.

            Caption (top):  Right on until today.

            Caption:  (right bottom):  But this isn’t his story…

Page 4

Splash Panel:  This mimics Page 3, only instead of the Scarlet Knight, we have a side view of EMMA EARL stretching one calf on a park bench.  She’s wearing a purple T-shirt with blue running shorts.  Her hair is in a tight ponytail, she has sports goggles over her eyes, and bulky yellow headphones over her ears.  The park around her has garbage strewn all over and a bum sleeping on another park bench.

            Caption (top):  This is her story. 

Caption:  (right middle):  Surprised?  Caption:  (right bottom):  So was I.

Page 5

Panel 1:  Overhead shot of the interior of a diner.  Off to the left in one booth we see a girl with long red hair (Emma) wearing a turquoise suit.  Across from her is a fat woman with brown hair wearing a purple blouse—this is Emma’s friend BECKY BEECH.  There’s a plate and a coffee cup in front of each of them and a newspaper in front of Becky.

            BECKY:  Hey, your new workplace is in the news.

            EMMA:  Really?

Panel 2:  Close-up of the front page for the Rampart City Times.  The main headline reads:  CAFFERTY LEADS LINTNER IN LATEST POLL.  Off to a side column is the smaller headline:  ARTIFACTS RECOVERED FROM SHIPWRECK—CREW STILL MISSING.  We see one of Emma’s thin hands on the newspaper.

            EMMA (not shown):  I guess that’s good news.  But what happened to the crew?

Panel 3:  Shot from over Emma’s shoulder of Becky.  She has a fork laden with eggs poised near her mouth as she’s sneering at Emma. 

            BECKY:  Probably took off with the most expensive stuff.

            EMMA:  I hope not.

Panel 4:  Side view of the booth with Becky in a similar position as Panel 3 while Emma is sipping from her cup of tea.  Becky has a big plate of eggs and bacon and such in front of her while Emma only has a small plate with toast on it and the newspaper beside it.

            BECKY:  You nervous yet, kid?

            EMMA:  A little.

Panel 5:  Shot from over Becky’s shoulder of Emma looking down into her cup of tea, her cheeks slightly red and her expression grim.

            BECKY:  Come on, you’ll do great.

            EMMA:  What if they don’t like me?  What if they resent me?

Panel 6:  Same as Panel 3 except that Becky is smiling gently now.

            BECKY:  Don’t worry, kid.  Everyone likes you.

Panel 7:  Same as Panel 5

            EMMA (small lettering):  I hope so.

Panel 8:  Straight on shot behind Emma and Becky as they walk through the door of the diner.  Emma is going first with Becky behind her, a hand on Emma’s back.

            BECKY:  We better get moving.  Don’t want to be late for your first day.

            EMMA (small lettering):  Right.

Page 6

Panel 1:  A wide straight on shot of the Plaine Museum of Natural History.  This should be modeled on the Field Museum in Chicago.  The front of it has a lot of marble steps and columns, at the top of which stands IAN MACGREGOR.  Emma is a step or two below him.

            IAN:  You must be Dr. Earl.  They said you were young.  Can’t even drink yet, can you?

            EMMA:  No, sir.  Not for another two years.

Panel 2:  Side closer view of  Ian smiling warmly at her while Emma’s face is red.

            IAN:  That’s fine, lass.  Don’t touch the stuff myself.  And you don’t need that ‘sir’ business.  Call me Ian.

            EMMA:  Yes, s—Ian.

Panel 3:  Overhead shot of the main gallery.  Inside is a maze of velvet ropes leading up to the ticket counter, which at the moment is unmanned.  There are some benches and information kiosks and such.  At the far end of the gallery is the skeleton of a mastodon named Alex.  Ian and Emma are in about the middle of the gallery.

            IAN:  I hope you don’t mind my saying, but someone so bright must have gotten better offers.  What brings you here?

            EMMA:  My parents used to bring me here.

Panel 4:  Straight on view of Ian and Emma inside an elevator going upstairs.  Ian is still smiling while Emma is still looking down at her feet.

            IAN:  You’ll be working with Dr. Brighton.  Forty-four years of experience.  You can learn a lot from him.

            EMMA:  I’ve read his work.  It’s really good.

Panel 5:  Shot from over Ian and Emma’s shoulders in front of an open wooden door with a frosted glass pane on which is written:  Department of Meteor Studies.

            IAN:  This is where you’ll be working.  If you need anything, I’m just down the hall.

            EMMA:  Thank you, s—Ian.

Panel 6:  Side view of the inside the office, which is a mess with books piled up on one table and papers stacked up on another next to a microscope.  Standing in his separate office door is Dr. Brighton, an old man with a red face and gin blossom nose from years of alcohol abuse.

            DR. BRIGHTON:  What’s this, another of your student tours?

            IAN:  This is your new researcher, Dr. Emma Earl.  We talked about this.

            EMMA:  Hello, s—

Panel 7:  Same as Panel 6 except Dr. Brighton’s office door is shut—with appropriate slamming door noise.  Ian looks annoyed while Emma’s face is bright red.

            IAN:  He takes a bit of getting used to.  Good luck, lass.

            EMMA:  Thank you.

Page 7

Panel 1:  Overhead shot of the docks around Rampart City with a variety of warehouses in varying states of decay.  In front of one of these is a cab.  Standing beside this we see DAN DREYFUS and a man about his same age—what he looks like isn’t really important.

            MAN:  You think they found him?

            DAN:  We won’t know until we get in there.

Panel 2:  Overhead of the inside of the warehouse, where we have tarpaulins spread out on the floor.  There’s a variety of artifacts like a chariot wheel, some spears, and some other miscellaneous stuff.  There’s also a gold sarcophagus with a pharoah’s head and body outlined on the top of it.  (This is Karlak II, an ancient king of Egypt.)  Next to it is a case of nearly the same length only it’s a solid black rectangle.  Dan and the other Egyptologist stand on the tarps along with a coast guard lieutenant in uniform.

            DAN:  Is this everything?

            LIEUTENANT:  Everything that we found on the surface.  Some more might turn up.

Panel 3:  Side view of Dan bent down to inspect Karlak II’s sarcophagus, running his hands along it.  The other Egyptologist is visible in the background, looking in the other direction.

            DAN:  It doesn’t look damaged.  I don’t want to risk opening it up here though.

            MAN:  Hey, Dan, what’s this thing?

Panel 4:  Similar to Panel 3, only now Dan is kneeling beside the black case, running his hand along it while the other man is kneeling beside him.

            DAN:  I’m not sure.  It doesn’t look Egyptian.

            MAN:  It gives me the willies.  Like that thing from 2001.

            LIEUTENANT (not shown):  It doesn’t match anything on the manifest.

Panel 5:  Side view of Dan and the lieutenant standing in front of the case, Dan with one hand on the case and shrugging.

            LIEUTENANT:  What do you want to do with it?

            DAN:  We’ll take it along.

Panel 6:  Straight on view of the black case in the back of a moving truck, along with the rest of the artifacts from the exhibit.

            DAN (not shown):  Maybe someone in Geology will know what it is…

Page 8

Panel 1:  Side view of Emma is in her office, bent over the microscope and scribbling notes on a notepad.  She’s wearing her lab coat and has her hair pulled back to keep from getting into her eyes.  Behind her is Dan with the handle of a flatbed cart.

            DAN:  Excuse me.  Dr. Earl, is it?

Panel 2:  Straight on close-up of Emma’s face, which is red and her eyes wide with surprise.

            EMMA:  Yes...What’s that?

            DAN (not shown):  I’m hoping you can tell me.  Ian thought you might know.

Panel 3:  Side view of Emma looking down at the black case, inspecting it as Dan did.  He’s standing over her, smiling politely.

            EMMA:  Where did this come from?

            DAN:  It was with our artifacts salvaged from the freighter.

Panel 4:  Like Panel 3, but now Dan is kneeling down beside her.  Her face is red as their hands are touching.

            DAN:  It’s not ebony or obsidian.  I know that.  I thought maybe it was something else.

            EMMA:  Something else?

            DAN:  Something not of this world.

Panel 5:  Side view of Emma and Dan standing behind the black case.  Emma is looking down at her feet while Dan is still smiling politely.

            EMMA:  I can take a sample and let you know what I find.

            DAN:  That would be great.

Panel 6:  The same as Panel 5 except that Dan and Emma are shaking hands.

            DAN:  I’m Dr. Dan Dreyfus, Egyptology.

            EMMA (small lettering):  Hi.

Panel 7:  Straight on shot of the open door to the office.  Dan is at the foreground, his head turned to look at Emma, who’s standing shyly behind him, still blushing and looking at her feet.  His hand is up to wave goodbye to her.

            EMMA:  I’ll let you know what I find out.

            DAN:  That would be great.  Thanks.

Page 9

Panel 1:  Straight on view of Emma kneeling in front of the black case again.

            CAPTION:  Like others before her, she thinks she can uncover its secrets.

Panel 2:  Same as Panel 1, except now Emma raises a tiny hammer with one hand while the other holds a chisel to one corner of the case.

            CAPTION:  Everything has a rational explanation—so she thinks.

Panel 3:  Side view of Emma bent over the microscope again as she was when Dan came into the room.

            CAPTION:  She’s studied hundreds of meteors with her microscope or in books, but she’s never seen anything like this.

Panel 4:  Straight on view of Emma sitting at her desk with a book in her hands, reading it.

            CAPTION:  There’s no scientific journal with the answer.

Panel 5:  Same as Panel 4, except now Emma sits with her glasses off, pinching the bridge of her nose with one hand.

            EMMA:  What are you?

            CRATE:  I am the answer to the question that troubles you most.  (We should use a jagged bubble and a jagged font here to indicate the evil of the crate.)

Panel 6:  Straight on view of Emma standing now, looking down in surprise at the crate.

            EMMA:  What question is that?

            CRATE:  I know who killed your parents.

Page 10

Panel 1:  Close-up of Emma’s face, which has gone pale with her eyes wide in surprise.

            EMMA:  How could you know that?

            CRATE:  I know many things.  I know you want justice.

Panel 2:  Side view of Emma standing over the crate, wagging a finger at it.

            EMMA:  You don’t know anything.  You’re an inanimate object.

            CRATE:  I am so much more.

Panel 3:  Straight on view of Emma bent down again, her ear pressed to the crate, trying to find where the sound is coming from.

            EMMA:  Where do you come from?  Who made you?

            CRATE:  That is not important.  I can bring you justice.

Panel 4:  Close-up of Emma, her face still pale but eyes narrowed.

            EMMA:  How?

            CRATE:  I can give you the power to kill those responsible.

Panel 5:  Straight on view of Emma sitting against a wall, glasses askew on her face.

            EMMA:  I don’t want to kill them.

            CRATE:  Of course you do.

            EMMA:  No I don’t!

Panel 6:  Straight on view of Emma standing again, but still against the wall and still looking terrified, though her glasses are straight at least.

            CRATE:  How many times did you sit alone imagining it?

            EMMA:  That was just pretending.  I could never kill anyone.

Panel 7:  Side view of Emma holding the cart’s handle to drag it away.

            CRATE:  Are you going to run from this like everything else?

            EMMA:  SHUT UP!

Panel 8:  Straight on view with Emma sitting at her desk in the foreground, head buried in her hands as she cries.  In the background, we see the black crate in a closet with a bunch of old books and papers and such.

            CAPTION (top):  She should just push it off a pier into the harbor, but she won’t.

            CAPTION (bottom):  She’ll regret that decision later.

Page 11

Panel 1:  Overhead view of a recreation room, where some old people are sitting around watching a television.  Another old man is reading a newspaper so that we don’t see more than the back of his head.  In a corner, staring at nothing, is GLADYS CABOT, Emma’s aunt.  Emma is kneeling down before her.

            EMMA:  Aunt Gladys?  It’s me.  It’s Emma.

Panel 2:  Straight on view of Emma in front of her aunt while Aunt Gladys looks down fondly at Emma, her eyes rheumy.

            EMMA:   How are you feeling?

GLADYS:  I’m fine, sweetheart.  Where’s your mother?  She didn’t let you come here alone, did she?

Panel 3:  Shot from over Gladys’ shoulder, looking down at Emma, whose eyes are watering and her cheeks are red.

            EMMA:  No, she’s out in the car.  I just wanted to see how you were doing.

            GLADYS:  How sweet.  You’re such an angel.

Panel 4:  Side view of Gladys taking Emma’s hands, smiling down at her.

            GLADYS:  How’s school going?  Your mom said you were starting second grade.

            EMMA:  Oh, right.  It’s great.

Panel 5:  Same as Panel 3, only Emma’s eyes aren’t watering.  She’s just embarrassed now.

            GLADYS:  Are you making lots of new friends?

            EMMA:  I made one new friend.  His name is Dan.

Panel 6:  Aunt Gladys wags a disapproving finger at her niece.

            GLADYS:  A girl your age shouldn’t play with boys.

            EMMA:  We’re just friends.  That’s all.

Panel 7:  Side view of Emma standing now, bending down to kiss her aunt on the cheek.

            EMMA:  I better go before Mom gets worried.

            GLADYS:  Come back anytime, sweetheart.

Page 12

Panel 1:  Side view of Emma walking past an old man in a chair.  He’s lowered his newspaper to smile up at her.  This is her friend PERCIVAL GRAVES.

            PERCIVAL:  I thought I recognized that voice.  Look at you, all grown up now.

            EMMA:  Mr. Graves?

Panel 2:  Close-up of Percival as he smiles up at Emma.

            PERCIVAL:  That’s right.  Haven’t died yet.

            EMMA (not shown):  I didn’t mean it like that—

            PERCIVAL:  So, how long are you going to be in town for this time?

Panel 3:  Side view of Emma, who has pulled up a folding chair to sit in front of Percival.

            EMMA:  I’m working at the museum now.

            PERCIVAL:  You always did love that place.

Panel 4:  Flashback:  Shot from behind of Emma’s father with 3-year-old Emma on his shoulders, her hair in pigtails and wearing a cute dress.  They’re standing in front of Alex the mastodon in the main gallery of the Plaine Museum.

            EMMA:  Daddy, can I touch the mastodon?

            DAD:  Sorry, honey.  It’s not allowed.

Panel 5:  Side view of Emma still on her father’s shoulders, looking about to cry.  A younger Percival, wearing a gray janitor’s uniform and carrying a broom, holds up the velvet rope—with some kind of sound effect to indicate he’s unhooked it.

            PERCIVAL:  Excuse me, sir.  I just need to sweep over here.

Panel 6:  Side view of Emma’s father lifting her towards Alex, her hand touching the mastodon’s tusk.

            EMMA:  Daddy, he’s so cold!

Panel 7:  Back in the present, shot from over Emma’s shoulder.  Percival is still smiling at her.

            PERCIVAL:  I’m sure you’ll be running the place in a year. 

            EMMA:  I don’t know about that.

Panel 8:  Same as Panel 3 except that Emma is standing and shaking Percival’s hand.

            PERCIVAL:  I am.  Now don’t be a stranger around here.  Does an old man good to see a friendly face once in a while.

            EMMA:  I will, Mr. Graves.

Page 13

Panel 1:  Straight on view of a pregnant woman sitting in an ordinary kitchen.  She has one hand resting on her bulging belly that is eight months along.  Her other hand scoops ice cream from a pint carton into her mouth.  Her head is tilted to pin a corded phone to her shoulder.  This woman is SARAH MACGREGOR, Ian’s wife.

            SARAH:  Why do you have to work late every night?  I hate being alone in this house, especially with the baby due any day now.

Panel 2:  Straight on view of a man climbing in through a window into the empty living room.

            SARAH (not shown):  Can’t you take a little time off?  You’re not indispensable.

Panel 3:  Similar to Panel 1 but closer and with Sarah making a slightly pained face as the baby kicks her.

            SARAH:  Ooh!  He must be a boy.  Probably going to be the next David Beckham.

Panel 4:  Side view of the thief crossing the living room, the only light coming from the television Sarah left on.  A gun is displayed prominently in his hand.

            CRATE:  What you seek is in the kitchen.  Go.

Panel 5:  Close-up of Sarah looking frightened, the phone still on her shoulder.

            SARAH:  I thought I heard something.  Can’t you come home, Ian?  Please?

Panel 6:  Straight on shot of Ian sitting at his desk, surrounded by papers and folders.  The phone is pressed to his ear.  A worried look is fixed on his face.

            IAN:  I’ll come straight home. Don’t worry—  (From the phone we need three sound effects for gunshots.  BANG!  BANG!  BANG!)

Page 14

Splash page:  Shot from behind Sarah.  The thief stands in the kitchen doorway, shadowed except for his eyes and the smoking gun in his hand.  Sarah is lying on the floor, a puddle of blood forming around her.  The phone lies in the pool of blood.

            IAN (from phone):  Sarah?  Sarah?  SARAH!

Page 15

Panel 1:  Straight on view of the interior of a funeral home.  A minister stands at a podium near an open casket, inside which is Sarah MacGregor.  Flowers and such are arrayed around the casket.  Emma and Dan are in the foreground next to each other with Ian in the front row.

            MINISTER:  We are gathered here to mourn the loss of Sarah MacGregor and her child, Thomas MacGregor.

Panel 2:  A side view of Ian sitting in his seat and Emma behind him.  Emma is looking down, a handkerchief pressed to her eyes while Ian is staring blankly ahead.  Emma should be wearing a frumpy black dress while Ian is wearing a dark suit.

            MINISTER (not shown):  They were taken far too soon from us.

            CRATE (not shown):  I know who took them. 

            MINISTER (not shown):  But they will live on forever in our hearts.

Panel 3:  A closer straight on view of Ian and Emma sitting solemnly as they listen to the sermon.

            MINISTER (not shown):  It is not up to us to question the Lord’s wisdom.

            CRATE:  I can give you the power to avenge them.

Panel 4:  A wider shot from behind the casket to show Ian and Emma still sitting, showing no reaction to the minister or the crate’s words.

            MINISTER:  The Lord said through his servant David:  Yea though I walk through the valley of the shadow of Death, I shall fear no evil, for thou art with me.

            CRATE:  The Lord also said:  an eye for an eye.

Panel 5:  Same as Panel 3.

            MINISTER (not shown):  So long as we have God with us, we never have to fear Death.

            CRATE (not shown):  God did nothing while they were slaughtered like animals.

Panel 6:  Closer straight on shot of Emma sitting next to Dan, clutching her purse tightly.

            MINISTER (not shown):  The Lord Jesus said, “I have prepared a house of many rooms.”  There Sarah and Thomas wait for us.

            CRATE (not shown):  I can help you make their deaths mean something.

Panel 7:  Same as Panel 1

            MINISTER:  …Forever and ever, Amen.

            CRATE (not shown):  When you are ready, you know where I am.

Page 16

Panel 1:  Overhead shot of the front of the Plaine Museum, where a woman in a black leather jacket, jeans, and white shirt stands on the top step, smoking a cigarette.  This is DETECTIVE DONOVAN.  Emma is a step below her, on her way up.

            DONOVAN:  Good morning, Dr. Earl.  Beautiful day, isn’t it?

Panel 2:  Side view of Donovan holding up her badge and Emma looking shocked. 

            DONOVAN:  Detective Lottie Donovan, Rampart City PD.  Mind if I ask you a few questions about your employer?

            EMMA (small lettering):  Yes, of course.

Panel 3:  Shot from over Emma’s shoulder, Donovan now with a notebook in her hand while Emma continues looking down at her feet.

            DONOVAN:  Where were you last night at about 10pm?

            EMMA:  I was home.  Reading.

Panel 4:  Close-up of Donovan’s face, looking smug like a cat playing with a mouse

            DONOVAN:  Anyone there with you?

            EMMA:  Not until midnight.  Becky had to work late.

Panel 5:  Side view of Donovan snuffing out her cigarette and still smiling smugly at Emma, who is still looking down at her feet.

DONOVAN:  How long have you known Dr. MacGregor?

EMMA:  Three days if you don’t count the interview.

Panel 6:  Close-up on Emma, looking pale and shocked.

DONOVAN:  Anything romantic between you two?

            EMMA:  NO!  He’s my supervisor.

Panel 7:  Similar to Panel 5, except Det. Donovan has the notebook closed and a business card in her hand.

            DONOVAN:  Here’s my card if you think of anything useful—like an alibi.

            EMMA (small lettering):  Yes, of course.  Thank you.

Page 17

Panel 1:  Overhead shot of the main gallery, with Dan standing over by the ticket counter and Emma standing in front of him.

            DAN:  Did the police grill you too?

            EMMA:  Yes.  It’s so terrible about Ian.

Panel 2:  Side view of Emma and Dan looking gloomily at their feet.

            DAN:  I wish there was something we could do.

            EMMA:  There isn’t anything we can do.  Not really.

Panel 3:  Close-up of Dan rubbing the back of his head with one hand, looking nervous.

            DAN:  I guess not.  Look, I know this is bad timing, but I have a presentation on Wednesday…

Panel 4:  Close-up of Emma, a hand to her lips, looking surprised.

            DAN (not shown):  I thought you could be my date.

            EMMA:  Oh, I don’t know.  It’s against the rules to date a coworker.

Panel 5:  Side view of Dan holding up his hands and smiling at her while she’s still looking down, her face red.

            DAN:  Not like a date.  You know, just as a friend, a colleague.

Panel 6:  Close-up of Emma, her face brightening with a shy smile.

            EMMA:  OK, I’ll go—as a colleague.  For support.

Panel 7:  Same as Panel 2 only they’re not gloomy, so much as happy now.

            DAN:  I’ll see you then. 

            EMMA (small lettering):  Great.

Page 18

Panel 1:  Overhead shot of the main gallery of the museum.  It looks largely the same except now there are a lot of people dressed in formalwear and waiters circulating with trays of hors’deoerves and drinks.  Emma is standing at the front doors with Dan.  She’s wearing an emerald green dress that when we get closer we can see is baggy on her.

            EMMA:  It looks so different.

            DAN:  It looks just fine.  And so do you.

Panel 2:  Side view of Emma and Dan being stopped by two security guards with magnetic wands in hand.  Dan looks at them, annoyed while Emma just looks at her feet.

            DAN:  Is this really necessary?  This is my presentation.

            GUARD:  Sorry, sir, just a precaution.  We’re screening everyone.  Director’s orders.

Panel 3:  Shot from over the guard’s shoulder as he waves a wand over Emma’s breasts.  Her face is red with embarrassment while Dan’s face is red as if he wants to lunge forward and strangle the man.

            DAN:  Really, do you think she’s got a bomb strapped to her?  This is Dr. Earl.  She works here!

            GUARD:  Sorry, sir.  Director’s orders.

            EMMA:  It’s all right, Dan.  Really.

Panel 4:  Side view of Dan and Emma standing by the ticket counter, where Emma has her arm through Dan’s while he glares at the security guards.

            DAN:  That’s ridiculous.  Why would the director…

            DIRECTOR (Not shown):  Is there a problem, Dr. Dreyfus?

Panel 5:  Side view of Dan grimacing while Emma looks down at her feet, trying not to be seen.  There’s a middle-aged blond woman in front of them, THE DIRECTOR.  She’s wearing a champagne-colored gown with sleeves so as not to show her thickening arms.

            DAN:  I was just saying this security seems a little like overkill.

            DIRECTOR:  After what happened with the freighter we can’t take chances.

Panel 6:  Shot from over Dan’s shoulder of the Director smiling (which is like a snake smiling) while Dan and Emma look at their feet.

            DIRECTOR:  I see you’ve brought Dr. Earl, our rising star.  I trust Dr. Brighton has been treating you well?
            EMMA:  Yes, ma’am.

            DIRECTOR:  Good.  I hope you aren’t too lonely right now with him taking over for Dr. MacGregor.

            EMMA:  No, ma’am.

Panel 7:  Straight on view of The Director with her arm through Dan’s, breaking him away from Emma, who watches longingly as they walk away.

            DIRECTOR:  Now, Dr. Dreyfus, there are some people you must meet…

Page 19

Panel 1:  Side view of Emma standing beside Alex the mastodon.  A man stands in front of her.  He’s in his early sixties, slightly overweight, with thick silver hair and a mustache.  This is COUNCILMAN ROY LINTNER, Becky’s boss.  He holds a flute of champagne in each hand and is leering at Emma, who tries to look impassive.

            LINTNER:  Dr. Earl, isn’t it?  You look lonely.

            EMMA:  I’m fine.  I’m waiting for my friend.

Panel 2:  Side view of Lintner holding out the champagne flute, while Emma is waving it away.

            LINTNER:  Care for a drink, Doctor?

            EMMA:  I can’t.  I’m under age.

Panel 3:  Close-up on Lintner, who is still leering at Emma.

            LINTNER:  So, you’re the one dating my godson?

            EMMA (not shown):  Dan and I are just friends.

Panel 4:  Shot from over Lintner’s shoulder as he raises one of the flutes in a mock toast.  Emma is grimacing slightly.

            LINTNER:  You look a lot different than most of Danny’s dates.

            EMMA:  Excuse me?

            LINTNER:  Most of them were little blondes after his trust fund.

Panel 5:  Close-up on Emma, whose cheeks are red and eyes narrowed slightly in anger.

            EMMA:  I don’t care how much money Dan has. 

Panel 6:  Shot from over Emma’s shoulder of Lintner, who’s winking at her.

            LINTNER:  They all start off saying that.  Then they show up at the office with a full belly, if you know what I mean.

            EMMA:  No, I don’t.

Panel 7:  Close-up on Emma, who’s looking shocked with her eyes wide and mouth slightly open

            LINTNER:  Danny boy was a real hellion back in the day.  Cost a bit of his parents’ money to buy them off.

            EMMA:  He’s my friend.  That’s all.

Panel 8:  Side view of Lintner with his hand on Emma’s arm.  She’s looking down at it angrily, as if she’d like to yank his arm off.

            LINTNER:  Well then, how about you give me a personal tour of the museum?  I bet there’s a lot you could show me.

            DIRECTOR (not shown):  Attention everyone, if you would proceed into auditorium number two, we will begin our presentation for the evening.

Page 20

Panel 1:  Overhead shot of a large space that has been made to look like an Egyptian burial chamber.  There are fake brown brick walls, with various artifacts from Karlak’s tomb encased in glass and mounted along the wall.  There are also various hieroglyphics on the wall.  In the center of the chamber is the sarcophagus containing Karlak II.  Dan stands next to this while the rest of the crowd, including Emma, fills the remainder of the room.

            DAN:  Good evening, ladies and gentlemen.  My name is Dr. Daniel Dreyfus.  My team and I were the ones who found Karlak II and brought him here.  But who was he?  Let’s find out.

Panel 2:  Straight on shot of Dr. Brighton is in Ian’s office, snoozing with his head on the desk and a bottle of liquor next to him. 

            CAPTION:  Before the pyramids and the Sphinx there was Karlak II.  He presided over the Old Kingdom nearly 3,000 years before Christ.

Panel 3:  Side view of Brighton still napping, while a hand reaches into a drawer beside him, taking out a keycard on an elastic string.

            CAPTION:  Under Karlak II’s reign, the power of the Old Kingdom increased, extending beyond what we know today as Egypt into the Sudan.

Panel 4:  Close-up of Brighton looking startled.  There’s a CLANK type sound effect.

            CAPTION:  The people of the Old Kingdom revered  Karlak II not only for his military prowess, but also for the bountiful harvests during his reign.

Panel 5:  Straight on view of Brighton pinned to the chair, a black metal spike sticking out of his chest.  His face is frozen in a look of terror.

            BRIGHTON:  Who…are…you?

            CAPTION:  Karlak II is the earliest known pharaoh to be mummified, though unlike later pharaoh’s he was interred in a simple vault instead of a massive pyramid.

Panel 6:  A shot through the doorway of a laboratory and a tank of natural gas for the Bunsen burners.  A spiky, man-like shape is in the foreground.  A clawed hand points towards the tank of gas.

            CAPTION:  Working four years under harsh conditions, my team and I finally located Karlak II’s tomb in the Valley of the Kings.

Panel 7:  Straight on view of Dan looking up, startled as there’s an explosion—with a big KA-BOOM sound effect

DAN (Small lettering):  Um…
Page 21

Panel 1:  Straight on view of Emma pushing through the crowd of people heading for the door.

            CAPTION:  She knew where the explosion had come from.  There was only one place it could be.

Panel 2:  Side view of Emma running up the stairs, barefoot so her high-heels won’t slow her down.

            CAPTION:  She hoped she could save a few of her precious rocks before the whole place burned down.

Panel 3:  (This should take up the rest of the page)  Emma is standing at the top of the stairs with her back to us.  In front of her, looming a few inches over her is the BLACK DRAGOON, framed by flames and debris from the explosion.  His red eyes are glowing as he glares at her.

            Caption:  Once more the Black Dragoon had risen to spread evil and chaos.

Page 22:

Panel 1:  Close-up of Emma as her mouth opens in a scream.

Panel 2:  Shot from over the Dragoon’s shoulder with a hand raised to strike while Emma is turned to run back down the stairs.

Panel 3:  Close-up of the Dragoon’s claws tearing down across Emma’s back.

            EMMA:  AAAAAAAHHHHHHH! (or whatever to indicate a scream)

Panel 4:  Emma is falling down the stairs.

Panel 5:  (This should take the rest of the page.)  Overhead shot of Emma lying facedown on the landing, sprawled out.  There are four nasty claw marks across her back, like those of some kind of wild animal.  The claw marks are bleeding badly, staining the shredded back of her dress.

            CAPTION:  The question was, who could stop him this time?

Page 23

Panel 1:  Overhead shot of an old warehouse that’s mostly empty right now with trash strewn about and graffiti and broken windows.  In one corner is a flaming barrel and three human figures huddled around it along with a dog.  One of these figures is ROSCOE CAFEE, the man who killed Ian MacGregor’s wife.

            ROSCOE:  I didn’t want to kill her.

Panel 2:  Side view of two hoboes in raggedy overcoats, shirts, and pants and their mangy dog of indeterminate breed along one side of the barrel.  Roscoe is sitting on the opposite side, staring into the fire and hugging himself, his face looking pale and drawn as he hasn’t slept since killing Sarah MacGregor.

            ROSCOE:  No one was supposed to die.

Panel 3:  Flashback of Roscoe firing the pistol into Sarah MacGregor’s chest (only smaller than that panel originally was).

            CAPTION:  I just wanted her money.

Panel 4:  Shot from over Roscoe’s shoulder, looking down at Sarah MacGregor lying on the floor of her kitchen, blood spilling from the wounds in her chest and pregnant stomach.

            CAPTION:  No one was supposed to die.

Panel 5:  Shot from over the two homeless men and their dog are of Roscoe, who is still sitting there, looking into the fire.

            ROSCOE:  Why’d she have to die?

Panel 6:  Shot from the floor, looking up at ceiling of the warehouse as it breaks open and the Dragoon is dropping through the air.  (Insert appropriate sound effect for roof breaking open)

Panel 7:  Side view of the Dragoon standing directly in the middle of the group, where the fire barrel had been.  He is pointing a clawed finger at Roscoe, his eyes glowing red.

            DRAGOON:  You are mine now.

Page 24

Panel 1:  Side view of Roscoe running through the warehouse, looking straight on his face is a mask of terror.  Above him is only a tiny silhouette of the Dragoon, its eyes still glowing red.

            CAPTION:  He could run, but he couldn’t hide.

Panel 2:  Overhead shot of Roscoe running along the waterfront.  There are big freighters tied up and stacks of shipping crates, workers milling around, and so forth.  Above, in one corner, is an outline of the Dragoon, one eye glowing red as he looks down on Roscoe.

            CAPTION:  The Dragoon would follow his prey to the ends of the earth.

Panel 3:  Side view of Roscoe running now through a garbage-strewn alley, a graffiti-covered building to one side.  Roscoe still looks terrified.

            CAPTION:  The Dragoon would never give up.

Panel 4:  Roscoe is sitting now against a graffiti-covered wall, his knees pulled up to his chin.  He’s sweating and his face is red from exertion. 

            DRAGOON:  There is no escape for you.

Panel 5:  Shot from over the Dragoon’s shoulder, looking down at Roscoe.  The Dragoon looming over him, his eyes glowing red and a clawed hand pointed at Roscoe.

            ROSCOE:  What do you want? 

Panel 6:  Closer shot of the Dragoon looking down at Roscoe, his claws having grown to look more like Wolverine or Freddy Krueger claws.  The Dragoon’s eyes are glowing.

            DRAGOON:  You will pay now.

Panel 7:  Roscoe is pinned against the wall, four long metal spikes sticking out of his chest—two each in the exact same places he shot Sarah MacGregor.

            CAPTION (top):  But it wouldn’t end there…

Page 25

Panel 1:  Shot from behind Emma, who is floating in a light yellow sky with just some clouds in the background.  In front of her, bigger than life, is her mother, who seems to be radiating a glow around her—like an angel only without the wings.

            EMMA:  Mom?  Am I dead?

Panel 2:  Side view of the “angel” of Emma’s mother reaching out with one hand to caress Emma’s cheek.  Emma has a satisfied look on her face.

            MOM:  No, baby.  You’re not dead.

            EMMA:  Then what is this?

Panel 3:  Close-up of the “angel’s” face as it looks down on Emma with love.

            MOM:  There is something you must do, Emma.

            EMMA (not shown):  What is it, Mom?

            MOM:  You must find the armor, baby.

Panel 4:  Shot from over the shoulder of the “angel” of Emma floating before her, looking confused.

            MOM:  It’s all up to you, Emma.

            EMMA:  What is up to me?  Mom?

Panel 5:  Side view of the “angel” bending down to kiss Emma on the forehead, like her mom used to do.

            MOM:  You have to go back now, baby.  I’m sorry.

Panel 6:  Like Panel 5, except now the “angel” has drawn back to become only a shadowy figure.  Emma is reaching out, trying to grab hold of her mother.

            EMMA:  Mom, come back!  Don’t leave me again!

Panel 7:  Shot from behind Emma.  A second shadowy figure, a male one, has joined the “angel.”  This would be Emma’s father.  She’s still reaching out to them, but she can’t touch them.

            MOM:  Your father and I love you, baby.  We always will.

Page 26

Panel 1:  Close-up of Emma’s face, her eyes opening wide.

            EMMA:  Mom?  (Small lettering)

Panel 2:  Overhead shot of Emma in a hospital bed, wearing a green hospital gown.  She’s lying on her side with her back bandaged heavily.  Around her are various monitoring devices.  Becky is sitting in a chair next to the bed, a magazine in her lap and her face looking relieved.

            BECKY:  You’re awake.  Thank God.

Panel 3:  Shot from over Becky’s shoulder, looking down at Emma, whose eyes are wide now with confusion.

            EMMA:  Where am I?

            BECKY:  You’re in the hospital, kid.  You took quite a spill.

Panel 4:  Close-up on Emma, her face looking terrified now.

            EMMA:  The museum!  Dan’s presentation.  Is he…

            BECKY (not shown):  He’s fine.  Everyone else is fine.

Panel 5:  Side view of Emma sitting up, but Becky has a hand on Emma’s chest to stop her.

            BECKY:  Relax, kid.

            EMMA:  No.  I saw Mom.  She said…

            BECKY:  Whatever it is can wait until you’re better.

Panel 6:  Side view of Becky’s back and Emma lying on the bed.  Behind them, in the doorway, stands Detective Donovan, who for once does not have a cigarette.

            DONOVAN:  She’s finally awake.  Good.

Panel 7:  Donovan stands beside the bed now with Becky on the other side, a finger raised in warning

            BECKY:  She just woke up.  She’s not ready to be interrogated.

            DONOVAN:  That’s for me to decide.

Panel 8:  Becky has moved to stand toe-to-toe with Detective Donovan, her finger almost touching the detective’s chest.

            BECKY:  I’m going to find her doctor.  He’ll throw you out.

            DONOVAN:  Don’t worry, this won’t take long.

Page 27

Panel 1:  Side view of Donovan sitting in the chair Becky vacated earlier, looking down at Emma, who is still lying on her side.

            DONOVAN:  What were you doing up there when the museum went boom?

            EMMA:  I don’t know.  I thought I could save some things.

Panel 2:  Close-up of Donovan with an amused smile as she writes in her notebook.

            DONOVAN:  You wanted to save rocks and reports?

            EMMA (Not shown):  Yes.

Panel 3:  Shot from over Donovan’s shoulder as she looks down at Emma, who’s looking confused and a little scared.

            DONOVAN:  So what did you see?

            EMMA:  There was a monster.  Black.  Spiky.  Red eyes.  And claws.

Panel 4:  Close-up on Emma, whose eyes are watery and is looking worried.

            DONOVAN (not shown):  A monster?

            EMMA:  I don’t know how else to describe it.  I tried to run, but he clawed me.  And I fell.

Panel 5:  Straight on view of Donovan tucking the notebook into her pocket while Emma is still lying on her side.

            DONOVAN:  I guess you’re still woozy from whatever they gave you.  We’ll talk when you’re more lucid.

Panel 6:  Side view of Donovan with her hands raised in supplication while in the doorway, Becky stands with a doctor.

            DONOVAN:  It’s all right, Miss Beech.  I was just leaving.

Panel 7:  Side view of Becky and Donovan standing toe-to-toe, with Becky raising a finger in warning.

            BECKY:  If you come back, I’m calling your supervisor and filing a report for harassment.

            DONOVAN:  You can go ahead and try that, Miss Beech.

Page 28

Panel 1:  Shot from behind Becky, who’s sitting in the chair next to Emma’s bed.  Dan is standing in the doorway with a bouquet of flowers (like carnations or something cheaper, not roses) in his hand.  He’s smiling shyly.  Emma is lying on her side, facing us but asleep.

            Caption (top):  Later…

            DAN:  Hi.  How is she?

            BECKY:  She’s resting.

Panel 2:  Side view of Becky with one hand on Dan’s flowers to rip them away.  Dan is looking surprised.

            BECKY:  You better not give her these.  She’s allergic.

            DAN:  Oh, I’m sorry.

            EMMA (Not shown):  Dan?

Panel 3:  Shot from over Dan’s shoulder as he stands over Emma’s bed.  She’s looking up at him, smiling sleepily.

            DAN:  Hi.  How are you doing?

            EMMA: A little sore.

Panel 4:  Side view of Dan sitting beside the bed, smiling at Emma, her back, still bandaged and somewhat bloody, is facing us. 

            DAN:  I’m sorry about what happened.

            EMMA:  It wasn’t your fault.

Panel 5:  Shot from the headboard of the bed with Dan to the left, holding up a white envelope.  Becky is straight ahead in the background, looking angry and wagging a finger.

            DAN:  Still, I want to try and make it up to you.  The opera is staging Götterdämmerung next week. 

            BECKY:  An opera?  She’s not going anywhere until the doctor approves it.

Panel 6:  Side view of Emma lying on the bed, smiling sleepily and facing us while Dan and Becky are facing each other, Becky still looking angry.

            DAN:  I just thought…

            BECKY:  Didn’t you see her back?  She’s in no shape…

            EMMA:  I want to go.

Panel 7:  Shot from Emma’s bed, looking up at Dan, who’s smiling, and Becky, who’s looking surprised.

            BECKY:  Look, kid, now might not be the best time.  You’re still groggy…

            EMMA:  I’m not a child.  I want to go.

Panel 8:  Same as Panel 3, only Emma is a little more alert now.

            DAN:  Great.  Pick you up at six?

            EMMA:  It’s a date.

Page 29

Panel 1:  Side view of Emma lying on her side in bed, but now in her own bedroom.  Emma’s bedroom is fairly plain with stacks of books everywhere, some dressers, and a Periodic Table tacked to the wall.  She’s asleep, but her face is looking pained.

            MOM (not shown):  Emma, you have to find it…

            EMMA:  (small lettering) Mom…

Panel 2:  Straight on view of Emma on her feet, her eyes still closed and expression vacant.  She’s wearing a heavy plaid nightgown with nothing on her feet.

            MOM (not shown):  Just follow my voice, baby.

Panel 3:  Straight on view of Emma in an alley.  The alley has garbage strewn everywhere and in one corner there’s a rat eyeing her.  She’s kneeling down in front of the opening for a storm drain.

            MOM (not shown):  Keep going, baby.

Panel 4:  Side view of Emma walking through a sewer pipe.  The pipe is really old, the walls made of bricks, not concrete.  The sewage goes past the hem of Emma’s nightgown, but her eyes are still closed as she’s sleepwalking.  In the bottom right corner we see the silhouette of a man with a pointed nose and long hair—this is the SEWER RAT.  He’s watching Emma.

            MOM (not shown):  You’re getting closer.

Panel 5:  Shot from behind Emma as she stands at the base of a ladder along a wall of the sewers.  The silhouette of the Sewer Rat is behind her, along with numerous rats.  One of these is very large with black fur and a silver streak running along his back—this is PEPE.

            MOM (not shown):  You’re almost there.

Panel 6:  Side view of Emma on the ladder, reaching up to turn a wheel to open a hatch.  The bottom of her nightgown is dripping wet from the sewage.

            MOM (not shown):  Just a little farther…

Panel 7:  Shot from the bottom of the sewer pipe, looking up at Emma, whose head is turned down to look right at us, her eyes open wide now, looking startled.  A flood of mud is coming from the open hatch, down onto her.

            EMMA:  Ach! (or something to indicate disgust)

Page 30

Panel 1:  Overhead shot of what is essentially a cavern.  There’s a Civil Defense sign posted on one wall and also a red siren.  In another corner are olive drab crates labeled “C-Rations” with a sub-label “Exp. Nov 1971.”  The floors of the cavern are muddy from moisture dripping from the stone ceiling.  Emma is standing amidst this mud, next to the open hatch leading to the sewers.

EMMA:  What is this place?  How’d I get here?

            MOM (not shown):  You’re almost there, baby.  Don’t lose heart.

Panel 3:  Close-up of Emma with her eyes closed again.

            EMMA:  This had better be worth it.

Panel 4:  Side view of Emma walking in the mud, which reaches past her ankles.

Panel 5:  Shot from behind Emma at floor level as she stands in front of a solid (or so it seems) wall of rock.

            EMMA:  What now?

            MOM (not shown):  Open the door, baby.

Panel 6:  Close-up of Emma’s hand against the rock.  (With a creak/squeak sound effect to indicate rusty hinges moving.)

Panel 7:  Shot from behind Emma, who is on her knees after crawling through the doorway, her clothes, hair, and face muddy.  She’s inside another cavern.  This one has more olive drab crates, but there is also a map of the city tacked to the wall, a worktable with a radio on it, and a rusty chair with its upholstery torn.  More importantly, at the back, almost hidden from sight, is a scarlet crate very similar to the black one that was in Emma’s office.  At the moment Emma is looking up in shock.  Above her is floating a ghost dressed in a robe with a beard and pointed, conical hat.  This is MARLIN, the Keeper of the Lore for the Order of the Scarlet Knight.

            MARLIN:  Welcome to The Sanctuary.

Page 31

Panel 1:  Shot from over Marlin’s shoulder as he’s looking down on Emma, who is standing now, still looking at Marlin in shock.

            EMMA:  Who are you?  Where’s Mom?

            MARLIN:  I am Marlin, Keeper of the Lore for the Order of the Scarlet Knight.

Panel 2:  Shot from over Emma’s shoulder as she reaches out with a hand, trying to touch Marlin, but her hand is going through thin air.  Marlin is sneering at her.

            EMMA:  You’re a ghost.

            MARLIN:  My, aren’t you quick?

Panel 3:  Side view of Emma glaring at Marlin, arms crossed over her chest.

            EMMA:  My mother said I should come here.  Why?

            MARLIN:  Because you heard The Call.

Panel 4:  Similar to Panel 1, except Emma is sitting on the dilapidated chair, glaring up at Marlin

            EMMA:  The Call?  What’s that?

Panel 5:  Close-up of Marlin, who is looking wistful now.

            MARLIN:  When evil arises, one who is pure of heart will be chosen to hear The Call and by doing so become the Scarlet Knight.

Panel 6:  Close-up of Emma, whose face is red with embarrassment.

            EMMA:  Pure of heart?  Are you saying it’s because I’m a virgin?

Panel 7:  Side view of Marlin floating above an embarrassed Emma, sneering at her again.

            MARLIN:  No, but that’s part of it.  You’re a virgin because you’re too innocent to go around shagging anyone who happens by.

            EMMA:  So what is the Scarlet Knight?

Page 32

Panel 1:  Close-up of Emma, whose eyes are wide as she looks incredulous.

            Caption (top):  I gave her the same history lesson I gave you.  Needless to say, she was surprised.

            EMMA:  You want me to do that?  But I’m just a geologist!

Panel 2:  Shot from behind Marlin, who is pointing towards the scarlet case in the corner.  Emma has her head turned to look in the direction he’s indicating.

            MARLIN:  Your destiny awaits you over there.

Panel 3:  Straight on view of Emma kneeling beside the scarlet case, which glows with yellow light.  Angelic faces appear on the sides of the case to welcome her.

            EMMA:  This looks like that thing Dan brought in.

            MARLIN:  Very astute.  That was the Black Dragoon’s armor you had locked up there.

Panel 4:  Side view of Emma still kneeling beside the case; the lid of the scarlet case has yawned open.  Emma holds a scarlet helmet with a golden plume in her hand, staring at it skeptically.

            EMMA:  So I put this on and I turn into some kind of superhero?

            MARLIN:  If that’s how you want to think of it.

Panel 5:  Shot from over Marlin’s shoulder as he looks down at Emma, who has an eyebrow raised, looking at him skeptically.

            EMMA:  What if I don’t want to do it?

            MARLIN:  No one has ever refused The Call.

Panel 6:  Close-up on Emma’s face, which is looking shocked now.

            EMMA:  Everyone hears this Call, don’t they?

            MARLIN (not shown):  That’s what I said if you were listening.

            EMMA:  So it wasn’t really my mother’s voice, was it?

Panel 7:  Side view of Emma dropping the helmet back into the case—with appropriate sound effect.  Her face is tear-stained and red.  She is pointing at Marlin who for the first time looks nervous.

            MARLIN:  Not as such, no.

            EMMA:  You take your Order and shove it then!

Panel 8:  Shot from behind Marlin with Emma stomping towards the doorway, her back turned to us.  Marlin is holding up a hand, pleading with her to stop.

            MARLIN:  Emma, come back.  We need you.  The world needs you.

            EMMA:  I don’t care.

Page 33

Panel 1:  Later, Emma is at the Park Glen rest home.  A side view of Emma sitting in a chair, facing Aunt Gladys, who’s smiling at her.

            GLADYS:  It’s so good of the school to let you come visit.

            EMMA:  Yes it was.

Panel 2:  Down the hall, in a darkened bedroom, a shot from the headboard of a bed.  Percival Graves is sitting at the end of the bed, back to us, shoulders slumped in defeat.

Panel 3:  Close-up of Emma looking sadly at her senile aunt.

            GLADYS (not shown):  I hope it wasn’t too expensive to fly back here from California.

            EMMA:  No, it didn’t cost much at all.

Panel 4:  Shot from over Percival’s shoulder, looking down at a framed newspaper clipping.  The headline reads, “HERO STOPS RUNAWAY TRAIN!”  There’s a photograph beneath the headline of a subway train with the front end smashed in and terrified people running from it.

            PERCIVAL:  It won’t be long now.

Panel 5:  Shot from behind Aunt Gladys.  Emma is wincing as she holds Aunt Gladys’ hand.

            GLADYS:  To think a girl your age in college.  Your mother would be so proud.

            EMMA:  Yes. (small lettering)

Panel 6:  (This should take up the rest of the page.)  Similar to Panel 2, except the wall has shattered with the Black Dragoon standing in the hole, its eyes glowing red.  It’s looking straight at Percival, who is looking impassively at the Dragoon.

Page 34

Panel 1:  Side view of Emma sitting in front of Aunt Gladys, only now Emma’s head is turned away, towards the hallway.

            EMMA:  What was that?

            GLADYS:  I didn’t hear anything.

Panel 2:  Shot from behind Emma at floor level, looking up at Marlin, who is floating over her and sneering at her.

            MARLIN:  He’s here.

            EMMA:  Who?

Panel 3:  Close-up of Emma looking shocked.

            MARLIN (not shown):  The Black Dragoon.  He’s after that old coot Graves.

Panel 4:  Straight on view of Percival’s room, through the hole the Dragoon put in the wall.  Emma is visible in the doorway, looking horrified.  Marlin is floating over her shoulder.

            EMMA:  What does he want with Mr. Graves?

            MARLIN:  Information.

Panel 5:  Shot from over Emma’s shoulder, looking through the hole again.  The Dragoon with Percival over his shoulder is visible in the background, running from the scene.

            EMMA:  What information would he have?  He’s just an old man.

            MARLIN:  An old man who happened to be the last Scarlet Knight.

Panel 6:  Side view of Emma looking up at Marlin, who’s still sneering at her.

            EMMA:  Him?

            MARLIN:  He wasn’t always mopping up puke in that museum.  He used to be a hero.

Panel 7:  Repeat of Panel 5, Page 12, the one where Percival is unhooking the velvet rope for Alex the Mastodon

            Caption:  No, he’s still a hero.

Panel 8:  Close-up of Emma with tears in her eyes.

            EMMA:  I’ll do it.

            MARLIN (Not shown):  Do what?

            EMMA:  I’ll put on that armor of yours if it means I can save him.

Page 35

Panel 1:  A bus stop outside the retirement home.  Straight on view of Emma sitting on a bench while Marlin hovers over her shoulder.

            MARLIN:  I’ll follow them.  You get yourself back to the city.

            EMMA:  Right.

Panel 2:  Straight on view of Emma sitting on a bus bench, hunched over and wiping tears from her eyes.  There are probably only one or two other people on the bus, none sitting near Emma.

Panel 3:  The same as Panel 2 except Marlin is hovering over her shoulder and her head is raised.

            MARLIN:  They’re at the old sausage plant.  You’d better hurry.

            EMMA:  I don’t have time to go to the Sanctuary.

            MARLIN:  Just get off at the next stop.

Panel 4:  Side view of Emma standing in a dark, garbage-strewn alley, Marlin hovering over her.

            EMMA:  What are we doing here?

            MARLIN:  My master created a traveling spell for the armor.  Use it and you can bring the armor to wherever you are.

Panel 5:  Close-up of Emma’s face, looking confused with eyebrow raised and brow furrowed.

            MARLIN (not shown):  Simply say “Mekka lekka weep ninibaum.”

            EMMA:  What language is that?

            MARLIN (not shown):  It’s the language of magic.

Panel 6:  Close-up of a formerly deserted spot of alley.  The scarlet case of armor is now lying on there.

            EMMA (not shown):  Mekka lekka weep ninibaum.

Panel 7:  Shot from behind the case of armor, its lid open now.  Emma is kneeling down in front of the case, the breastplate in her hands.  Marlin is hovering over her shoulder.

            EMMA:  Are you sure this is going to fit?

            MARLIN:  It’s magic armor.  Of course it will fit.

Panel 8:  Straight on shot where Emma has all of the armor (and cape) on except for the helmet.  This she is holding in her hand, studying it uncertainly.

            CAPTION:  Once she put on the helmet, there would be no going back.

Page 36

Splash page:  Emma stands in the garbage-strewn alley, fully dressed now as the Scarlet Knight.  But instead of some heroic pose (like on Page 3), she’s standing there uncertainly, shoulders slumped so that she doesn’t look very confident.

Page 37

Panel 1:  Side view of Emma looking up at Marlin, who’s looking smug as always.

            MARLIN:  That wasn’t so bad.

            EMMA:  I suppose.  Now how do I get to the sausage plant?  I can’t call a cab in this.

Panel 2:  Same as Panel 2 only now Marlin is pointing at her

            MARLIN:  You can use the gloves to climb up.  They also work to break locks.

Panel 3:  Close-up of a yellow glove studded with tiny suction cups.

Panel 4:  Shot from atop a roof, looking down at Emma, who is climbing up the wall, Spider-Man style.

Panel 5:  Side view of Emma standing atop the roof of a building, where Marlin is again floating above her.  He is pointing towards his left at another building.

            MARLIN:  Get a running start and then jump to the next building.

            EMMA:  Jump?

            MARLIN:  Yes.  The soles of the boots will give you the lift you need.

Panel 6:  Side view of Emma running across the rooftop really fast.

Panel 7:  Side view of Emma suspended in midair between the two buildings.

Panel 8:  Overhead shot of Emma lying facedown on the rooftop of the other building.

            MARLIN:  See, easy enough.

Page 38

Panel 1:  Straight on shot of Emma brushing herself off, looking up at Marlin as he floats over her shoulder.

            EMMA:  What if I fell?

            MARLIN:  The armor would protect you.  It is magic after all.

Panel 2:  Side view of Emma has stopped brushing herself off and is just looking up at Marlin.

            EMMA:  Can it protect me from anything?

            MARLIN:  Except magic weapons—like the Dragoon’s claws.

            EMMA:  Oh.

Panel 3:  Shot over Marlin’s shoulder.  He’s pointing at Emma, who has a hand on her l hip.

            MARLIN:  For that we have the Sword of Justice

Panel 4:  Straight on shot of Emma holding up the golden sword in her hand.

            EMMA:  It looks Japanese

            MARLIN:  Very good.

Panel 5:  Side view of Emma swinging the Sword of Justice, the sword halfway through its arc.

            MARLIN:  The Sword of Justice can cut through anything—including the Dragoon.  Also, if you throw it, you can steer it with your mind.

            EMMA:  That’s handy.

Panel 6:  Shot from over Emma’s shoulder with the sword back in its sheath.  She’s looking up at Marlin.

            EMMA:  Anything else I should know?

            MARLIN:  Tap your visor once.

Panel 7:  A shot through Emma’s helmet at the skyline around her, which is tinted green but everything is clearly visible.

            EMMA:  Night vision.  That’s helpful.

            MARLIN:  Just tap it again when you don’t need it.

Panel 8:  Shot from behind Emma as she’s looking out at the city.  Marlin is floating behind her.

            EMMA:  Well, here we go then.

Page 39

Panel 1:  (This should take up a couple panels worth of page.)  Shot from behind Emma as she’s facing the sausage plant.  With one hand against the side of the helmet visor.  Marlin is floating above her shoulder.  Below there’s a number of rectangular, barn-like buildings and a silver water tower with chipped paint reading:  Dibbler Sausage, above which is the image of a cheerful pig.

            EMMA:  Doesn’t this thing have X-ray vision?  Or thermal vision?

            MARLIN:  In the old days they were happy enough to be able to see in the dark.

Panel 2:  Side view of Emma looking up at Marlin, who is pointing to the plant.

            EMMA:  So which one is he in?

            MARLIN:  That second one on the left.

            EMMA:  It looks like a long jump.

Panel 3:  Shot from over Marlin’s shoulder as he’s pointing down to Emma’s cape, which should be billowing slightly in the wind.

            MARLIN:  Your cape can work as a parachute to brace for long falls.

            EMMA:  Great.

Panel 4:  Side view of Emma poised to take off running.

            EMMA:  Well, here goes nothing.

Page 40

Panel 1:  Inside one of the buildings is a conveyor belt, a big mixing bowl with some nasty sharp implements above it, some hooks suspended in the air, and a lot of catwalks and pipes running around.  Straight on view of Percival strapped to the conveyor belt, with the Black Dragoon standing next to a control panel.  The Dragoon is glaring down at Percival, his eyes glowing.

            DRAGOON:  Where is the armor?

            PERCIVAL:  I’ll tell you nothing.

Panel 2:  Close-up of the Dragoon with a claw on a green button.  (Some whirring sound effects or something to indicate the conveyor is moving.)

Panel 3:  Side view of Emma is poised in midair, the gold cape streaming behind her.

Panel 4:  Same as Panel 1, but now Percival is now closer to the mixing bowl.  The Dragoon continues standing by the control panel.

            DRAGOON:  You don’t have much time, old man.

            PERCIVAL:  Go ahead.  You’ll be doing my son a favor.

Panel 5:  Close-up of the Dragoon with a claw on a green button.  (Some whirring sound effects or something to indicate the conveyor is moving.)

Panel 6:  Side view of Emma still poised in midair, the cape forming a kind of parachute shape above her.

Panel 7:  Overhead shot of Percival’s head poised over the edge of the mixing bowl.  The Dragoon continues to glare at him from the control panel.

            DRAGOON:  Perhaps there is someone you care about?  Like a certain young woman at the museum?  Watching her die might loosen your tongue.

Panel 8:  Straight on view of Emma on the ground in a squatting position, the cape falling down around her.

            PERCIVAL (not shown):  Don’t you dare touch that girl!

Page 41

Panel 1:  Side view of the Dragoon standing over Percival by the conveyor belt.  The Dragoon has one clawed hand raised.

            DRAGOON:  What will you do about it, old man?

Panel 2:  Side view of Emma approaching one of the barn-like structures.  Emma has the cape wrapped around her, turning invisible, so that only a faint outline of her is visible.

            PERCIVAL (not shown):  You kill her and I won’t tell you anything.

Panel 3:  Shot from over the Dragoon’s shoulder.  One clawed finger touching Percival’s cheek, leaving a thin trail of blood.

            DRAGOON:  This is where you will die, old man.  Your cooperation will ensure whether it is fast or slow—and who dies with you.

Panel 4:  Side view of Emma climbing along the side of the barn-like structure.

Panel 5:  Overhead shot of the Dragoon moving his claw along Percival’s shirt.  He’s torn open the first couple buttons, leaving a bloody trail.  Percival is grimacing in pain.

            DRAGOON:  Tell me where you hid the armor or the girl will meet the same fate.

Panel 6:  Straight on view of Emma standing in an open door near the top of the barn.  The cape is still wrapped around her so that she’s invisible.

Panel 7:  Shot from the conveyor belt level, looking up, Percival’s head is turned to see Emma up on the catwalk above.  (She’s still invisible, but he—being pure of heart—can see her.)

            PERCIVAL:  I’ll tell you.

            DRAGOON:  Excellent.

            PERCIVAL:  But only after I know she’s safe.

           

Panel 8:  Straight on view of the Dragoon looking down at Percival, his clawed hand raised.  Emma should be visible on the floor in the background, still with cape around her as she approaches the Dragoon.

            DRAGOON:  The girl is of no importance to me.

Page 42

Panel 1:  Close-up of Emma’s boot kicking a piece of metal.  (With some kind of sound effect)

Panel 2:  Shot from the level of the conveyor with the Dragoon whirling around, his left hand pointed towards Emma.

            PERCIVAL:  Looks like we won’t have a deal after all.

Panel 3:  Shot from over the Dragoon’s shoulder.  Emma has dropped the cape to reveal herself.  She’s standing in front of the Dragoon with hands up in a defensive posture.

            DRAGOON:  This will simplify things.  Now I can kill two birds with one claw.

Panel 4:  Close-up of all five claws on the Dragoon’s left hand flying towards Emma.

Panel 5:  Straight on view of Emma leaping to her left, over the conveyor belt, the claws flying past her.

Panel 6:  Side view of the Dragoon turning towards her with his right hand raised.

Panel 7:  Straight on view of Emma in a squatting position, her right hand on the hilt of her sword.

Page 43

Panel 1:  Side view of Emma pulling the Sword of Justice from its scabbard as the Dragoon is firing the claws on his right hand.  The sword is glowing brightly from being in the presence of evil.

Panel 2:  Same as Panel 1 but now Emma is cocking her arm with the sword in it back as the claws approach.

Panel 3:  Close-up of the Sword of Justice flying end over end through the air.

Panel 4:  Straight on view of Emma somersaulting to her right as the claws fly past her.

Panel 5:  Same as Panel 3

Panel 6:  Shot from over Emma’s shoulder.  She has the cape around her and is squatting by the conveyor belt with her right hand raised.  The Sword of Justice is visible flying over the Dragoon’s head.

Panel 7:  Straight on shot of the Sword of Justice slicing into a silver pipe over the conveyor belt (with appropriate sound effect)

Page 44

Panel 1:  Same as Panel 7, previous page, only now the pipe is broken open, raining down green water while the Sword of Justice is tumbling back to the ground.

Panel 2:  Shot from floor level looking up as the tidal wave from the pipe is coming down on the Black Dragoon, who has his back turned to it as he searches for Emma.

Panel 4:  Side view of the Dragoon down on his knees as water continues raining down around him.  Emma is on the other side of the conveyor, racing towards the mixing bowl, the cape no longer around her so that she’s visible.

            EMMA:  Hold on, Mr. Graves!

Panel 5:  Side view of the Dragoon, on his knees, fires a claw on his left hand.  (The claws regenerate so he never really runs out.)

Panel 6:  Close-up of the claw hitting the green button the control panel for the conveyor belt.  (Machinery whirring sound effect)

Panel 7:  Overhead shot of Percival’s head and shoulders arcing down into the mixing bowl.  Emma is reaching out with her left hand to try and snatch Percival back.

Panel 8:  Close-up of Emma’s glove grabbing Percival’s right ankle.

Page 45

Panel 1:  Side view of Emma holding on tightly to Percival with her left hand.  Her right is held out towards seemingly nothing.  Percival’s head and shoulders are still suspended in the mixing bowl.

            EMMA:  Come on…

Panel 2:  Close-up of the Sword of Justice rising from where it lies on the ground.

Panel 3:  Side view of the Sword of Justice flying end-over-end in midair.

Panel 4:  Close-up of the sword in Emma’s right hand.

Panel 5:  Side view of Emma slicing the bonds holding Percival to the conveyor.  The Dragoon has risen to his feet and is turning towards her with claws raised to fire.

Panel 6:  Shot from behind Emma as she has Percival slung over her shoulder in a fireman’s carry.  Claws are racing towards her.

Panel 7:  Straight on view of Emma as she squats down, the claws flying overhead.

Panel 8:  Side view of Emma leaping into the air with Percival still on her shoulder.

Page 46

Panel 1:  Shot from floor level of Emma and Percival on the catwalk with the Dragoon down below, his eyes glowing a furious red.

            DRAGOON:  We’ll meet again.

Panel 2:  Side view of Emma outside the building still carrying Percival.  Her legs are bent in pre-jump.

Panel 3:  Side view of Emma flying through the air with a terrified-looking Percival over her shoulder.

Panel 4:  Straight on view of Emma lying on the rooftop of a building, lying on her right side with Percival over her left side.

            EMMA:  Sorry.  I haven’t learned landings yet.

            PERCIVAL:  A few bumps and bruises are better than being turned into kippers.

Panel 5:  Same as Panel 2 except a different building that she’s running along.

Panel 6:  Same as Panel 3

Panel 7:  Straight on view of Emma lying on another rooftop on her side.

            PERCIVAL:  We should be safe enough for now.  Why don’t you take that helmet off so I can see you?

            EMMA:  I don’t think I should.

Panel 8:  Shot from behind Percival, who is now resting against a big air conditioner unit.  Emma is standing over him, with a hand on either side of the helmet.

            PERCIVAL:  Come now, love, we’re in the same fraternity, aren’t we?

            EMMA:  All right.

Page 47

Splash page:  Shot from behind Percival, who now has his head buried in his hands.  In front of him stands Emma with the helmet off and the wind whipping her hair.  There are tears sparkling in her eyes.

            PERCIVAL:  NO!  Not you!  Anyone but you!