Part 2: The Knight Dawns

Part 2:  The Knight Dawns

Page 48

Panel 1:  Same view as the splash page, only smaller now.  Marlin is hovering over Emma’s shoulder now and Percival is pointing at him.

            PERCIVAL:  This is your fault!  You put her up to it!

            MARLIN:  She heard The Call.

Panel 2:  Side view of Percival on his feet, shaking a fist at the ghost, his face beet red with anger.

            PERCIVAL:  I don’t care what she heard!  You shouldn’t have let her.

            MARLIN:  I don’t have the authority.

Panel 3:  Close-up of Percival, looking extremely angry, maybe a bit of spittle around his mouth.

            PERCIVAL:  Then take me to that bastard Merlin.

            MARLIN:  He’s slumbering until needed.

Panel 4:  Side view of Percival with his arms outstretched as if trying to grab Marlin’s robe.  Emma has her hands on his shoulders.

            PERCIVAL:  You bloody coward!

            EMMA:  Mr. Graves, please.  Stop this.

Panel 5:  Straight on shot of Percival sitting in a kind of half-squat by the air conditioner, one hand running through his hair.  He’s looking dejectedly down at the ground.

            PERCIVAL:  I’m sorry, lass.  I just didn’t want this for you.

Panel 6:  Shot from behind Percival.  Emma is squatting down in front of him with a hand on his shoulder.  Marlin has floated out of sight.  There are tears in Emma’s eyes as she tries to console the old man.

            EMMA:  I’m sorry, Mr. Graves.  I didn’t know what else to do.

            PERCIVAL:  It’s all right, lass.  But now you’re in for a lot of trouble.

Panel 7:  Close-up on Emma, smiling gamely though her eyes are still watery.

            EMMA:  Because of the Dragoon?  I kind of noticed.

Panel 8:  Close-up on Percival, looking grim and sad. 

            PERCIVAL:  There’s much more than that.  Let me tell you.

Page 49

Panel 1:  Side view of 20-ish Percival inside the hold of a freighter, standing in front of a big crate marked TOP SECRET.  An army major is approaching him, his face red with anger.

            Caption (top):  I’d gone to America to make my fortune, but it wasn’t working out as I thought.           

MAJOR:  You there!  Stay away from that!  That’s classified government property.

Panel 2:  Overhead shot of Percival lying in bed later, his eyes closed but face looking troubled.

            CAPTION:  That was when I heard The Call.

Panel 3:  Shot from behind Pericval, who’s sitting up in bed now.  An “angel” hovers over Percival’s bed.  In this case though it’s a young man dressed up in a British army uniform.  This man is REGGIE, Percival’s dead buddy from the war.

            REGGIE:  Percy, you wanker, what are you lazing about here for?

            PERCIVAL:  What am I supposed to be doing, Reginald?

Panel 4:  Shot from over Reggie’s shoulder.  Reggie is pointing at Percival now.

            REGGIE:  Find that secret crate the government blokes took.

            PERCIVAL:  I don’t want to get arrested, Reggie.

            REGGIE:  You always was a lily-white coward!

Panel 5:  Close-up of Percival, his face looking hurt.

            PERCIVAL:  I was in the war, Reggie.  Just like you.

            REGGIE (not shown):  Shitting yourself in a foxhole, you were.

Panel 6:  Same as Panel 3 only Reggie is still pointing at Percy.

            REGGIE:  This is your chance to make something of yourself.

            PERCIVAL:  You mean I’ll be rich?  With one of those houses like in the picture?

Panel 7:  Close-up of the “angel’s” face sneering at Percival.

            REGGIE:  Don’t be daft, man!  What’s in there will make you a hero.  Like one of them costumed adventurers.

Panel 8:  Side view of Percival dressed in a Superman-like costume with tights and capes, hands on hips to look heroic, rescuing some beautiful woman from miscellaneous guys with guns.

            CAPTION:  I thought it would be fun and exciting.  I soon learned better.

Page 50

Panel 1:  Overhead shot of a military base with barbed wire fence and so forth.  There are some basic Quonset huts and other square buildings.  Visible on the ground are the sprawled bodies of a number of people.

            CAPTION:  The first time I fought him, I understood what I’d gotten into.

Panel 2:  Straight on view of Percival as the Scarlet Knight (who is bulkier and of course far more male looking than Emma in the armor) vaulting over a barbed wire fence and a sign reading:  Rockefeller Research Facility.

Panel 3:  Side view similar to those on Page 2, with the Scarlet Knight and Dragoon standing on a strip of concrete in front of the Quonset huts.  The Dragoon has his claws raised while Percival has his hands up in a defensive boxing pose.

            DRAGOON:  You cannot stop me.  No one can!

            PERCIVAL:  Come get me then, you wanker.

Panel 4:  Shot from behind Percival as the Dragoon is charging forward with claws at the ready.

Panel 5:  Close-up of Percival’s right foot sticking out to trip the Dragoon.

Panel 6:  Side view of the Dragoon tumbling forward with Percival standing to the side, Sword of Justice now in hand and glowing gold.

            CAPTION:  I thought it was over.

Panel 7:  Shot from behind the Dragoon, who is lying facedown, firing a claw towards one of the Quonset huts.

            CAPTION:  I was wrong.

Panel 8:  Overhead shot of the Quonset huts exploding in a mushroom cloud of flame. (with appropriate noises)  Percival and the Dragoon are sent flying.

            PERCIVAL:  He blew up that entire base out of spite.  That’s when I realized this was going to be anything but fun.

Page 51

(This page should be a montage of four different images.  Each image is Percival as the Scarlet Knight belting a man in the jaw.  But each image represents a different era.  I’m not sure exactly how to lay them out, but that’s what I’m going for.)

Part 1:  Percival is hitting a guy from the 1940s.  I’m thinking a guy dressed in a suit and fedora, kind of the old school gangster look.

Part 2:  Percival is hitting a guy from the 1950s.  I’m thinking a greaser type like the Fonz with the leather jacket, jeans, and T-shirt and slicked-back hair.

Part 3:  Percival is hitting a guy from the 1960s.  I’m thinking a dirty hippie in a baggy T-shirt and torn jeans with long hair and probably bloodshot eyes because he’s been ingesting some kind of drugs.

Part 4:  Percival is hitting a guy from the 1970s.  I’m thinking a guy in like an early 70s leisure suit with the shirt open and chest hair with a gold chain.  Maybe some sunglasses being knocked askew.

            CAPTION (top):  I laid out literally hundreds of criminals.

            CAPTION (bottom):  But for every one there was three more to take his place.

Page 52

Panel 1:  Side view of Percival in his Scarlet Knight gear now on the top of a speeding subway train underground.  He’s clinging to the top of the train with both hands, trying not to fall off.

            CAPTION:  Of course I should have known he wouldn’t stay dead.

Panel 2:  Straight on shot of the front of the train with Percival still clinging to it with his left hand while his right is reaching back.

            CAPTION:  I didn’t want to believe it at first.

Panel 3:  Overhead shot of a large warehouse on the waterfront going up in a huge explosion.

            CAPTION:  But eventually the clues became too hard to ignore.

Panel 4:  Side view of Percival descending the stairs into a subway station with panicked people running past him.

            CAPTION:  I tracked him down to the subway.

Panel 5:  Side view of the interior of the subway train engine.  It’s packed full of dynamite and other explosive devices.

            CAPTION:  That’s where he planned his grand finale.

Panel 6:  A side view of the train engine.  Percival is on top of it with the Sword of Justice in his right hand, ready to stab down into the train engine.

            CAPTION:  I didn’t have much time for strategy.

Panel 7:  Shot from behind Percival as he’s bringing the Sword of Justice down.  Front and center, taking up a good bit of the panel is the spiky silhouette of the Black Dragoon.

            CAPTION:  That’s where it ended for both of us.

Page 53

Panel 1:  The same shot as the last panel on the previous page, only know Percival’s head is swung around to look at the Dragoon.  And the Sword of Justice is plunged into the engine’s roof

            DRAGOON:  I’m glad you could make it.

Panel 2:  Close-up of Percival with the Scarlet Knight’s helmet visor raised.  He’s looking grimly at the Black Dragoon.

            PERCIVAL:  I’m glad I could oblige you.

Panel 3:  A side view as the Dragoon has his left hand raised.  All five claws are launching from the hand.

            DRAGOON:  And here you will die, followed by the fools of this city.

Panel 4:  Shot from over the Dragoon’s shoulder as he’s stabbing Percival in the chest with his claws.

            PERCIVAL:  Aaaaaah!  (Or something to indicate a scream.)

Panel 5:  Close-up of the Dragoon’s helmet, its eyes glowing red.

            DRAGOON:  You should never have come here.

Panel 6:  Side view of Percival staggering forward, the Sword of Justice left sticking out of the engine’s roof.  The Dragoon is waiting with his clawed right hand raised.

            PERCIVAL:  You’re telling me. (small lettering)

Panel 7:  (This should take up the rest of the page.)  The Dragoon has his right hand plunged into the thigh of Percival’s left leg.  Percival has his head thrown back and is screaming.

            PERCIVAL:  Aaaaaah!  (Or something to indicate a scream.)

Page 54

Panel 1:  Shot from behind the Dragoon as Percival is falling forward his arms reaching out for the Black Dragoon.  There’s quite a lot of blood coming from his leg and still from his chest.

Panel 2:  Straight on view of Percival with his arms latched around the Dragoon’s arms.

            DRAGOON:  Gunh (or something to indicate a grunt)

Panel 3:  Shot from behind Percival, who has spun the Black Dragoon around so that his back is facing the train’s engine.

            CAPTION:  There was only one thing I could do.

Panel 4:  Close-up of the Sword of Justice rising from the roof of the train engine.

Panel 5:  Side view of the sword hurtling through the air.

Panel 6:  (This should take up the rest of the page.)  Side view of the Sword of Justice is embedded in the Dragoon’s neck, coming out the other side so that the bloody point of it is just over Percival’s shoulder.  There’s still quite a bit of blood from Percival’s wounds too.

Page 55

Panel 1:  Shot from over Percival’s shoulder.  He’s holding the Dragoon with one hand, while the other is reaching around for the hilt of the Sword of Justice.  The Dragoon’s body is slack and his eyes have turned black.

            CAPTION:  It was almost over.

Panel 2:  Side view of Percival crawling along the top of the train.  In the front corner of the panel the Dragoon’s corpse is flying off the train.

            CAPTION:  There was just one more thing to do.

Panel 3:  Shot from the floor of the train engine as Percival drops into the engine.

Panel 4:  A side view from the floor as Percival is lying on his belly, pulling down a level of the control panel of the engine.  (Insert appropriate sound effect for the train screeching to a halt.)

Panel 5:  Straight on shot of the train engine, only now the windows of the engine are broken and there’s a bit of blood along the bottom edges of the windows.  Behind the windows is an open door with two men in business suits standing there with looks of confusion.

            MAN #1:  We’ve stopped!  But how?
            MAN #2:  It’s a miracle.

Panel 6:  (This should take the rest of the page.)  Shot from behind Percival, who is walking along the train tunnel.  His left hand is flat against the side of the tunnel to brace him.  His left leg is dragging behind him, still very bloody, as are the wounds on his chest.  His right leg is leaning forward.

            CAPTION:  It was the Scarlet Knight’s last miracle.

Page 56

Panel 1:  Close-up of Percival in the present day.  He’s looking glumly down at the rooftop with tears in his eyes. 

            PERCIVAL:  I hid that bastard’s armor as best I could, but I guess it wasn’t enough.  I’m sorry.

Panel 2:  Side view of Emma on her knees with a hand on Percival’s shoulder.

            EMMA:  It’s not your fault.  You did your best.

            PERCIVAL:  Thank you, lass, but you can’t fool an old man.

Panel 3:  Close-up of Percival again.  Only now he’s looking up but still with tears in his eyes.

            PERCIVAL:  It’s not kind of life for a girl like you.  Someone with a brain like yours ought to be in a laboratory winning a Nobel Prize.

Panel 4:  Same as Panel 2

            EMMA:  It’s only temporary.  Once the Dragoon is gone, I’ll retire like you did.

            PERCIVAL:  I just hope you get the chance, lass.

Panel 5:  Close-up of Emma’s gloved hand taking Percival’s hand.

Panel 6:  (This should take up the rest of the page.)  Shot from behind Emma as she is jumping off the rooftop with Percival over her shoulder.  The golden cape is billowing behind her.  The city is spread out below them with lights twinkling and so forth.

            EMMA:  Let’s go home.

Page 57

Panel 1:  A side view showing Emma dropping into her bed, still dressed in the clothes she was wearing the previous night.  Behind her the closet door is open.  We see just a hint of the armor (like part of the breastplate or something) sticking out from beneath a patchwork quilt.  On the nightstand in front of her and off to one side is a digital alarm clock reading “4:20.”  (She is not wearing her glasses as she falls onto the bed.)

Panel 2:  Straight on shot of Emma sitting up in bed, reaching towards the alarm clock.  The clock’s display reads:  “7:00.”  With appropriate sound to indicate the clock is ringing.

            EMMA (thinking):  Was that all just a terrible dream?

Panel 3:  Close-up of the closet and the armor peaking out beneath the quilt.

Panel 4:  Close-up of Emma’s face.  She should look really tired at this point—eyes bloodshot, bags and dark circles around her eyes, hair a mess.  She has a hand against the side of her head and is looking shocked.  (From here on out she’s not wearing her glasses anymore.)

            EMMA:  (thinking):  Oh no, it was real.

Panel 5:  Side view of the apartment kitchen, where Becky is looking up from pouring a cup of coffee.  Her expression is also looking a bit shocked.  Emma is looking down at her feet at the entrance to the kitchen, her cheeks a little red as she lies to her best friend.

            BECKY:  How’s Aunt Gladys?

            EMMA:  About the same.

Panel 6:  Close-up of Becky.  A corner of her lips is curled and an eyebrow raised skeptically.

            BECKY:  It sounded like you had a cart full of cans with you when you came home.

EMMA:  I’m sorry.  Did I wake you?

Panel 7:  Close-up of Emma, who is looking straight ahead now with her eyes widened.

            BECKY (not shown):  Not really.  What were you doing in there?

            EMMA:  I was just looking for something.

Panel 8:  Side view of Becky handing her mug of coffee to Emma, who is reluctantly accepting it, still looking guiltily at the floor.

            BECKY:  Looks like you could use this more than I do, kid.

            EMMA:  Thanks.

            BECKY:  I better get off to work.  Tell Aunt Gladys I’m thinking of her.

Page 58

Panel 1:  Side view of the interior of the Plaine Museum, just inside the main gallery by the ticket counter.  Emma is looking up, her face twisted in surprise.  She’s wearing a business suit, though it should look a little rumpled.  Her hair is still uncombed.  Dan is standing by the ticket counter, holding up a hand in greeting and smiling at her.

            DAN:  Hi.

            EMMA:  Hi.  (small lettering)

            DAN:  Did you get contacts?

Panel 2:  Close-up of Emma’s face.  She’s gamely smiling though her expression is pained.  She is patting the side of her right eye with one hand, feeling for glasses that aren’t there.

            EMMA:  Contacts?  Oh!  Right.  Contacts, yes.

            DAN (not shown):  It looks good.  Really brings out your eyes.

Panel 3:  Side view of Dan smiling at Emma, who is blushing and still has a hand to her face.

            EMMA:  Thanks.  (small lettering)

            DAN:  You look like you could use a cup of coffee.

            EMMA:  Yes, I think so.

Panel 4:  A shot from over Emma’s shoulder.  She and Dan are sitting at a little round Formica table with a couple of wooden chairs.  There are other empty tables and chairs around them in the museum cafeteria.  Dan is sitting in front of Emma with a cardboard cup of coffee in front of him.  He’s looking at her with concern.  Emma has a similar cup by her right hand, which she’s using to stir some sugar into the coffee.

            DAN:  You really like yours sweet.

            EMMA:  I just need some extra sugar today.

Panel 5:  Close-up of Dan, who is rubbing the back of his neck and looking down at the table, sort of grimacing as he asks something difficult.

            DAN:  I got us a reservation at Coeur de la Mer at seven for Tuesday night.  Do you like French food?

Panel 6:  Side view of Emma, who is staring at Dan with a deer-in-the-headlights look.  Dan is looking at her with concern.

            EMMA:  The opera?

            DAN:  Götterdämmerung on Tuesday.  I asked you in the hospital.  Remember?

Panel 7:  Close-up of Emma smiling at him, looking relieved.

            EMMA:  Oh, right.  I can’t wait.  I love the opera.

Panel 8:  Straight on view of Emma still sitting at the table, looking down and blushing while Dan is at the left edge of the panel, waving goodbye.

            DAN:  Great.  I’ll see  you later.

            EMMA:  Yes, great.  (small lettering.)

Page 59

Panel 1:  Straight on view of Emma in the elevator.

            Caption (top):  She managed to avoid Dreyfus for the rest of the day.

Panel 2:  A close-up of the elevator controls.  There are buttons labeled “4 Administration,” “3 Labs,” “2 Upper Gallery,” “1 Main Gallery,” “B1 Basement,” “B2 Subbasement,” and another button with a yellow Civil Defense symbol.  This is the button Emma’s finger is on.

            Caption (top):  Then it was time to really get down to work.

Panel 3:  Overhead shot of the cavern, like Panel 1 of Page 30, except that now Emma is standing just in front of the elevator and still dressed in her work clothes.

Panel 4:  Close-up of Emma’s hand against the rock.  (With a creak/squeak sound effect to indicate rusty hinges moving.) Same as Panel 6, Page 30

Panel 5:  Straight on shot of 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:  What do we do now?

            MARLIN:  Put the armor on and we’ll begin the training.

Panel 6:  Side view of Emma now dressed in the Scarlet Knight’s armor except for the helmet, which she holds in the crook of one arm against the side of her body.

            EMMA:  What are you going to have me do?  Practice jumping and landing?

            MARLIN:  Along the way, yes.

Panel 7:  Shot from behind Marlin of Emma standing in the same position, only now her face is paler than usual and she looks a little queasy.

EMMA:  What do you mean?
MARLIN:  Tonight we’ll find some crimes for you to foil.  Small ones.

Panel 8:  Close-up of Emma’s face.  Her lips are set in a straight line, the rest of her looking determined.  She has her arms over her head as she is putting on the helmet.

            EMMA:  Right.  Well, let’s get to work then.

Page 60

Panel 1:  Side view of Emma standing on the rooftop of an apartment building, wearing the Scarlet Knight armor.  Marlin is hovering in front of and above her, glowering.

            EMMA:  So what do I do now?

            MARLIN:  I’ll find you a suitable crime.  There are enough of them around here.

Panel 2:  View from behind Marlin.  Emma is standing in front of him with her right hand raised as if taking an oath in a courtroom.  The visor is up to see her face looking impassive.

            MARLIN:  First, though, you must swear to only use this armor for noble causes.

            EMMA:  I swear.

            MARLIN:  Fail to uphold this and you’ll face the penalty.

Panel 3:  Close-up of Emma’s face, the sides of her head and forehead covered by the armor.  The rest of her face is pale and looking shocked up at Marlin.

            EMMA:  Penalty?

            MARLIN (not shown):  Anyone unworthy who attempts to wear the armor will forfeit his or her life.

            EMMA:  You mean the armor would kill me?

Panel 4:  A shot from over Emma’s shoulder as she looks up at Marlin, who is shrugging but otherwise looking impassive.

            MARLIN:  The armor will protect the integrity of its magic.

            EMMA:  So it’s like white cells killing a virus in a body?

            MARLIN:  Sure, why not.

Panel 5:  Shot from behind Marlin, looking down at Emma.  She is still looking shocked.

            EMMA:  Anything else I should know?

            MARLIN:  The Sword of Justice works the same way.  If someone unworthy picks it up, it will turn hot enough to burn off both arms. 

            EMMA:  That’s awful.

Panel 6:  Side view of Marlin pointing towards the other end of the roof.  Emma has the visor of the helmet down and is bracing to break into a run.

            EMMA:  I guess not.  So now what?

            MARLIN:  You get going.  I’ll find something for you to do.

Panel 7:  Side view of flying in the night sky between the roofs of two buildings.

Panel 8:  Shot from behind her.  She’s lying on the roof of the adjoining building in a sort of push-up position—on her belly and propping herself up with her hands.  Her head is looking up at Marlin, who is floating over her, grinning smugly.

            MARLIN:  That didn’t take long.  There’s a robbery on 8^th and Orchard. 

            EMMA:  Great.

Page 61

Panel 1:  A shot from over Emma’s shoulder.  She’s standing on the rooftop of a building, looking down at the front of a small market.  The sign over the awning reads:  Kim’s Grocery.  Beneath this are some words in Asian characters.  Marlin is hovering next to her, his back to us as well.

            EMMA:  That’s the place?

            MARLIN:  That’s right.  Just one robber inside with a gun.  Go stop him.

            EMMA:  Um…sure.  (small lettering)

Panel 2:  Side view of Emma flying through the air from the building she was standing on to the roof of the grocery store.

Panel 3:  Overhead shot of her lying sprawled on the roof with Marlin hovering over her.

            MARLIN:  You best hurry before he’s gone.

            EMMA:  I’m going.

Panel 4:  Shot from over Emma’s shoulder as she stands on the edge of a roof, looking down at a wide door and cement ramp of the loading dock behind the store.

Panel 5:  A side view of Emma climbing down the side of the building with the fingers of her gloves pressed lightly against the side of the grocery store.

Panel 6:  Straight on view of Emma standing in the doorway of the loading dock, the door lifted most of the way up.

            EMMA (thinking):  Well, here goes.

Page 62

Panel 1:  (This panel should be in black-and-white like a security camera.)  It’s an overhead shot from the security camera mounted at the back of the store, so it’s at a bit of an angle too.  There are racks of groceries and snacks and coolers for drinks and so forth.  Then there’s the counter and behind that the rows of cigarettes and liquor.  Behind the counter is an old, bald Asian man in an apron.  Facing him is a burly guy in worn clothes with a pistol aimed at the clerk.  There’s a young woman with a baby cowering in one aisle and a fat man in another aisle. 

            ROBBER:  Hurry up, man.  Open the damned safe.

            CLERK:  I tell you, no can open safe.

Panel 2:  The same shot except now the robber has his gun pressed to the clerk’s head.  The robber has his thumb on the safety to cock it.  The clerk is starting to sweat.

            ROBBER:  Maybe this will change your mind.

            CLERK:  Safe on time lock.  No open until tomorrow.

Panel 3:  Still the same shot, except now we see Emma with the cape wrapped around her standing at the rear entrance.  (She is clearly visible to the camera.)

            ROBBER:  Come on, open it already.

Panel 4:  A shot from over the robber’s shoulder.  To one side the clerk is still sweating with the gun pressed to his head and looking scared.  To the other side is a television monitor, on which the robber can see Emma in the cape sneaking towards him.

            ROBBER:  What the fuck?

Panel 5:  Straight on shot of Emma standing beside a rack of chips.  The cape is unfurled now behind her. 

            ROBBER (not shown):  What are you supposed to be?

            EMMA:  The Scarlet Knight?

Panel 6:  Side view of the robber turned towards Emma, the pistol aimed at her.  Her hand is on the hilt of the Sword of Justice.

            ROBBER:  Whoever you are, you’re dead now.

Panel 7:  Closer shot of Emma’s torso and head.  A bullet is pinging off her left breast and ricocheting into the ceiling.  A second bullet is pinging off her helmet and also ricocheting up.  (Insert appropriate sound effects.)  Emma’s hand is on the Sword of Justice at her hip.

            ROBBER (not shown):  What the hell?

Page 63

Panel 1:  The same view as in Panel 7, only now there are no bullets pinging off Emma and she has the Sword of Justice in her right hand.  The blade is glowing bright yellow.

Panel 2:  Close-up of the sword flying through the air in the store, past some racks of groceries.

Panel 3:  Straight on view of the robber ducking while the sword flies past him.

Panel 4:  Close-up of the Sword of Justice shattering a gumball machine at the front of the store.

Panel 5:  Side view of the robber with one foot slipping on the gumballs and the rest of him falling back in classic comedy style with arms windmilling and so forth.

Panel 6:  Side view of the Sword of Justice boomeranging back, with bags of chips and jars of condiments and so forth exploding in its wake.

Panel 7:  Close-up of the clerk’s face looking extremely angry.

            CLERK:  You stupid lady!  You break more than he take!

Panel 8:  Straight on view of Emma returning the Sword of Justice to its scabbard.  Though we can’t see her face, she’s looking down at the floor in shame.  To one side, the clerk now has a broom in his hands, raised as if to bring down on a mouse.

            EMMA:  I’m sorry.  I’ll pay you for the damage.  I promise.

            CLERK:  Yes, you pay!  Get out!

Page 64

Panel 1:  A side view of a couple of closed stores along a city street.  It’s raining now—and should be through this whole sequence.  Becky is walking along the sidewalk, looking down at the ground.  Three thugs are following after her.  One is wearing a red windbreaker, one a green one, and another a blue jacket.  So for convenience we’ll refer to them as RED, GREEN, and BLUE.

            Caption (top):  Becky should have called for a cab to take her home.

Panel 2:  A closer shot of Becky from straight ahead.  Her head is turned to look over her shoulder to see the three men behind her.

            Caption (top):  The streets weren’t safe for a single woman, especially at night.

Panel 3:  A side view of Becky running now, her face looking terrified.  The thugs are also running after her.

Panel 4:  Straight on view of Green grabbing one of Becky’s arms and Blue grabbing the other arm.

            BECKY:  No!

Panel 5:  A shot from the ground of a garbage-strewn alley.  The two thugs have Becky against a graffiti-scrawled wall.  Red is closer in the frame, so that we can see only the legs of his saggy jeans and one hand, in which gleams the metal blade of a knife.

            RED:   Where you think you’re going, Big Stuff?

            BECKY:  Please, don’t hurt me.  Take what you want.

Panel 6:  Shot from over Becky’s shoulder.  Red is standing in front of Becky, holding up the knife, which is still gleaming in the light.  On either side of the frame are Blue and Green, leering at Becky.

            RED:  I’m gonna do that.

Panel 7:  Close-up of Becky’s face.  She looks terrified and there are tears in her eyes.

            BECKY:  No, not that.  Please.  Not that.

Page 65

Panel 1:  Shot from behind Red, who’s facing Becky with the knife poised to cut open her shirt.  Becky is still looking terrified and crying.  Blue is still leering at her.  Green is pointing with one  hand up at the sky.

            GREEN:  Hey, what’s that?

Panel 2:  A shot from the ground, looking up at Emma as she is falling from off a rooftop, into the alley.  Her arms and legs are splayed out and the yellow cape is trailing behind her.

Panel 3:  More of an overhead shot with Emma now lying flat on the ground.  Red is standing over her with the knife clutched in his hand.

            RED:  What the fuck is this?

Panel 4:  The same view only now Red is kicking Emma’s left shoulder with his foot.

            RED:  This some kind of dummy or something?

Panel 5:  Close-up of Red’s foot about to kick Emma again, only now she has one gloved hand wrapped around his calf.

            RED:  Huh?  Wha…

Panel 6:  A side view of Red pitching backwards, arms flailing.  Emma is on her knees, with Red’s calf still in her hand.

Panel 7:  Shot from ground level.  Red is lying on the ground, staring up at Emma, who is now looming over him, one hand reaching down towards him.

            RED:  Who the fuck are you?

            EMMA:  I’m the Scarlet Knight.

Page 66

Panel 1:  Side view of Emma holding Red up in the air by his shirtfront, his feet dangling.  The knife has fallen out of his hand.

Panel 2:  Close shot of an open dumpster with Red falling into it, arms flailing.

            RED:  Ahhhh! (or something to indicate a scream)

Panel 3:  A view from the ground similar to the one earlier only now it’s Emma standing in front of Becky, Blue, and Green.  All three of them are staring at her in shock.  The Sword of Justice is in Emma’s hand, glowing yellow.

            EMMA:  Let her go.

Panel 4:  The same view except Blue and Green have let Becky go.  They’re charging towards Emma, who still has the Sword of Justice in her hand.

            BLUE:  Fuck you, bitch!

            GREEN:  We ain’t surrendering to no girl!

Panel 5:  Side view of Emma squatting down.  The Sword of Justice is on the ground.  Her right leg is extended for a leg sweep.  Green is throwing a haymaker at where her head used to be.

Panel 6:  A shot from higher up with Green lying on the ground.  Emma is still squatting down but now facing Blue, who’s coming from the opposite direction, trying to punch her.  She’s reaching out with both hands to grab Blue.

Panel 7:  A straight ahead shot of Blue flying towards us.  Behind him, Emma is standing, arms still extended from hurling him.

Page 67

Panel 1:  A shot from the ground as Emma is facing Becky’s who’s still standing against the wall, face locked in terror and crying.  Her hands are pressed to her face.  Green is lying at Emma’s feet.

            EMMA:  Are you all right?

            BECKY:  I think so.

Panel 2:  The same angle, only now Emma is standing closer to Becky, a hand on Becky’s shoulder.

            EMMA:  No one’s going to hurt you.

            BECKY:  They were going to rape me!

            EMMA:  I know.  But you’re safe now.

Panel 3:  Shot from over Becky’s shoulder.  Emma is still standing in front of her, but looking down at where Green lies.  Blue is visible lying in front of the dumpster.

            BECKY:  What about them?

            EMMA:  You need to call the police.  Do you have a phone?

Panel 4:  Close-up of Becky’s face.  There are tears streaming down her face and she’s looking angrily at Emma.

            BECKY:  The police?  What are they going to do?  Put them in jail for a couple of months?  You should kill them.

Panel 5:  Side view of Becky still glaring at Emma, who is looking down at the ground.

            EMMA:  I can’t.

            BECKY:  Why?  Is it some hero thing?

            EMMA:  I just can’t, all right?

Panel 6:  Shot from over Emma’s shoulder as Becky is leaning down towards where the Sword of Justice lies on the ground, her hand extended to pick it up.  Emma is grabbing her by the bicep to pull her back.

            BECKY:  Yeah, well, maybe I will!

            EMMA:  No!  Don’t touch that!

Panel 7:  Side view of Emma with Becky’s shirtfront in her hands.  Emma is pressing Becky against the wall.  Becky is looking down, crying.

            EMMA:  If you had tried to pick that up you’d be dead!  Now, call the police and tell them what happened.  I’ll keep an eye on you until they get here.

            BECKY:  OK.  (small lettering)

Panel 8:  Straight on view of Emma as she is running away, the Sword of Justice now returned to its scabbard.  Blue and Green are still lying on the ground around her.  Behind her, Becky is watching her go, with tears still in her eyes.  With one hand Becky is holding a phone to her ear.  Her other hand is raised in a wave to Emma as she departs.

            BECKY:  Thank you.

Page 68

Panel 1:  Shot from over Emma’s shoulder as she is squatting on a rooftop, looking down into the alley.  There’s the red of sirens visible at one edge.  Officers are leading Red, Blue, and Green away in handcuffs while another officer is talking to Becky.

Panel 2:  A side view Emma reaching up with both hands to remove the helmet.

Panel 3:  A shot from overhead as she is squatting on the rooftop with her head against the edge of the roof, wet hair falling over the edge.  The helmet is lying beside her.  Rain is falling all around her.

Panel 4:  A shot from behind Emma.  Her head is looking up now at Marlin, who is floating in front of her, his face looking grim.

            MARLIN:  I know it’s not easy, but you saved her.

            EMMA:  I almost didn’t.

Panel 5:  Side view of Emma sitting now against an air conditioner unit, wet hair falling in her face.  She’s looking down at her hands resting on her thighs.  Marlin is floating in front of her, looking down sadly at her.

            EMMA:  What if next time I’m too late?

            MARLIN:  You can’t worry about that.

Panel 6:  Shot from behind Emma, who’s looking up at Marlin now.  Marlin is still looking sadly down at her.

            EMMA:  What if it’s not enough?

            MARLIN:   At least you tried.

Panel 7:  Close-up of Emma’s face.  There’s wet hair still covering part of her face, but one side of it is visible and glaring angrily at Marlin.

            EMMA:  You tell that to Becky.

            MARLIN (not shown):  No one said it was going to be easy.

Page 69

Panel 1:  Side view of Robinson Park at night.  It’s still raining.  Three generic gang members and their leader are standing by a sandbox with some playground equipment in the background.  The gang members have pistols and at least one has a bottle of liquor.  They’re facing the Black Dragoon, who is standing in one corner of the panel, the silhouette of his body visible along with his red eyes.  His claws are dripping with blood.

            Caption (top):  While she was stopping the petty crimes, a far bigger one was happening.

            GANG LEADER:  What you supposed to be?

            DRAGOON:  Your time has come, vermin.

Panel 2:  Close-up of the gang leader looking smug.

            GANG LEADER:  Who you think you are?  Plug this bitch!

Panel 3:  Straight on shot of the Black Dragoon.  The bullets are pinging harmlessly off his armor, ricocheting in all directions. (With appropriate sound effects.)

            DRAGOON:  Your feeble weapons cannot harm me.

Panel 4:  Side view of the Dragoon holding up a dripping red hand.  A metal claw sticks out of the gang leader’s throat.

            DRAGOON:  But my weapons can harm you.

Panel 5:  Overhead shot of the three followers piled up in the sandbox, all with spikes sticking out of them and blood dripping onto the ground.

Panel 6:  Overhead shot of more gang members lie sprawled on a cement running path, their blood staining the pavement.

Panel 7:  Straight on view of more gang members lying on the stage of the band shell, spikes sticking out of them

Page 70

Splash Page:  Straight on view of a gang member splayed on a basketball backboard.  His arms are stuck out so that he resembles Jesus on the cross.  Blood drips from a black metal spear running through his chest, sticking out the other side.  In one corner of the page is the Black Dragoon with his back turned as he does his tough guy walk away from the park.

            DRAGOON:  This city belongs to me now.  None will stand in my way.

Page 71

Panel 1:  Shot from over Emma’s shoulder the next morning as she is sitting in the living room of her apartment  on a beanbag chair with a cup of tea in her hand.  In front of her is a TV with some generic anchorman on it and a headline reading “SLAUGHTER IN THE PARK”

            TV:  Police made a gruesome discovery at Robinson Park.  We warn you that the video you about to see contains images not suitable for younger viewers.

Panel 2:  Close-up of Emma’s cup, which has fallen to the floor, spilling tea over the carpet.

            TV (not shown):  It’s estimated at least two hundred are dead, though police are still searching the park.

Panel 6:  Side view of Emma, who is staring with shock at the television.  Becky is in the background, staring at her with concern from the kitchen.

            BECKY:  This city is going straight to Hell.

            EMMA:  I guess so. (small lettering)

Panel 7:  Shot from behind Becky, who has emerged from the kitchen to kneel down in front of Emma, taking her arm.  Emma is still staring with shock at the TV screen.

            TV (not shown):  Police are not releasing any information yet on who or what might be responsible for these grisly murders.

            BECKY:  Come on, let’s go and get you a dress for your big date.

Panel 8:  Straight on view of Becky walking down the hallway beside Emma.  She has an arm around Emma’s shoulder and is smiling.  Emma is still looking down at her feet sadly.

            Caption (top):  As I told her, it wasn’t going to be easy.

Page 72

Panel 1:  Shot from behind Emma and Becky, who are standing in front of a brownstone similar to that of Ian MacGregor.  There are flowers by the front steps and a tree by the sidewalk.

            EMMA:  Are you sure this is the place?

            BECKY:  Sure.  The girls at the office swear by her.

Panel 2:  Straight on view of an old woman standing in the doorway, dressed in a floral dress with a white cardigan sweater, glasses and a measuring tape dangling around her neck.  This is AGNES CHIOSTRO.  She smiles at Emma and Becky in a friendly way.

            AGNES:  Good evening, ladies.  Come in, won’t you?

Panel 3:  Overhead shot of Emma and Becky in a parlor with Agnes.  There’s a Victorian-looking sofa on one wall, along with a candy dish, lamp, and other things.  On the opposite side of the room is a mannequin wearing a black formal dress.  There’s also a sort of Asian-looking screen in one corner.

            AGNES:  This is where I work.  Now, I take it you want something formal?

            BECKY:  She has a date.  They’re going to the opera

            AGNES:  That’s wonderful!  I love the opera.

Panel 4:  Shot from behind Agnes, who is standing in the doorway of a closet, inside which are a wide variety of dresses from southern belle types like Scarlett O’Hara would wear to Victorian gowns to modern ones shimmering with rhinestones.

            AGNES:  I take it this is your first date?

            EMMA (not shown):  Yes.

            AGNES:  Well, then we’d better find you something extra special.

Panel 5:  Straight on view of Agnes facing the closet while Emma and Becky stand over her shoulder, Emma looking down at her feet and Becky is looking surprised.

            BECKY:  Did you make all of these dresses?

            AGNES:  Oh my, yes.  I’ve been doing this for a long, long time, dear.

Panel 6:  Side view of Agnes reaching inside the closet for something.

            AGNES:  I think I have something would be perfect for you, dear.

Panel 7:  Straight on view of Agnes facing us and holding up a long, scarlet dress with sparkling gold trim.

            AGNES:  Here it is.  I think it’s just your size.

            EMMA (not shown):  It’s beautiful.

Panel 8:  A side view of Agnes standing in front of Emma and Becky, both of them slack-jawed as they look at the dress, which Agnes is holding out with both hands.

            AGNES:  I made it for Lady Robinson, long ago.

Page 73

Panel 1:  A close-up of Emma, looking shocked.

            EMMA:  Lady Robinson?  This was her dress?

            AGNES:  Oh yes.  She wore it to the opening of Robinson Tower.

Panel 2:  Side view of Emma reaching out to touch the dress.

            EMMA:  This must be worth a fortune.  I couldn’t possibly afford it.

            AGNES:  Nonsense, dear.  I bought it back from her daughter-in-law for a song.  Let’s say $200.

Panel 3:  A straight on view of Emma holding the dress up to her body, a look of awe on her face.

            EMMA:  That wouldn’t be right.  This is too valuable.

            AGNES:  I told you, I got it for almost nothing.  Please, I’ve been saving it for just the right person.

            EMMA:  Well, all right.

Panel 4:  Shot from behind Emma, who is standing in front of the mirror.  She’s wearing the red dress, which fits her perfectly.  Becky and Agnes are visible on either side of her, Becky gaping and Agnes smiling warmly.

            BECKY:  Wow, kid, you look like a million bucks.

            AGNES:  You look a lot like Lady Robinson.

Panel 5:  A side view of Emma, who is facing Agnes with a dreamy look.  Agnes is still smiling warmly.  Becky is standing to one side, looking stunned

            EMMA:  Did you know her?

            AGNES:  I’m afraid not.  But I remember the pictures in the newspaper.  She was the most glamorous woman in the whole city.

Panel 6: Same as Panel 4.

            AGNES:  I think she would be happy to see you wearing this dress.

            EMMA:  Really?

            AGNES:  Oh yes.  She was such a good-hearted woman.  Like you.

Panel 7:  Side view of Emma holding up the skirt to look down at her stocking feet.  Agnes is next to her with a hand on Emma’s shoulder.

            EMMA:  Oh, I don’t think I have any shoes to match this.

            AGNES:  Don’t worry about that, dear.  I’ve got a pair that will work just fine.  And a pair of gloves.  Can’t go to the opera without gloves.

Panel 8:  Similar to Panel 4 but now Agnes is taking a handful of Emma’s long hair in one hand.

            AGNES:  Have you considered what to do with your hair?  My sister runs a little salon out of the basement.

Page 74

Panel 1:  Emma is back in her casual clothes.  Overhead shot of her and Becky standing inside the basement, which looks more like an armory than a salon.  There is a barber’s chair in one corner, beside a sink, a tray of barbering tools, and a shelf of various shampoos and so forth.  The rest of the basement contains racks of machine-guns:  M-16s, AK-47s, Uzis, and so forth.  Off to one corner, standing in front of what looks like a bank vault, is an old woman dressed in an olive green tank top and camouflage army pants.  This is SYLVIA JOUBERT, Agnes’ sister.

            BECKY:  This is a salon?

            SYLVIA:  That’s right.  It’s my salon.

Panel 2:  Straight on view of Sylvia standing in front of the vault with arms folded over her breasts and glaring at Emma and Becky.

            SYLVIA:  I’m Sylvia.  Aggie send you down here?

            EMMA:  Yes.  She said you could do something with my hair.

Panel 3:  Straight on shot of Becky leaning close so that her mouth is close to Emma’s ear.

            BECKY (whispering):  She’ll probably give you a buzz cut.

            EMMA:  She knows what she’s doing.  Why else would Agnes send us here?

Panel 4:  Shot from behind Sylvia, facing a mirror.  Emma sits in the barber chair with an olive drab smock around her body.  Sylvia stands behind her with a comb and scissors while Becky stands to one side with her arms crossed, glaring at Sylvia.

            SYLVIA:  So you’ve got some big soiree?

            EMMA:  We’re going to the opera.

Panel 5:  Straight on shot of Emma in the chair, wincing a little as Sylvia is running the comb through Emma’s hair.  Becky is over her shoulder, looking concerned.

            SYLVIA:  Don’t worry, I’ll make you look so good your boyfriend won’t recognize you.

            EMMA:  I don’t have a boyfriend.

Panel 6:  Similar to Panel 5, but now Sylvia is trimming her hair with scissors.  Becky is sittingin the background.

            SYLVIA:  So you’re going solo?

            EMMA:  No, Dan is taking me.

Panel 7:  Side view of Sylvia cutting Emma’s hair, smiling while Emma is blushing.  Becky is off to one side, a magazine covering her face to hide her amusement.

            SYLVIA:  And who’s Dan?
            EMMA:  My friend.  We work together at the museum.

            SYLVIA.  I see.  He’s a friend.  Who happens to be a boy.

Panel 8:  Shot from over Emma’s shoulder.  She’s holding a hand mirror to her face.  Her hair is shoulder-length now and a bit wavier.  Her other hand touches her new hairdo.

            SYLVIA (Not shown):  Well, what do you think?

            BECKY (not shown):  You look great, kid.  Like a grownup instead of a hippie.

            EMMA:  Thanks…I think.

Page 75

Panel 1:  Shot from over Emma’s shoulder.  She’s standing in front of her bedroom mirror, only now she’s wearing the red dress and white gloves.  Becky stands behind her in the mirror, smiling.

            BECKY:  You look great, kid.

            EMMA:  You think so?

            BECKY:  Would I lie to you?

Panel 2:  Same as Panel 1, but now Emma has turned in the mirror to look at herself in profile.

            EMMA:  Do you think he’ll like it?

            BECKY:  He’d be stupid if he didn’t.

Panel 3:  Straight on view of Becky with an arm around Emma’s shoulder, pulling her close.

            BECKY:  You look fantastic, all right?  You’re going to knock him dead.

            EMMA:  I don’t know…

            BECKY:  I know.

Panel 4:  Side view of Emma near the door but Becky blocking her way.

            EMMA:  What’s wrong?

            BECKY:  You can’t be waiting for him.  You have to make him wait.

Panel 5:  Close-up of Emma, who has an eyebrow raised as she looks skeptically at Becky.

            EMMA:  Why?

            BECKY (not shown):  So you don’t look too anxious.

Panel 6:  Close-up of Becky, with arms folded across her chest, looking up at the ceiling.

            BECKY:  The point is to make him anxious.  Sometimes you geniuses can be so dense.

            EMMA (not shown):  I’m sorry.

Panel 7:  Side view of Becky with her hand on Emma’s shoulder.

            BECKY:  It’s all right, kid.  You just wait here until I get you.

Page 76

Panel 1:  Shot from behind Dan, who stands beside a luxury sedan parked in front of a dilapidated apartment building.  He’s dressed in a tuxedo and looking up skeptically at the building.  He carries a box of candy.

            DAN (thinking):  Is this the place?

Panel 2:  Another shot from behind Dan, who is walking down a pea green hallway with garbage strewn about.  There’s a row of dark brown wooden doors.  Dan stands in front of an old-style cage elevator with an “Out of Order” sign on the doors.

Panel 3:  Side view of Dan climbing up the steps with the candy in his hands.

Panel 4:  Again from behind Dan, who is standing in front of the door for 5E—Emma’s apartment.  He has a hand on the door, knocking on it.

Panel 5:  Same as Panel 4 but now the door is open with Becky in the doorway, glaring sharply at him.  Dan is smiling a little bit, the candy extended.

            BECKY:  So you must be Dan.

            DAN:   Are you Emma’s roommate?

            BECKY:  I’m her best friend too.  Come in.

Panel 6:  Side view of Dan standing in the middle of the living room with its beanbag chairs and a coffee table made from two cinderblocks and a plank of wood.  There are posters tacked to the wall.  Dan has a slight, bemused grin on his face, while Becky stands behind him, still glaring.

            DAN:  Nice place.  Reminds me of my dorm in college. 

            BECKY:  I bet

Panel 7:  Shot from behind Becky with Dan turned to face her, still smiling gamely and still with the candy ready to give away at any moment.

            DAN:  So where is Emma?  Is she feeling all right?

            BECKY:  She’s still getting ready.

Page 77

Panel 1:  Side view of Becky holding the candy out at arm’s length as if they’re going to explode.  Dan’s looks at her in shock.

            DAN:  Hey!  Those are for Emma.

            BECKY:  You can’t give these to her.

            DAN:  Why?

Panel 2:  Shot from behind Becky, who’s bent over to put the candy in a cupboard.

            BECKY:  She’s allergic to chocolate too.

Panel 3:  Close-up of Dan, who’s trying to smile.

            DAN:  Oh, I’m sorry.  I didn’t know.

Panel 4:  Side view of Becky standing in front of Dan with hands on her hips.

            BECKY:  There’s a lot you don’t know about her.

            DAN:  You mean about her parents?

            BECKY:  How do you know about that?

Panel 5:  Shot from over Becky’s shoulder.  She has one hand raised, a finger raised in warning.  Dan is grimacing.

            DAN:  I looked it up.  I’m sorry.

            BECKY:  Don’t you dare mention that to her.  Don’t you do anything to hurt her.

Panel 6:  Close-up on Dan, who is sweating more now and still grimacing.

            DAN:  I’d never hurt her.

Panel 7:  Same as Panel 5, though now Dan looks terrified, and Becky still has her finger raised in warning.

            BECKY:  You’d better not.  If you hurt her, I’ll kill you.  Do you understand?

            DAN (whispering):  Yes.

Page 78

Panel 1:  Shot from behind Becky and Dan.  Emma stands in the hallway, looking shyly at her feet.

            EMMA:  Hi. (small lettering)

Panel 2:  Close-up on Dan, who is smiling now

            DAN:  You look terrific.

Panel 3:  Close-up on Emma, whose cheeks are red with embarrassment.

            EMMA:  Thank you.  (small lettering)

Panel 4:  Side view of Dan and Emma with Becky in between them, smiling now.

            BECKY:  OK, you two.  You’d better get going.  Just be back by midnight.

            EMMA:  We will.

Panel 5:  Side view of Dan and Emma on the stairs, going down.  Dan has hold of Emma’s hand so that she doesn’t fall.

            DAN:  Is she always like that?

            EMMA:  She likes to watch out for me.

Panel 6:  Straight on view of Dan and Emma standing in the hallway, no longer holding hands.  They both are looking down at the dirty floor.

            DAN:  She’s a good friend.

            EMMA:  My best friend.

Panel 7:  Side view of Dan holding the door of his car open for Emma to get in.  (Miraculously the car has not been stolen or chopped up for parts.)

            DAN:  Here we go, then.

Page 79

Panel 1:  Overhead of the interior of a French restaurant.  There’s a podium at the front for maitre d’ and various round tables with patrons eating.  The maitre d’ at the moment is leading Dan and Emma to a table.

            DAN:  My godfather dines here a lot.

            EMMA:  Who’s your godfather?
            DAN:  Councilman Lintner.

Panel 2:  Straight on view of Dan and Emma sitting at a table in the center of the restaurant with menus in front of them.  They’re looking down at the menus—not at each other.

            DAN:  He hasn’t got time to come here recently with the election coming up.

            EMMA:  Becky thinks Cafferty is going to win.

Panel 3:  Straight on shot of the table with a waiter in a white tuxedo stooping to take their order.  Emma’s face is red with embarrassment and Dan is grimacing.

            WAITER:  Would you like the wine list?

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

            DAN:  We’ll just have water.

Panel 4:  Side view of Emma still looking down at the table with embarrassment and Dan smiling gamely at her.

            EMMA:  I’m sorry.

            DAN:  It’s all right.  I’m not much of a drinker.  At least not after three years in Egypt.

Panel 5:  Same as Panel 4 but now Emma has her menu up to hide herself from Dan.

            DAN:  Why don’t you order for us?  Your French is probably better than mine.

            EMMA:  I’m not really sure what to order…

            DAN:  Whatever you pick will be fine.

Panel 6:  Same as Panel 3

            WAITER:  Have you decided yet, monsieur?

            DAN:  The lady will order for both of us.

            EMMA:  [She orders something in French]

Panel 7:  Shout from over Dan’s shoulder of Emma looking down at a piece of bread she’s buttering.

            DAN:  It’s impressive you earned your doctorate at your age.  What made you want to study meteors?
            EMMA:  I liked watching the falling stars when I was little.

Page 80

Panel 1:  A shot of Emma from behind with Dan glancing away towards the wall.

            EMMA:  What made you want to study Egypt?

            DAN:  My stepmother, I guess.

Panel 2:  Flashback to the early 60s.  In a movie theater, a straight on view of a little girl with black pigtails sitting in her seat, her feet not touching the floor.  (Since it’s dark her body should be colored a light blue or so from the screen)

            CAPTION:  When she was a little girl she saw Cleopatra and fell in love with Egypt.

Panel 3:  Straight on view of a woman with black hair and light brown skin dressed in a white bridal gown is going down church steps with a middle-aged man, who is like a heavier, older version of Dan.

            CAPTION:  Once she married my father and his money, she started her collection.

Panel 4:  Side view of the woman now in an Egyptian marketplace, wearing a tank top and shorts.  She holds a vase in both hands to examine its bottom.  A very young Dan stands beside her in a striped shirt and shorts.

            CAPTION:  Sometimes she’d take me along when she went shopping there.  And it sort of just got into my blood.

Panel 5:  Side view of Dan looking down at the table with a slight grin and Emma with a look of awe on her face.

            DAN:  I guess it’s kind of silly.

            EMMA:  No.  No it’s not.  I think it’s beautiful.

Panel 6:  Close-up of Dan, his grin faded as he looks sadly down at the table.

            DAN:  Most of the stuff she bought was junk.  She didn’t know any better.

Page 81

Panel 1:  A short time later, side view of Dan and Emma sitting at the table with plates of food in front of them.  Dan has his fork poised to spear something while Emma looks disinterestedly at her plate.

            DAN:  This is good stuff.  You really know how to pick them.

            EMMA:  Thanks.  (small lettering)

Panel 2:  Close-up of Dan is smiling gamely again, his fork lowered..

            DAN:  I heard you graduated from Berkeley.  I had a friend who went there.  Of course he spent most of his time surfing.  Did you ever try that?

Panel 3:  Close-up of Emma looking embarrassed.

            EMMA:  No, I had too much homework.

Panel 4:  Side view of Dan leaning forward at the table, looking at Emma with concern.

            DAN:  Are you feeling all right?  Do you want to go home?

            EMMA:  No, I’m fine.  I’m sorry.

Panel 5:  Shot from over Dan’s shoulder.  Emma is looking down at her food.

            DAN:  I suppose you didn’t have time for a lot of dating either.

            EMMA:  No.  I was too young for the boys anyway.

Panel 6:  Close-up of Emma looking horrified.

            DAN (not shown):  My parents wish I would have been like that.

Panel 7:  Close-up of Dan looking embarrassed, beginning to sweat.

            DAN:  I didn’t mean anything by that.  I just meant…forget it.

Panel 8:  Side view of Dan with his hand up to signal for the waiter while Emma is looking down with embarrassment at her plate.

            DAN:  I think it’s time we get to the opera.

Page 82

Panel 1:  A wide, straight on shot of a Gothic-looking opera house.  There are other couples in formalwear climbing up the steps to the front door.  Among them are Dan and Emma.  Dan is wearing a tuxedo and Emma the red dress from Agnes.  Dan has his arm hooked through Emma’s as he leads her up the steps.

            DAN:  Are you all right?  You’re shivering.

            EMMA:  I’m just a little cold.  I’ll be fine when we get inside.

Panel 2:  A shot of the interior of the opera house lobby with its red carpet and art deco style ornamentation.  Emma’s face is in profile, looking worriedly at a line of men and women shedding their coats to give to employees.  Among these we see Emma’s parents, he in a tuxedo and she in a formal dress.  But they’re transparent like Marlin.

Panel 3:  A shot from behind Emma and Dan as they stand at the top of a set of stairs, facing a pair of doors.  On these is a sign saying:  RESERVED.

            DAN:  I don’t think my godfather comes up here much.

            EMMA:  Doesn’t he like the opera?

            DAN:  He only likes being seen at the opera.

Panel 4:  A shot over Emma’s shoulder.  She’s standing alone at the box, looking down at the orchestra pit.  There amongst the actual orchestra, she sees the ghost of her mother testing the strings of a ghost cello.

Panel 5:  Another shot over Emma’s shoulder, only now she’s looking back at Dan, who’s standing farther back, looking green and queasy.

            EMMA:  Are you all right?

            DAN:  Just not a fan of heights.  I’ll be fine in a minute.

Panel 6:  A side view of Emma with a hand bracing Dan’s shoulder and leading the still queasy-looking Dan to one of the seats in the back of the box.

            EMMA:  We can sit back here.  Then you won’t even notice the heights.

            DAN:  I couldn’t ask you to do that.

            EMMA:  As long as I can hear the opera it’s fine.

Panel 7:  A straight on shot of the interior of the box across the room from Emma’s.  In this box sits a middle-aged bleached blonde in a white dress.  She has a pair of gold opera glasses to her eyes.  Behind her are several goons like those in the previous scene at the old garage, only these are wearing tuxedoes now.  The woman is DON VENDETTA.

            VENDETTA:  Well, what do we have here?

Panel 8:  A shot from through the opera glasses of Emma helping Dan into a seat.

            VENDETTA:  I knew there was a reason I liked the opera.

Page 83

(For these next few scenes it would help to find some pictures from an actual production of Gotterdamung for better descriptions.)

Panel 1:  A shot from behind Emma and Dan sitting next to each other in the rear of the box.  Ahead of them the curtains have opened and three women are on the stage, sitting in front of a cave.  Dan is looking over at Emma, who’s looking straight ahead.

            DAN:  What are they saying?
            EMMA:  They’re saying that they’re waiting for the ring to be returned to them.  (Or whatever the lines actually are.)

Panel 2:  A shot of the stage with a man in armor on a fake horse, riding away from a young woman.

            CAPTION:  Siegfried is leaving Brunnhilde to visit Gunther, lord of the Gibichungs.

Panel 3:  A straight on shot of Dan with his arm around Emma’s shoulders, his head leaning closer to her.  Emma is looking down at the stage, not noticing Dan’s proximity.

            EMMA:  Gunther’s half-brother Hagen slips Siegfried a potion so he can have Brunnhilde all to himself.

Panel 4:  Another shot through Don Vendetta’s opera glasses.  Through this we can see the same view as Panel 3 with Dan leaning against Emma, listening as she translates the opera.

            VENDETTA:  She needs to find herself better company though.

Panel 5:  Another shot of the stage, where now Siegfried is facing Brunnhilde with sword drawn and taking a ring from her hand.

            CAPTION:  Siegfried captures Brunnhilde and takes the cursed ring from her.

Panel 6:  A shot from behind Emma and Dan, who are on their feet and applauding.  The curtains have closed on the stage.  Dan is leaning against Emma, a little unsteady.

            DAN:  I never knew opera was this interesting.  Mostly I thought it was just fat people screaming at each other.

            EMMA:  It’s beautiful even if you don’t know the words.  The passion in it…

Panel 7:  Another shot through Don Vendetta’s opera glasses.  Through these we see Dan looking chastised and Emma looking at him with a slight smile.

Panel 8:  A straight on shot of Don Vendetta sitting in the box, the glasses down so that we can see her calculating blue eyes.  Her goons are standing behind her.

            VENDETTA:  Boys, I think it’s time we made a new friend.

Page 84

Panel 1:  Back in the lobby, straight on shot from ground level of Dan and Emma at the base of the stairs leading up to their box.  Dan is facing Emma, who is smiling shyly.  Around them some other couples are milling about.

            DAN:  Do you want anything to drink?  Nonalcoholic of course.

            EMMA:  Just some water would be fine.

Panel 2:  Straight on shot of Emma leaning back against the wall, looking down at her feet.

            VENDETTA (not shown):  There you are!

Panel 3:  A straight on shot with Emma in profile and Don Vendetta, who’s smiling at her and is flanked by a couple of her goons coming towards her.

            EMMA:  Excuse me?

            VENDETTA:  I saw you in the lobby earlier.  I simply had to meet the best-dressed woman here.

Panel 4:  A shot from over Emma’s shoulder as Don Vendetta and her goons close in.  The don is leering at Emma.

            EMMA:  Do you work for a newspaper?

            VENDETTA:  No.  I own a few business establishments around town.  My name is Lydia Vendetta.  And you are?

            EMMA:  Emma.

Panel 5:  Side view of the don continuing to leer while Emma is looking down at her feet.

            VENDETTA:  That’s a lovely name.  Wherever did you get such a beautiful dress?

            EMMA:  From a friend.  She copied it from one of Lady Robinson’s.

            VENDETTA:  I thought I recognized the style.

Panel 6:  A closer side view as Don Vendetta has a hand on Emma’s bare shoulder.  Emma is looking at the hand like she wants to break it.

            VENDETTA:  Do you go to a lot of operas?

            EMMA:  I haven’t seen one in a long time.

Panel 7:  A shot from the opposite side so that we can see Dan approaching with two glasses of water.  Emma and Vendetta are turning to look at him.

            DAN:  Here you go, one ice-cold water.

            VENDETTA:  Who’s this?  Your brother?

            EMMA:  My date.

Panel 8:  Side view of Don Vendetta shaking Emma’s hand as Dan comes to stand beside Emma, who is looking with distaste at the don’s hand.

            VENDETTA:  It was good to meet you Emma.  Maybe I’ll see you next time. 

Page 85

Panel 1:  Shot from behind Emma and Dan as they climb up the stairs.  Dan has his arm hooked through Emma’s again.

            DAN:  Who was that?

            EMMA:  I’m not really sure.

Panel 2:  Shot through Don Vendetta’s opera glasses.  Dan is sitting close to Emma, but not with his arm around her yet.  They’re both staring straight ahead, directly into the glasses.

            VENDETTA:  That’s right, sweetheart, I’m right here.

Panel 3:  Straight on view of Dan with his arm around Emma’s shoulders.  He’s whispering into Emma’s ear while she stares straight ahead, towards the don’s box.

            DAN:  We can leave if she’s bothering you.

            EMMA:  No, it’ll be fine.

Panel 4:  A shot of the stage.  In a feast hall, Hagen is talking with an angry Brunnhilde.

            CAPTION:  Learning of Siegfried’s disloyalty, Brunnhilde tells Hagen of Siegfried’s one vulnerable point:  his back.

Panel 5:  A shot from behind Dan and Emma.  Their heads are touching now and Dan has his hand on Emma’s back, as if massaging it.

            DAN:  Are you feeling better now?

            EMMA:  A little.

Panel 6:  Close-up of Dan’s other hand now on Emma’s knee, which is covered by her skirt.

Panel 7:  The same shot only now Emma’s hand is on top of Dan’s.

Panel 8:  Shot through the opera glasses of Dan leaning against Emma, one hand on her back and the other on her knee and Emma holding his hand.  Their faces are turned to each other and so close that they’re almost kissing.

            VENDETTA:  You naughty little tease.

Page 86

Panel 1:  Shot from behind Emma and Dan page.  In front of them floats Marlin.

            MARLIN:  He’s here.

           

Panel 2:  A close-up of Emma’s face.  She is looking pale and shocked.

            MARLIN (not shown):  The Dragoon.  He’s here.  I can feel it.

Panel 3:  Wider, straight on shot of Emma and Dan sitting together.  Marlin is floating over them, his back to us.

            EMMA:  Where?

            DAN:  Where what?

            EMMA:  Oh, nothing.

Panel 4:  The same as panel 1, only now Marlin is looking angrier.

            MARLIN:  I’ll see if I can find him while you think of an excuse to get rid of your boyfriend.

Panel 5:  A straight on shot of Don Vendetta’s box.  The don is still watching Emma.  Marlin is floating behind the don’s goons.

            CAPTION:  He wasn’t in her box, though there were enough criminals in there already.

Panel 6:  A straight on shot of a darkened wing of the stage, where people in armor and women in long gowns and such are milling around along with staff in T-shirt and jeans.

            CAPTION:  He wasn’t backstage either.

Panel 7:  Another straight on shot of the orchestra pit from the stage level.  There’s musicians with different instruments and the conductor with his baton.

            CAPTION:  He wasn’t hiding with the orchestra.

Panel 8:  A shot of catwalks over the stage with some spotlights, sandbags, and so forth.  There are a couple of technicians up there.  Marlin floats over the catwalks, looking down.

            CAPTION:  But I could still feel him.  I knew he was close.

Page 87

Panel 1:  On the stage, beside the cave we saw previously, there’s a “fire” of orange, red, and yellow streamers surrounding the bodies of Siegfried and Brunnhilde.

            CAPTION:  Siegfried and Brunnhilde were consigned to the fire.

Panel 2:  A straight on view of Emma and Dan.  Emma has pulled her hand away from Dan’s and moved her head back.  He’s looking at her with disappointment while she’s looking at him with concern.

            EMMA:  I think we need to go.

            DAN:  What’s wrong?  Is it that woman?

            EMMA:  Let’s just go.  Please.

Panel 3:  Through the don’s opera glasses we see Emma and and Dan’s backs as they head for the exit to the box. 

            VENDETTA:  Going so soon?

Panel 4:  Another shot of the stage, where now there are streamers of varying shades of blue covering the stage.  Amongst these is a circular platform and atop that a black object, like that of a curled-up person though we can’t see exactly what it is.

            CAPTION:  The Rhine rose to swallow the two lovers.

Panel 5:  (This should take up the rest of the page.)  The object on the platform rises up to reveal the Black Dragoon standing on the platform over the blue streamers.  His eyes are glowing red and gazing straight at us.

            CAPTION:  And now something far more dangerous than a cursed ring had been unleashed.

Page 88

Panel 1:  Shot from over the Dragoon’s shoulder.  His head is swiveled to look at the box Emma and Dan are vacating.

Panel 2:  The same shot only over the opposite shoulder.  The Dragoon is looking up now at Don Vendetta and her goons.

            DRAGOON:  Now I have you.

Panel 3:  A side view of the Dragoon leaping through the air.  Below, people in the audience and orchestra pit are staring up at him in amazement.

Panel 4:  A shot from over the Dragoon’s head, looking down at Don Vendetta, who is still sitting in her seat.  The Dragoon is standing on the railing of the box, a spiked finger pointed at her.

            DRAGOON:  You and I have business to discuss.

            VENDETTA:  Then call my secretary and make an appointment.  Get him, boys.

Panel 5:  A side view of one goon falling back with a claw sticking out of his upper chest.

Panel 6:  A view from behind Don Vendetta and another goon.  The Dragoon is bringing his left hand down across the goon’s neck.  There’s some blood flying in the air.

Panel 7:  Same as Panel 4 only now the two goons are lying dead around the don, blood pooling from around them.  The don is staring up calmly at the Dragoon.

            DRAGOON:  Now you will come with me.

            VENDETTA:  Well, when you put it that way…

Panel 8:  A closer three-quarters view of the Dragoon leaping with the don clutched to him like King Kong carrying Fay Wray.  The don’s mouth is open in a scream.

Page 89

Panel 1:  Straight on shot of Dan and Emma going down the stairs.  Dan is looking back towards the box while Emma is still looking ahead, her face grim.

            DAN:  What the heck was that?

            EMMA:  Let’s not find out.

Panel 2:  Straight ahead shot of Emma and Dan in the lobby now.  To the other side the doors are open and people are running out, screaming and looking afraid.

Panel 3:  An overhead shot of Emma and Dan clinging to each other.  Emma is still looking grim while Dan is looking scared.  The frantic crowd is all around them, stampeding.

Panel 4:  Straight on view of an older man and his wife running, approaching Emma and Dan.

Panel 5:  Same as Panel 4, but now the old guy is on his knees, clutching his chest.

            WOMAN:  Aaaahhhh! (or whatever to indicate a scream)

Panel 6:  Side view of Emma and Dan turning to the man.

            WOMAN  I think he’s having a heart attack.

            EMMA:  Let’s get him out of here.

Panel 7:  A straight ahead shot of Emma and Dan from the floor level as they drag the man through the door to the men’s room.

Panel 8:  Another straight on shot from the floor level.  Emma is standing by the door, pushing it open with one hand.  There’s some blood on her hands and a little on her dress.  She’s looking back towards Dan.

            EMMA:  I’ll go get help.

Page 90

Panel 1:  A wide shot from floor level of Emma standing in the middle of the ladies room, which looks similar to the men’s room only maybe a more feminine wall color.  She’s looking back towards the door.

            EMMA:  Mekka lekka weep ninibaum.

Panel 2:  The same angle only now the scarlet case is in front of Emma.  She’s standing in front of it, dressed only in her slip now, the red dress in her hands.  The bottom of Marlin’s robe is visible hovering in the top left corner of the panel as he’s facing Emma.

            MARLIN:  He’s on the roof.

            EMMA:  The roof?

Panel 3:  Close-up of Marlin looking angrily at Emma.

            MARLIN:  He has Lydia Vendetta with him.

            EMMA (not shown):  Vendetta?  Why would he want her?

            MARLIN:  How should I know?  Get up there and stop him.

Panel 4: The same as Panel 2 except instead of the dress Emma has a piece of armor.  She’s wearing the lower half of the armor now.

            EMMA:  What about Dan?

            MARLIN:  He’ll be fine.  The Dragoon doesn’t want him.

Panel 5:  A straight on view of Emma looking down sadly at the breastplate in her hands.

            EMMA:  I guess you’re right.

Panel 6:  A close-up of Marlin looking less angry.

            MARLIN:  Good girl.  Now hurry up.

Panel 7:  The same floor-up perspective as earlier, only now Emma is dressed as the Scarlet Knight, with the helmet visor down to cover her face.

            EMMA (thinking):  I’m sorry, Dan.

Panel 8:  Close straight on shot of a window in the bathroom.  The Scarlet Knight’s boots are visible dangling through the opening while the rest of it has already gone through.

Page 91

Panel 1:  An overhead shot of the roof of the opera house.  It’s basically a normal rooftop except maybe for some decorative gargoyles along the edges.  Don Vendetta is against one of these gargoyles with a black metal spear through her skirt between her legs.  The Black Dragoon is facing her.

            VENDETTA:  Whatever you want, I can get it.

            DRAGOON:  I want only your allegiance.

Panel 2:  Closer shot from behind the Dragoon who is towering over Don Vendetta.  The don’s face is looking annoyed.

            VENDETTA:  What are you talking about?

            DRAGOON:  You and your minions will serve me.

            VENDETTA:  We don’t serve anyone.

Panel 3:  Shot from over Don Vendetta’s shoulder.  The Dragoon has his left hand raised, the claws glinting menacingly in the moonlight.  His red eyes are glowing at her.

            DRAGOON:  Then you will die and I will deal with your replacement.

            VENDETTA:  You think whacking a few punks in the park makes you a big deal?  I run this city.

Panel 4:  The same shot as Panel 3 except now the Dragoon is tapping his faceplate with one clawed finger as if deep in thought.

            DRAGOON:  Yes, perhaps that is true…

Panel 5:  Side view of Don Vendetta running from the Dragoon, her skirt torn.  Behind her is the claw and bit of fabric pinned to the gargoyle.

Panel 6:  Side view of Don Vendetta falling towards the ground with arms extended.  The Dragoon has a hand raised with one claw missing.  That claw is embedded in Don Vendetta’s right ankle, which is now red with blood.

Panel 7:  Shot from the ground straight on of Don Vendetta on her back now, looking up at the Dragoon.  He’s pointing down at her with a clawed finger.

            DRAGOON:  That was foolish.  There is no escape for you.

Page 92

Panel 1:  The same as Panel 7 of the previous page except that now the Scarlet Knight is behind the Dragoon, with cape wrapped around her so that she’s invisible.

            DRAGOON:  You will serve me or you will die.  It is that simple.

Panel 2:  Side view of Don Vendetta on the ground, looking up at the Dragoon, who still has a claw pointed at her head.  The Scarlet Knight is behind him, with the cape still wrapped around her to remain invisible.

            VENDETTA:  What’s in it for me?

            DRAGOON:  Your life.  What more incentive do you need?

Panel 3:  Close-up of Don Vendetta smiling smugly at the Dragoon.

            VENDETTA:  You can’t kill me.  It would take you too long to pacify my troops then.

            DRAGOON (not shown):  You overvalue your importance.

            VENDETTA:  You need me to sell this for you.

Panel 4:  The same as panel 1 except the Scarlet Knight is closer.

            DRAGOON:  I need nothing from you.

            VENDETTA:  Then why do you have me up here?

Panel 5:  The same as panel 2 except the Scarlet Knight is closer, to within just a couple of feet.

            DRAGOON:  You would make the transition easier, but you are not essential.  Do not forget that.

Panel 6:  Shot from over Emma’s shoulder of the Dragoon with his back still turned.  Emma has let the cape drop and one hand is reaching down to pull out the Sword of Justice.

            DRAGOON:  I will give you ten seconds to make your decision.

Panel 7:  The same as Panel 4 except Emma is visible and has the glowing Sword of Justice raised to strike.

            DRAGOON:  One…two…three…

Panel 8:  Side view of Don Vendetta still on the ground.  The Dragoon is turned around, his right hand batting the Sword of Justice from Emma’s hands.  His left is poised to jam into her midsection.

            DRAGOON:  You!

Page 93

Panel 1:  A closer side view of just the Dragoon and Emma.  The Sword of Justice is flying in the air while the Dragoon is tumbling backwards as Emma’s foot is sweeping the Dragoon’s from under him.

Panel 2:  A shot from behind the Dragoon and at ground level.  He’s sitting up, one clawed hand out in front of him.  Emma is off to the far left, cape wrapped around her again.

            DRAGOON:  Foolish child, you can’t hide from me forever.

Panel 3:  Straight on shot of the Dragoon with his head turned to look at Don Vendetta, who is clinging to an emergency ladder with one hand and waving at the Dragoon with the other.

            VENDETTA:  Looks like you’re busy.  See you around, creep.

Panel 4:  Shot from over the Dragoon’s shoulder.  He is on his feet now and has both clawed hands raised in firing position.  Emma is off to the right now, still invisible.

            DRAGOON:  Whoever you are, you’re a fool to believe their lies.  Do you fancy yourself a hero?  What has your kind ever done but keep the evil and corrupt in power?

Panel 5:  Close-up of the Sword of Justice lying on the roof with one of the Dragoon’s spiked boots standing on it.  The sword is glowing brightly.

            DRAGOON:  Perhaps you want this?  Your toy sword cannot destroy me.

Panel 6:  Straight on view of the Dragoon from ground level.  The Sword of Justice has turned a volcanic white-red now beneath his boot.  The Dragoon still has his hands raised to strike.

            DRAGOON:  End this foolishness, girl.  Many far worthier than you have worn that armor and they have all perished.

Panel 7:  Side view of Emma kicking the Dragoon in the chest.  The Dragoon is flying backwards.  Emma has let the cape drop.

            EMMA:  Not all of them.

Page 94:

Panel 1:  Side view of the Dragoon lying on the roof a few feet away.  Emma is standing before him, with a hand reaching out towards the Sword of Justice.

Panel 2:  The same as Panel 1 except Emma has the Sword of Justice in hand now.

Panel 3:  Shot from the ground of the Dragoon lying on his back, his head back.  Emma stands over him, both hands on the Sword of Justice, which is now plunged into the Dragoon’s right hip.  The sword is glowing brightly while blood runs from the wound.

            DRAGOON:  Aaaaaah! (or something to indicate a scream)

Panel 4:  The same as Panel 3 except that the Sword of Justice is now raised in Emma’s hands.  Marlin is floating over her shoulder.

            MARLIN:  Go on, finish him.

            EMMA:  I can’t.

Panel 5:  Shot from over Emma’s shoulder, looking down at the Dragoon.  The Dragoon is looking up at her.  Emma has the Sword of Justice’s blade pointing at his neck.

            EMMA:  Take off the armor and surrender.  I’ll take you to a hospital.

            DRAGOON:  You haven’t won.

Panel 6:  The same as Panel 4 except the Sword of Justice is hovering just over the Dragoon’s neck.

            DRAGOON:  You’ve taught her well, apprentice wizard.  There’s just one thing you haven’t prepared her for.

Panel 7:  A close-up of the Dragoon’s face.  His eyes are glowing extremely bright, like two red suns, maybe with some rays seeming to come from them.

Page 95

Panel 1:  The same as Panel 6 of the previous page except the Dragoon’s eyes are glowing bright red, turning everything to just shades of red and black or something.

Panel 2:  Close shot of the Sword of Justice in Emma’s hands.  The sword is coated in blood.

Panel 3:  A closer shot of Emma from the waist up.  She’s staring down at her hands, which are empty now but similarly coated with blood.

Panel 4:  A close-up of Emma’s bloodstained hands.

            EMMA:  …blood…so much blood…(small lettering)

Panel 5:  Side view of Emma hunched over, still looking down at her hands.  She’s staggering towards the edge of the roof.

            EMMA:  …blood…everywhere…(small lettering)

Panel 6:  Side view of Emma tumbling over the side of the roof, hands extended now.

Panel 7:  Overhead shot of Emma lying facedown on the sidewalk below.

Page 96

Panel 1:  Close side view of Emma lying on the sidewalk.  Marlin is hovering over her.

            MARLIN:  Get up, girl.  What’s the matter with you?

Panel 2:  Straight on shot from ground level running from Emma’s boots up to her head, which is raised slightly to look up at Marlin, who looking down at her in concern.

            EMMA:  …blood…everywhere…(small lettering)

            MARLIN:  There isn’t any blood.  It’s a trick.

Panel 3:  Close overhead shot of Emma on her knees, looking down at her hands, which are still covered in blood.

            EMMA:  …blood…too much…(small lettering)

            MARLIN:  Damn it, Emma it’s a trick!  He’s done something to you!

Panel 4:  Straight on shot of Emma sitting against a lamppost, staring down at her hands.  Marlin is hovering so that his face is level with hers.

            MARLIN:  Emma, listen to me.  Think.  There’s nothing wrong with you.

            EMMA:  …blood…(small lettering)

Panel 5:  Same as Panel 4 except Marlin is looking up towards the rooftop.

            MARLIN:  Get up, Emma.  We’ve got to get out of here and find help for you.

            EMMA:  …blood…(small lettering)

            MARLIN:  Emma, please.  Get up and let’s go home.

Panel 6:  The same as Panel 4 except that Emma is looking back at Marlin now.

            EMMA:  …home…(small lettering)

            MARLIN:  Yes, let’s go home.

Panel 7:  Wider shot of Emma on her feet, one hand pressed to the lamppost for support.

            EMMA:  …go…home…(small lettering)

Panel 8:  A wide shot from behind Emma.  She’s running down an alley, crouched over as she runs, more like an ape than a human.

            EMMA:  …home…(small lettering)

Page 97

Panel 1:  We move to the interior of Emma and Becky’s apartment.  An overhead shot of Becky sitting in one of the beanbag chairs.  There’s a stack of envelopes on an overturned crate used as a makeshift table.  Becky has an envelope in her hands and is licking it with her tongue.  There’s a sound effect to indicate the phone ringing.

Panel 2:  Side view of Becky standing in the kitchen, holding the phone receiver to her ear.

            BECKY:  Hello?

            DAN:  Becky?  Have you seen Emma?  (this should be a spiky balloon to indicate he’s talking through the phone)

Panel 3:  Close, straight on view of Becky standing with her back to the fridge, looking pale and shocked.  The phone is still pressed to her ear.

            BECKY:  No, I thought she was with you.  What’s going on?

            DAN:  Something happened at the opera.

Panel 4:  The same as Panel 3 except Becky has a hand on top of her head.

            BECKY:  Is Emma all right?

            DAN:  I don’t know.  She went to get help, but she didn’t come back.

Panel 5:  Side view similar to Panel 2 except Becky is looking down at the floor.

            DAN:  I thought she might have gone back there.

            BECKY:  No, she’s not here.

Panel 6:  Same as panel 3 except Becky is looking grimly determined.

            BECKY:  Check the museum.  She might have gone there.  I’ll wait here and see if she turns up.

            DAN:  All right.  Thanks.

Panel 7:  Close shot of Becky with her hand on the phone, which is pressed back on its cradle against the kitchen wall.  Her back is turned to us but her head is bowed.

Page 98

Panel 1:  Side view of Becky still with a hand on the phone, but her head is looking up now towards the back of the apartment.  (There’s a sound effect to indicate a metallic thud/clank.)

            BECKY:  Emma?

Panel 2:  Close-up of an open kitchen drawer.  Becky’s hand is holding up a butcher knife.  There’s another metallic thud/clank sound.

            BECKY:  Emma?

Panel 3:  Side view of Becky walking down a darkened hallway with the knife raised in her hand.  There’s another metallic thud/clank sound.

            BECKY:  Is that you, Emma?

Panel 4:  Straight on shot of Becky standing in the doorway to Emma’s room.  The knife is still raised in her hand.  The bedroom is too dark to see anything.

            (Emma is making a sniffling sound)

            BECKY:  Emma?  It’s all right.  Dan told me what happened.

Panel 5:  Close-up of Becky’s hand along the wall, tripping the light switch.

            (Emma is still sniffling)

            BECKY:  He’s fine.  Everything’s OK.  Let’s talk…

Panel 6:  (This should take up the rest of the page.)  Shot from over Becky’s shoulder.  The room is lit now and we see bits of armor on the floor.  The scarlet armor has turned completely dull gray.  In a corner of the room is a little redheaded girl approximately four years old.  She’s wearing a pink nightgown and her hair is tied in pigtails.  Her face is pressed into the corner so that we can’t see the rest of her face.

            BECKY:  Emma?

Page 99

Panel 1:  The same as Panel 6 of the previous page, though smaller.  And now the little girl has turned around.  Her cheeks are pudgy and covered in freckles and a line of perfectly straight bangs cover up her forehead.  Most importantly though is that her eyes are entirely yellow—the same shade as the Scarlet Knight’s cape, boots, plume, and sword.  There’s no pupil or iris or whites—just yellow.  (The little girl is of course Emma at about 4 years old.)

            EMMA:  Mommy?

Panel 2:  Side view of Becky kneeling down in front of Emma, a hand on Emma’s shoulder.  The knife is lying on the floor now.  Becky is looking into Emma’s weird eyes.

            BECKY:  Emma?  What happened to you?

            EMMA:  You’re not Mommy.

            BECKY:  No, I’m not…

Panel 3:  (This should take up almost all of the page except for one panel.)  Straight ahead shot of Becky flying backwards through the air.  Emma’s tiny arms are fully extended in a pushing motion.  Her weird eyes are glowing yellow—like the Sword of Justice does.  Her face is red and very angry.

            EMMA:  I want Mommy!

Panel 4:  An overhead shot of Becky lying inside a wall.  Her feet are sticking out from the wall, and there’s bits of drywall lying around them.  The rest of Becky is inside the wall.  Her head is sagging on her chest and her eyes are closed.  Her hands are resting limply on her stomach.

            EMMA (not shown):  Ow find you, Mommy.

(NOTE:  Misspellings like in that last sentence are intentional to indicate little Emma’s speech impediment.)

Page 100

Panel 1:  Later, it’s nighttime in another garbage-strewn alley.  Straight on view of a uniformed policewoman with curly dark red hair and blue eyes—looking very similar to Emma’s mother.  This is OFFICER LOIS EARLY.  She’s standing against a brick wall of the alley, pistol raised in her hands.

            (Emma is sniffling.)

Panel 2:  The same as Panel 1 except there’s a little more light in the alley from a fire.

            EARLY (thinking):  This is stupid.  Never go into an alley without backup.

Panel 3:  A straight on shot from behind Early.  She’s standing in the center of the alley, the gun pointed down at the ground now.  She’s looking surprised.

            EARLY:  What the hell?

Panel 4:  Close-up of Early stuffing her pistol back into its holster.

Panel 5:  (This should take up the rest of the page.)  Shot from over Early’s shoulder.  Three male bums are lying unconscious in the alley.  A fire barrel is tipped over so that there are scattered flames around the alley.  In the center of the chaos is little Emma.  She’s looking straight at Officer Early with her weird yellow eyes.  Emma is smiling brightly and holding up her arms as if she wants Early to pick her up.

            EMMA:  Mommy!

Page 101

Panel 1:  A side view of Emma jumping onto Early’s chest.  Early is looking shocked.

            EMMA:  Mommy, you found me!

Panel 2:  A close shot looking down from over Early.  Emma has her head resting on Early’s shoulder.  Early has one arm around Emma’s waist and the other hand is patting Emma’s head.

            EARLY:  That’s right, I found you.

Panel 3:  A wider, straight on shot from ground level.  We see the bums lying on the ground and the flaming garbage.  Early is looking down at them in confusion while Emma is still in Early’s arms and looking at them with distaste.

            EARLY:  Did these men try to hurt you?

            EMMA:  They were mean.  And stinky.

Panel 4:  Side view of Emma in Early’s arms.  Early is brushing back Emma’s bangs and looking into her weird eyes.  Early is smiling, but looking worried.

            EARLY:  You won’t have to worry about them anymore.

            EMMA:  Can we go home now?

            EARLY:  Of course we can.

Panel 5:  Straight on shot of Early’s back.  Emma’s head is peeking over Early’s shoulder.  Her tongue is sticking out at the bums.  We see just a hand or foot of the bums in the panel.

Panel 6:  A shot from over Early’s shoulder.  She and Emma are standing in front of Early’s police cruiser.  Emma is pointing to the RCPD lettering on the side.

            EARLY:  Here’s the car.  Now we can go home.

            EMMA:  This is a powice cow.  Mommy doesn’t dwive a powice cow.

            EARLY:  It’s new.

Panel 7:  A straight on shot from the cruiser’s front seat as Early is putting Emma into the backseat of the cruiser.

            EARLY:  You just sit right here and we’ll be home soon.

            EMMA:  But…

            EARLY:  Why don’t you be a good girl and take a nap?  When you wake up we’ll be home.

Panel 8:  A straight on shot of Emma lying on the backseat, facing the back of the seat.  Early is clutching the door, shutting it.

Page 102

Panel 1:  A shot from over Early’s shoulder, looking down at the dashboard of her cruiser.  She’s sitting in the driver’s seat, one hand touching the buttons of the computer display.

            EARLY (thinking):  Doesn’t look like anyone’s missing a girl matching her description.

Panel 2:  A straight on shot through the cruiser’s windshield.  Emma is sitting up in the center of the seat, glaring at Early.  Early is turned to look back at Emma and smiling uneasily.

            EMMA:  Mommy, why aren’t we home yet?

            EARLY:  Just a little car trouble.

Panel 3:  The same shot except Emma is looking smug and crossing her arms over her chest.

            EARLY:  I don’t suppose you know your address, do you?

            EMMA:  4310 Boston Cawt

Panel 4:  A close-up of the computer screen.  The address is listed as 4310 Boston Court, Parkdale.  Beneath that it says:  Occupants:  None.  Prior Occupants:  Carl & Louise Earl.  DECEASED.  Daughter:  Emma Jane Earl.  Currently Residing:  45738 Tavistock Ave, Rampart City.

Panel 5:  Another close-up of the computer.  This time it’s displaying a picture of the adult Emma from her student ID.  (She’s wearing her glasses and looking straight ahead with a deer in the headlights look.)  To the side the text reads:  Dr. Emma Jane Earl, PhD.  Birthdate:  10/31/1980.  Employer:  Plaine Museum of Natural History  There’s more but Early’s hand is blocking it.

            EARLY (Not shown):  Emma?

Panel 6:  A straight on shot through the windshield.  Emma is looking at Early with irritation.  Early is faced towards Emma and smiling, but still looking uneasy.

            EMMA:  Yes, Mommy?

            EARLY:  I was just making sure you were awake.

            EMMA:  When are we gonna go?

            EARLY:  Soon, sweetheart.  Soon.

Panel 7:  The same as Panel 6 except Early is facing straight ahead, her face pale and shocked.

            EARLY (not shown):  I’ve got a ghost in my backseat.  That or I’m losing my mind.

Page 103

Panel 1:  Side view of Emma in the backseat, looking impatient while Early is grabbing the radio in her car.

            EMMA:  Mommy, wet’s go.

            EARLY:  Just a second, sweetheart.  I’m going to call Daddy so he knows you’re OK.

Panel 2:  A side, close view of just Early.  She has the radio to her lips.

            EARLY (whispering):  Dispatch, this is Five Baker Three.  Possible runaway in my car.  Answering to the description of…

Panel 3:  Close-up of Emma’s fist punching the radio.  There’s smoke and sparks coming from the radio and an appropriate sound effect of it exploding.

Panel 4:  A shot through the windshield where we see that Emma has destroyed the wire mesh separating the front and backseats.  She’s reached through the mesh to grab Early by the front of the shirt, pulling her close.  Early is looking freaked out.  Emma’s eyes are glowing.

            EMMA:  You wiar!  You’re not Mommy!

            EARLY:  No, I’m not.  I’m a friend of hers.

Panel 5:  Shot from over Emma’s shoulder.  She’s still holding Early by the front of her shirt.  Early now has one hand against her shirt, pulling her badge forward.  She’s still looking freaked.

            EMMA:  You twied to twick me!

            EARLY:  I didn’t think you would come otherwise.  I’m a policewoman.  See?

Panel 6:  Side view of Emma still grabbing Early by the front of her shirt, looking angry.

            EMMA:  I don’t wike wiars.

            EARLY:  No, I’m not lying.  Your mom asked me to find you.  She was worried sick.

            EMMA:  Then take me home.  Now.

Page 104

Panel 1:  Similar to Panel 4 of Page 99 where Becky is lying in the wall of Emma’s bedroom.

Panel 2:  Closer shot of Becky, only now two pairs of wrinkled arms are grabbing her, one set of hands for each of Becky’s arms.

Panel 3:  About the same as Panel 2 except the wrinkled arms have laid Becky on Emma’s bed.

Panel 4:  Overhead of Becky lying on the bed.  A wrinkled hand is holding Becky’s mouth open while another wrinkled hand pours a nasty-looking green liquid into Becky’s mouth from a small gray vial.

Panel 5:  A straight on view of Becky sitting up in bed, doubled over a bit as she coughs.

            (Becky is coughing.)

            AGNES (Not shown):  Take it easy, dear.

Panel 6:  Shot from behind Becky sitting up on the bed.  Agnes is on one side of the bed smiling at her.  Sylvia is on the other side of the bed, glowering at her with arms crossed over her chest.  Becky is looking up at them.

            BECKY:  Agnes?  What’s going on?  Where’s Emma?

Panel 7:  A side view of Agnes with a hand on Becky’s shoulder.  Agnes is still smiling at Becky, who looks confused.  Sylvia is still glowering on the other side of the bed.

            AGNES:  We’re not sure.  Can you tell us what happened?

            BECKY:  I heard a noise and I came in here and I turned on the light.  It was Emma but she was a little girl.  Like four years old maybe.  Her eyes were all yellow.

Panel 8:  Close-up of Agnes, who is no longer smiling.  She’s looking grim.

            AGNES:  Then this is more serious than I thought.

Page 105

Panel 1:  Straight on shot of Becky sitting on the bed.  She’s holding the Scarlet Knight’s helmet, only the helmet is a leaden gray and the plume is white.  Becky is looking down at it with confusion.  The witches are not visible.

            BECKY:  So Emma is the Scarlet Knight?

            AGNES (not shown):  That’s right, dear.

            BECKY:  I guess that makes sense…kind of.

Panel 2:  Side view of Becky looking up at Agnes, who is smiling again, though uneasily.  The helmet is still in Becky’s hands.

            BECKY:  But what happened to her?

            AGNES:  Someone else might be able to shed some light on that.

Panel 3:  A straight on shot of Becky, who’s pressed back against the headboard and looking terrified.  She’s looking up at Marlin, who has his back turned to us.

            BECKY:  You’re a ghost.

            MARLIN:  Brilliant deduction.

Panel 4:  A shot from behind Becky, who’s still looking up at Marlin.  Marlin is glowering at her.

            MARLIN:  She was fighting a blaggard called the Black Dragoon at the opera house…

            BECKY:  That’s where she disappeared to!

            MARLIN:  Anyway, she was winning and then the bastard used some kind of hypnosis on her.  She kept saying she saw blood everywhere.

Panel 5:  Side view of Agnes holding Becky’s hand and patting it.  She’s smiling in a motherly way at Becky, who is still looking confused.

            AGNES:  He somehow triggered her worst memories.

            BECKY:  Her parents.

            AGNES:  I’m afraid so.  She likely would have lost her mind forever if the armor hadn’t done this to her.

Panel 6:  Close-up of Becky looking in shock at the helmet.

            BECKY:  What?  Her own armor did this to her?

            AGNES (not shown):  It was trying to stabilize her mind to a time before the trauma.

            BECKY:  But it didn’t work.  She’s out there looking for her dead mother.

Panel 7:  Same as Panel 4

            MARLIN:  It did work.  It’s not the armor’s fault her mother is dead.

            AGNES:  The problem is that in order to do that, the armor injected its power into her.  That’s why she could throw you into the wall like that.

Panel 8:  Same as Panel 6

            BECKY:  And she’s out there alone.  Oh shit.

Page 106

Panel 1:  Straight on shot of Becky sitting in bed looking at Agnes with confusion.  Agnes has a hand on Becky’s shoulder.  Sylvia is still off to the side glowering and Marlin has floated over next to her.

            BECKY:  There’s just one thing that I still don’t get:  How did you know to come here?  And how do you know so much about the armor?

            AGNES:  That’s easy enough to explain.  Sylvia and I are witches.

Panel 2:  Close-up of Agnes, smiling in her motherly fashion.

            BECKY (not shown):  Witches?

            AGNES:  Yes.  We’re part of a coven that has aided the Scarlet Knight for millennia.

Panel 3:  Side view of Becky looking down at the gray helmet with a hand pressed to her temple.  Agnes still has a hand on her shoulder and is smiling at her.

            BECKY:  A coven of witches?  So you’re not really a seamstress?

            AGNES:  I’m that too, dear.  It’s more of a hobby, though.

Panel 4:  Same as Panel 1

            BECKY:  So was there a Mr. Chiostro?

            AGNES:  Oh yes, about two centuries ago.  He was my soul mate.

Panel 5:  Same as Panel 4 except Becky is looking over at Sylvia.

            BECKY:  Two centuries ago?  How old are you?

            AGNES:  I’ll be five hundred twelve next year.  Sylvia is only four hundred ninety-three.

            SYLVIA:  We had another sister.  Louisa.  She died about three centuries ago in Salem.

Panel 6:  A closer shot of just Marlin and Sylvia.  Marlin is glowering at the bed.

            MARLIN:  Can we get to the point?  We haven’t much time.

Panel 7:  Same as Panel 4

            BECKY:  Why not?

            AGNES:  I’m afraid if we aren’t able to change her back by sunup she’ll stay that way forever.

            SYLVIA:  Forever being until we chop her head off.

Page 107

Panel 1:  Close-up of Becky looking shocked.

            BECKY:  What?

            AGNES (not shown):  We can’t have her running around with that much power.  It’s too dangerous.

Panel 2:  Side view of Becky starting to get up but Agnes has a hand on her shoulder to press her back down.  Becky is looking angry while Agnes is looking grim.

            BECKY:  I’m going to find her then.

            AGNES:  Hold on, dear.  You can’t go like that.  She won’t recognize you.

Panel 3:  Same as Panel 7 of previous page.

            BECKY:  Then what are we supposed to do?

            AGNES:  There is a way, but it’s going to be risky.

Panel 4:  A close-up of Becky sitting in the bed.  Sylvia is dangling a small metal vial in front of her face.  Becky is focusing on the vial.

            BECKY:  What’s that?

            AGNES (not shown):  It’s a temporary Fountain of Youth.  With it you’ll become five years old and Emma should recognize you as her friend.

Panel 5:  Same as Panel 4 except Becky is now holding the vial.

            BECKY:  Five years old?  Can’t you just make me look like her mother?

            AGNES (not shown):  She’d see through that, dear.  This is the best way.

            SYLVIA (not shown):  Or we could just chop off her head now.

Panel 6:  Side view of Becky holding the vial to her mouth, drinking it.

Panel 7:  Straight on view of Becky in bed, looking woozy.

            BECKY:  I don’t feel…oh…

Panel 8:  An overhead shot of Becky lying in the bed, unconscious.  Sylvia and Marlin are still to one side glowering at her.  Agnes has a hand pressed to Becky’s forehead as if checking for a fever.

            AGNES:  Such a brave girl.  I just hope it works.

            SYLVIA:  I’m going to sharpen my axe, just in case.

Page 108

Panel 1:  Overhead shot of a kindergarten classroom.  There’s various little kids in a circle near the center of the room, some of them pointing at her.  In the center of this circle is a fat little girl with dark brown pigtails.  This is of course Becky.  She’s wearing a pink long-sleeved shirt and pants, both of which are too tight for her.  (Of special note for later is that Becky’s pigtails are unbalanced, her bangs are uneven, and her clothes are threadbare.  This is contrast to Emma, who is immaculate.  This is because her mother takes great care of her while Becky’s is neglectful.)

            BOY:  Fatty fatty fat fat!

Panel 2:  Close shot of Becky, looking as described above.  Her fat cheeks are flushed with anger but there are no tears in her eyes.  It’s obvious here that her clothes don’t fit as a bit of her stomach is peeking through a gap between her shirt and shorts.

            BECKY:  Shut up!

Panel 3:  Slightly wider shot of one of the boys yanking on one of Becky’s unbalanced pigtails.  She’s wincing in pain, but still not crying.

            BECKY:  Ow!  Stop it!

Panel 4:  The same as Panel 3 except the boy has Becky’s head yanked back a little more.

            BOY:  Or what, you’ll sit on me?

            BECKY:  Shut up!

Panel 5:  Shot from over Becky’s shoulder.  Past a line of children jeering at her, we see little Emma (looking like in previous scenes except she’s wearing a pink T-shirt and pink overalls and of course her eyes are normal color and she’s wearing plastic pink eyeglasses.  As noted above she looks perfect, in contrast to Becky) who is standing in front of her mother, who’s kneeling down to wipe at Emma’s chin.

            MOM:  Now, you be a good girl and play nice with the other children.

            EMMA:  Yes, Mommy.

Panel 6:  The opposite of Panel 5 where Emma and her mom are in the front of the panel, with Emma’s mother kissing her on the cheek and hugging her.  Behind the line of children, Becky is staring at Emma and her mother with a look of pain and longing.

            MOM:  I love you, baby.

            EMMA:  I wuv you too, Mommy.

Panel 7:  A straight on shot of Emma standing inside the room now, her mother gone.  The line of children harassing Becky are now turning to look at Emma, a boy pointing at her.

            BOY:  Who let the baby in here?

            EMMA:  I’m not a baby.  Babies are zewo to two.  I’m four—and five sixths.

Panel 8:  A side view of Emma on her rear, her face red and tears in her eyes.  The mean boy is standing over her, grinning fiendishly.

            BOY:  You tawk wike a stupid baby.

Page 109

Panel 1:  A side view of Emma still on the floor with the boy standing over her.  But behind them is an older woman who looks similar to Agnes, but isn’t.

            TEACHER:  That’s enough, children.  Take your seats and we’ll begin.

Panel 2:  A straight on shot of Emma sitting in a chair and Becky sitting next to her, some of her rear end hanging over the sides.  They’re both looking straight ahead.  The teacher’s lower half is visible in the other half of the panel.

            TEACHER:  I want each of you to introduce yourselves.  We’ll start over here.

Panel 3:  Same as Panel 2 except Becky is standing and looking at her feet.

            BECKY:  My name is Becky Beech.

            TEACHER:  Is that all?

            BOY:  She’s fat.

            TEACHER:  That’s enough.  Take your seat Becky.

Panel 4:  The same as Panel 3 except Becky is sitting and Emma is looking at her feet.

            EMMA:  My name is Emma Earw and Mommy said I’m too smart to stay home anymore.

            TEACHER:  Thank you, Emma.  Next please.

Panel 5:  The same as Panel 2 except Emma’s hand is raised.

            TEACHER:  Now, who can tell me a word that starts with ‘A?’

            EMMA:  Me!

            TEACHER:  Go ahead, Emma.

            EMMA:  Aawdvawk…[other words beginning with A in dictionary order]

Panel 6:  The same as Panel 5 except that Emma’s hand is down and her face is red as she’s looking down at the floor.

            TEACHER:  That’s good, Emma.  Becky?  How about you?

            BECKY:  No.

Panel 7:  The same as panel 6 except that the mean boy from earlier is leaning over Emma’s shoulder.

            BOY:  Wook at Miss Smawty Pants.  If you’re so smart how’s come you can’t tawk right?

Page 110

Panel 1:  Another straight on shot of Emma and Becky still sitting, only now beside the teacher in front of them is the lower half of a cart.  The teacher’s hand is pressing a carton of milk and two chocolate chip cookies into Becky’s hands.

Panel 2:  The same as Panel 1 except the teacher is handing the milk and cookies to Emma.  Becky is biting into a cookie with chocolate around her mouth.

Panel 3:  The same as Panel 2 except the cart and teacher are gone.  Emma is staring at the cookies with disgust.

            EMMA:  Yucky.  Chowcowate chip.

            BECKY:  You don’t like chocolate chip?

Panel 4:  A shot from over Emma’s shoulder as she’s facing Becky.  She’s pressing her cookies into Becky’s hands.

            EMMA:  Mommy says I’m awwergic to chowcowate.  You want them?

            BECKY:  Sure.

Panel 5:  An overhead shot of the children lying on rugs, scattered throughout the room.  Becky and Emma are near their chairs, rugs in their hands.

Panel 6:  Side view of the mean boy pointing at Emma, who is looking back at him stone faced while Becky is glaring angrily at the boy.

            BOY:  You can’t sleep near us, baby.  You probably still wet yourself.

            EMMA:  Do not.

Panel 7:  Like Panel 6 but now Becky is holding Emma’s free hand and leading her away.  Becky is angrily glaring back at the boy.

            BECKY:  We don’t want to sleep anywhere near you anyway.  Let’s go, Emma.

Panel 8:  A side view from the floor of Emma and Becky lying on their rugs, facing each other.

            EMMA:  Thanks.

            BECKY:  You’re not a baby.  Don’t let them make you think that.

            EMMA:  I won’t.

Page 111

Panel 1:  A straight on view of the bed in Emma’s bedroom.  There’s a lump in it that only takes up half the bed but the covers are pulled up so we can’t see who or what it is.

Panel 2:  A close up of Becky’s face lying to one side of the bed, her eyes open.  There’s really no change evident.

Panel 3:  Shot from behind Becky, who’s sitting up now.  We see the same unbalanced pigtails as in the previous flashback.  Becky is looking down at the covers, and her feet sticking up beneath the covers.  They’re only taking up like a third of the bed now.

Panel 4:  The same as Panel 3 only now Becky’s thrown back the covers and we can see that she’s wearing a tight, threadbare white nightgown.  Her tiny toes are sticking up.  She has a hand on one of her pigtails.

            BECKY:  Oh no.

Panel 5:  A shot from behind Becky as she stands on a chair to look into the mirror of Emma’s vanity.  In the mirror we see the same kindergartner as in the flashback.  Except that her cheeks are red and there’s tears in her eyes.  On her right arm we see the same bruises and sores as in the ice cream shop bathroom.

            BECKY:  No!  Not again!

Panel 6:  The same as Panel 5 only now Agnes is standing next to her with a hand on Becky’s shoulder.

            BECKY:  I don’t wanna be a kid again.

            AGNES:  Don’t worry, dear, it’s not permanent.  You’ll be back to normal in four hours.  Plenty of time to help Emma.

Panel 7:  Similar to Panel 6 but now Becky has turned to face Agnes.  Becky is smiling sadly now.

            BECKY:  I guess if it’ll help Emma.

Page 112

Panel 1:  Later, a side view of Becky sitting on Emma’s bed, staring down at feet that no longer can touch the floor.  She’s looking morose.

            AGNES(not shown):  It’s going to work.

            SYLVIA (not shown):  But we’ve never actually tried it on a blanket before.

Panel 2:  A straight on view from floor level as Becky stands in the doorway to her bedroom.  Agnes and Sylvia are kneeling down on the floor.  There’s a patchwork quilt visible on either edge from Becky.

            AGNES:  Blanket, carpet:  what difference does it make?

            BECKY:  What are you doing?

Panel 3:  A shot from behind the witches, so that we can see the quilt spread out on the floor.  Sylvia is looking nonplussed while Agnes is smiling motherly.  Becky is looking scared.

            AGNES:  It’s a flying carpet—blanket.  It’ll take you to Emma’s location.

            SYLVIA:  Or it’ll smash you into a building.  Splat!

            AGNES:  Hush, dear.  It’s perfectly safe.

Panel 4:  The same as Panel 3 except Becky is kneeling down with a hand on the blanket.

            BECKY:  That’s going to take me to Emma?

            AGNES:  It’s her blanket, so it will home in on her like a bloodhound.

            SYLVIA:  If it works.

Panel 5:  The same view as Panel 4 but now Becky is sitting on the carpet, with the witches standing together to one side.

            BECKY:  What do I do?

            AGNES:  Just hold on tight.

            SYLVIA:  It probably won’t hold her weight.

Panel 6:  The same as Panel 5 but now the blanket is hovering a foot or so off the floor.  Becky has bent the front edge of it and is grasping it tightly.

            BECKY:  It’s working.

            AGNES:  Of course it is.  Now, off you go.  Ala-kazam!

Panel 7:  A wider shot from behind the witches, who are facing the window in Becky’s room.  They’re watching the quilt as it is flying outside the window, Becky holding on tight.

            BECKY:  Aaaaaah! (or something to indicate a scream)

            AGNES:  See, it’s working perfectly.

            SYLVIA:  Just hope she doesn’t run into any helicopters or jet planes.

Page 113

Panel 1:  A side view of some apartment buildings and such, the kind the Scarlet Knight jumps on.  Over these is the quilt with Becky clinging to it.

            BECKY:  Ooooooh Gooooood!

Panel 2:  Straight on view at ground level of a young couple standing on the roof of a building, looking up into the sky.

            GIRL:  What was that?

            BOY:  I dunno.  All sorts of crazies in this town.

Panel 3:  Similar to Panel 1 with maybe slightly different buildings.  Marlin is hovering next to the blanket, keeping pace with it.

            MARLIN:  Couldn’t those hags just call a taxi?

            BECKY:  Heeeeeelp Meeeeeee!

Panel 4:  Similar to Panel 3 but now the quilt is flying over Robinson Park.

Panel 5:  A straight on shot of Detective Donovan’s car, which is parked outside the park.  She’s looking up into the sky with a cigarette to her lips.

            DONOVAN:  Great, now the freaks are taking to the air.

Panel 6:  Similar to Panel 4 but now over Park Glen Rest Home.  The blanket is flying lower so that it’s barely clearing the roof.

            MARLIN:  I hope you brought a helmet.

            BECKY:  Aieeeeeeee!  (or something to indicate a scream)

Panel 7:  A side view of Percival Graves looking out the rec room window, a newspaper in his hands

            PERCIVAL:  What are those witches up to now?

Page 114

Panel 1:  A side view of Emma’s former house.  It’s just a normal ranch house with boarded up windows, white with green shutters.  Officer Early’s car is visible in the driveway, empty now.  There’s just a tiny speck of light and color in the air, which is Marlin and the quilt.

Panel 2:  Same as Panel 1 but now the quilt and Marlin are more visible and lower.

Panel 3:  Same as Panel 2 but now the quilt is only a few feet from the front yard.  Marlin is hovering over it.

            MARLIN:  Hold on tight.

            BECKY:  Aieeeeeeee!  (or something to indicate a scream)

Panel 4:  Same as Panel 3 only now the quilt is tearing into the lawn with bits of grass and dirt flying up in its wake.  Becky is not visible, pressed down on the quilt.

Panel 5:  (This should take up the rest of the page.)  An overhead shot of a wide swath of destruction left across the lawn by the quilt.  There’s a deep hole a few inches from the driveway and Early’s car.

            MARLIN:  Might want to work on those landings.

Page 115

Panel 1:  View from the ground of the driveway.  Marlin is hovering over the hole.

Panel 2:  Same as Panel 1 but now Becky’s eyes and the top half of her head are visible over the edge of the hole.

            MARLIN:  Well, they say any landing you walk away from is a good one.

Panel 3:  A straight on view from the ground of Becky standing on the quilt inside the hole.  Her nightgown is torn up and her knees are bloody.  There are tears running down her cheeks.

            MARLIN:  Well, go on.

            BECKY:  It hurts!

            MARLIN:  I’m afraid I can’t kiss your boo-boos.  Get moving.  We haven’t much time.

           

Panel 4:  A shot from behind Becky as she’s standing at the front door.  The door is at a sharp angle, dangling from one hinge.  Marlin is hovering over her shoulder.

            MARLIN:  She’s definitely been here.

            BECKY:  What if she doesn’t recognize me?

            MARLIN:  Do you want to save her or keep whining?

Panel 5:  Similar shot to Panel 4 with Becky standing in a doorway, only this is to a fairly large room with stained beige paint.  The hardwood floor is dusty.  There’s no furniture.

Panel 6:  Similar to Panel 5 only now Becky’s standing in the doorway to a pink room with a flowery border around it.  There is also no furniture in here.

Panel 7:  A shot facing Becky as she stands backlit in the doorway to the master bedroom.  The room is a dark turquoise color.  To Becky’s right is a set of white doors, one of which is broken.  Officer Early’s feet are sticking out from this.

            BECKY:  Emma?

Page 116

Panel 1:  A shot from over Becky’s shoulder.  She’s looking into the corner of the room, where Emma is sitting, her nightgown looking in almost as ragged shape as Becky’s.  Emma’s knees are pulled up to hide her face.

            (Emma is sniffling.)

            BECKY:  Emma?  It’s Becky.

Panel 2:  The same as Panel 1 but now Emma is looking up.  Her eyes are still yellow and tears are dripping from them down her freckled cheeks.

            EMMA:  Becky?

            BECKY:  That’s right.  I’m here.

Panel 3:  The same as Panel 2 except Emma seems larger because Becky has gotten closer to her.

            BECKY:  I’m here to help you.

            EMMA:  They weft me.

Panel 4:  Close-up of Emma’s face, which is still red and crying.  Her yellow eyes are glowing.

            BECKY (not shown):  No, they didn’t…

            EMMA:  They weft me!

Panel 5:  Side view of Becky kneeling down in front of Emma, a hand on Emma’s shoulder.

            BECKY:  She didn’t want to.  Neither of them did.

            EMMA:  What do you know about it?  You know where they ow?

Panel 6:  A shot from over Becky’s shoulder.  She’s now dangling in the air.  Emma is strangling Becky.  Emma’s eyes are glowing yellow and her face is looking furious.

            BECKY:  They’re…gone.

            EMMA:  Where?

Panel 7:  A shot from behind Emma, who’s still looking up at Becky.  Becky is looking down at her, her face starting to turn purple.

            BECKY:  They’re…in Heaven.

            EMMA:  Wiar!

Page 117

Panel 1:  The same as Panel 7 of the previous page.  Becky is maybe a little more purple than before as Emma is strangling her.

            BECKY:  I’d…never…lie…to you.

Panel 2:  A shot from over Becky’s shoulder.  Emma still has hold of Becky’s neck and her eyes are still glowing, but there’s a look of surprised realization on her face.

            EMMA:  No.  They can’t be…dead.  Mommy and Daddy wouldn’t weave me.

            BECKY:  It wasn’t…their choice.  It was…an accident.

Panel 3:  A straight on shot from the floor of Emma.  Becky is lying at her feet, doubled over as she gasps for breath.  Emma is looking sadly at the floor.

            EMMA:  I’m aw awone now. 

Panel 4:  A shot from over Emma’s shoulder, down at Becky, who’s still looking a little purple, but is looking up at Emma, a hand extended.

            BECKY:  You still have me.  I’ll always be there when you need me.

Panel 5:  Side view of Emma down on her knees.  She and Becky are hugging, both of them crying.

            EMMA:  Becky, I’m sowwy.

            BECKY:  I know you are.  It’ll be all right.

Panel 6:  Shot from behind Becky, straight on at Emma, who’s still crying and holding onto Becky.  The yellow glow has faded in her eyes.

            EMMA:  It’s not fair.  I miss them.

            BECKY:  I know.  So do I.  But they’re up there in Heaven watching you and they’re proud of you.

Panel 7:  Overhead shot of Emma lying on the floor, her eyes half-closed.  Becky is kneeling next to her, a hand on Emma’s shoulder.

            EMMA:  I’m sweepy.

            BECKY:  It’s OK, go to sleep.  I’ll take care of you.

Panel 8:  Side view from the floor level as Emma is sleeping on the floor, Becky is hunched over her still, looking down at her and crying.

            BECKY:  Goodnight, kid.

Page 118

Panel 1:  (This is the start of a flashback sequence.)  Overhead shot of Parkdale Elementary.  Focus mostly on the playground with swings, monkey bars, merry go round, sandbox, and slide.  There are kids scattered about the equipment.  (Our dialog balloons are coming from beneath the slide)

            BECKY (not shown):  She grounded you?

            EMMA (not shown):  Yes.

Panel 2:  Side view from beneath the slide.  Emma and Becky are sitting beneath the slide.  At this point Emma is 8 and Becky is 9.  Emma is wearing some ugly, bulky brown plastic glasses.  Her hair is long (like middle of her back long) and gathered into a ponytail.  She and Becky are just wearing T-shirts and jeans.  Becky’s of course are tight on her.  Her hair is loose and shoulder-length and she’s still fat.  Emma is tall and gawky, “all knees and elbows.”  Emma has a thick book in her lap while Becky has a thin magazine in hers.  Becky is staring at Emma in disbelief while Emma is looking embarrassed.  They each have a brown bag next to them.

            BECKY:  Were you using your microscope under the covers again?

            EMMA:  No.  We had an argument.

Panel 3:  Close-up of Becky’s hands and lap.  The glossy thin magazine’s pages are peeking out from beneath Emma’s tome.  The book has a black cover with some stars or maybe some kind of nebula thrown in.  The title printed on the cover is: The Big Bang:  New Revelations on Old Science by Dr. Cathy Gerritt.

            EMMA (not shown):  No, this.

Panel 4:  Similar to Panel 2 except the tome is still in Becky’s lap and Emma is leaning forward, her hands waving excitedly.  Her face is still flushed from excitement.

            BECKY:  So?  What does this have to do with you being grounded?

            EMMA:  She’s giving a speech at the planetarium Saturday night.

Panel 5:  Close-up of Emma’s face, looking sad.

            BECKY (not shown):  So?

EMMA:  I want to go but Mom said I can’t go into the city that late.  We got into a fight and she grounded me for two weeks. 

Panel 6:  Shot from over Emma’s shoulder of Becky regarding Emma with a bemused look

            BECKY:  That’s it?

            EMMA:  Yes.

Panel 7:  Close, straight on shot of Emma, looking down with hands clenched.

            EMMA:  It’s not fair.  I’m not a baby anymore.  I’m eight years old!

            JIMMY (not shown):  Hey, Dorky Storky, whatcha doing?

Page 119

Panel 1:  A side view with Emma in the front of the panel, still looking down at the ground.  Behind her is JIMMY GATES, the local bully.  He’s got a bullet-shaped head with some stubble on it; he’s tall and chunky, wearing a black T-shirt and dark gray shorts that are threadbare.

            JIMMY:  You and Lardbutt hosting a dork convention?

            EMMA:  We’re just reading.

Panel 2:  Side view of Jimmy holding up Emma’s book in one hand and sneering while Becky reaches out towards him with one hand.  Emma is still looking down at the ground.

            JIMMY:  The Big Bang?  What a dumb book.

BECKY:  What do you care?  You can’t even read!

Panel 3:  Closer side view of just Jimmy still holding the book and Becky, who’s holding the opposite ends to try and tear it away.  Of course Jimmy is a lot bigger than Becky, at least in height.

            BECKY:  Hey!  Give that back!

            JIMMY:  Or what?  You’ll sit on me?

Panel 4:  Shot from over Jimmy’s shoulder.  Becky is flying backwards beneath the slide while Jimmy has the book tucked under one arm and his other hand out in a pushing motion.

Panel 5:  Straight on view of Jimmy’s face sneering down at Becky, who’s sitting dazed against a metal support of the slide.  Over his shoulder, Emma has gotten to her feet and is looking at Jimmy’s back; her glasses are off.

            JIMMY:  Come on, Lardbutt, get up and take your stupid book.

            EMMA:  Leave her alone.  (small lettering)

Panel 6:  Side view of Jimmy turned to face Emma now, grinning with amusement.  She’s racing towards Jimmy at full speed with a look of determination.

            JIMMY:  What are you going to do…

Panel 7:  Side view again but now Emma’s right shoulder is firmly planted in Jimmy’s stomach and he’s falling backwards with arms extended.

            JIMMY:  Oof!

Page 120

Panel 1:  Straight on view of Emma sitting on top of Jimmy’s chest, glaring at him furiously and one hand punching his jaw while the other is poised to strike.

            EMMA:  Leave us alone, you stupid bully!

Panel 2:  Close-up of Jimmy’s face, which is growling and snarling with blood at the corner of his mouth and a little dribbling down his nose. 

Panel 3:  Same as Panel 1 except now Jimmy has hold of Emma’s wrist in mid-punch.  Her eyes are going wide with surprise.

            JIMMY:  No dumb girl is going to beat me!  

Panel 4:  Sort of overhead shot of Emma lying facedown on the ground with Jimmy on top of her, a knee in her back and one of her arms wrenched behind her back.  His other hand is reaching into his back pocket.

            JIMMY:  Now you’re going to learn not to mess with me.

Panel 5:  Side view of Emma still facedown with Jimmy on top of her.  He has a switchblade knife in one hand and is using it to saw off Emma’s ponytail.  She is crying and screaming.

            EMMA:  Aaaaah! (Or something to indicate a scream.)

Panel 6:  Shot from behind Jimmy, who’s standing and holding up the sawed-off ponytail.  Emma is at his feet, curled up into a ball and crying.

            JIMMY:  This is going into my collection.

Panel 7:  Side view of Emma still lying balled up and crying.  Becky is squatting beside her with a hand on Emma’s back.  A thirtyish female teacher is also kneeling down beside Emma.  (Doesn’t matter what the teacher looks like.  We won’t see her again.)  Jimmy is gone.

            TEACHER:  Emma, are you all right?  Are you hurt?

Page 121

Panel 1:  A shot through the doorway of Emma’s bedroom.  She’s lying on her side on a canopy bed with a pink bedspread covering all but her head.  Her face is turned away from us so we just see the back of her head with its now very short, boyish hair.  The room should match what we saw earlier with pink wallpaper and maybe a floral trim.  In the background is a desk with books and a microscope on it.  Emma’s mother sits near the foot of the bed with a hand on the comforter where Emma’s hip would be.

            MOM:  Emma?  Are you awake?

Panel 2:  Side view but from the opposite side.  Close to the front of the panel we see Emma’s face with her glasses off and tears running down her cheeks.  Her eyes are open but staring at nothing.  Her mother is sitting with back to us, hand still on Emma’s hip.

            MOM:  I just got off the phone with Ms. Rolle.  She said that boy was expelled.  Emma?

Panel 3:  The same as Panel 2 except Emma’s mom has taken her hand away to hang at her side.  She’s looking down at the floor, head hung sadly.

            MOM:  I’m sorry I yelled at you before.  I overreacted.

Panel 4:  Same as Panel 3 except Emma’s mom is shrugging with her out at her sides.

            MOM:  I was so worried about the city, but I guess everywhere is dangerous.

Panel 5:  Emma is still lying on the bed facing us, but now here eyes are open wider in surprise.  Her mother is standing with back to us near the doorway.

            MOM:  Your father and I discussed it and we decided that it would be all right for you to go to the planetarium this Saturday.  If you still want to.

            EMMA:  Really?

Panel 6:  A shot through the doorway like Panel 1 but now Emma is sitting up in bed to look at her mother with a smile on her face and arms outstretched.  Her mom is turned to face her.

            EMMA:  You mean it?

            MOM:  Of course I do, baby.

            EMMA:  Oh, thank you!

Panel 7:  Similar to Panel 6 but now Emma and her mom are hugging on the bed.  Both of them are crying now.

            EMMA:  I love you, Mom.

            MOM:  I love you too, baby.

Page 122

Panel 1:  Overhead shot of inside the planetarium.  There’s a circular room with semicircles of seats facing a stage.  The ceiling is painted white to project on later.  People are milling about the seats and coming down the aisles.  Emma and her parents are in one doorway with her between them, holding their hands.  Emma is wearing a pink dress while her mother is wearing a beige dress and her father a dark blue suit with white shirt and a dark tie.  Her mom also has a purse.

            DAD:  Where do you want to sit, kiddo?

            EMMA:  I want to sit in the front row!

Panel 2:  Straight ahead view of Emma’s parents walking down the aisle.  Emma is riding piggyback on her father’s shoulders, smiling joyfully.  Her mother is leaning against her father as they walk, both of them looking happy as well.

            EMMA:  Whee!

Panel 3:  Straight on view of Emma sitting between her parents on the sort of bleachers seats going around the planetarium.  It’s dark with only some kind of blue light coloring Emma and her parents.  Emma is looking excitedly ahead while her parents are just looking contented.

            CAPTION:  The universe is so vast and yet we know so little about it…

Panel 4:  Same as Panel 3 except Emma is now leaning her head against her mother’s side.  Emma has a sort of dreamy, happy look.  Her mother has a hand on Emma’s back.

            CAPTION:…The secrets are out there, just waiting for us to discover them.

Panel 5:  Similar to Panel 1 only now most of the people have gone.  DR. GERRITT is on the stage, just an ordinary-looking woman in her late 40s wearing a suit.  Emma’s mother is holding Emma’s hand, leading her up the steps to the stage.

            MOM:  Excuse me, Dr. Gerritt?  Do you have a moment?

Panel 6:  Side view of Dr. Gerritt facing Emma’s mother, who is up on the stage just two feet away and carrying a copy of the doctor’s book.  Emma is pressed to her mother’s side like a toddler.  The doctor is smiling down at her.

            DR. GERRITT:  Of course.  Did you enjoy the presentation?

            MOM:  Yes, but not as much as my daughter.  She’s a huge fan of yours.  Emma, say hello to the doctor.

            EMMA:  Hi. (small lettering)

Panel 7:  Shot from over Dr. Gerritt’s shoulder.  She’s kneeling down to look Emma in the eye.  Dr. Gerritt has a hand on Emma’s shoulder.  Emma is looking down, her face red and looking as if about to cry.  Her mother is looking down at Emma and the doctor, with an embarrassed smile.

            DR. GERRITT:  You must be a brave girl to come out here.  My niece had leukemia and she could hardly get out of bed for months.

            MOM:  Oh, no, Emma doesn’t have cancer.  She just had a little accident with the scissors.  You know how girls are.

Page 123

Panel 1:  Straight on view through the windshield of Emma’s parents’ car.  Her mother is in the passenger seat, with her head turned to the backseat, where Emma is buckled in.  Emma is staring straight ahead, looking sad.  Her father is also looking straight ahead as he drives.

            EMMA:  Mommy, why did you wie to the doctor?

            MOM:  Lie, baby. Remember what Dr. Carnegie said about focusing on your words?

            EMMA:  Yes, but Mommy, you said it was an accident.  You lied to her.

Panel 2:  Shot from behind Emma at the bottom of the seat perspective.  Her mother has her head turned to look down on her and is smiling gently.

            MOM:  I know, baby, and I’m sorry.  I didn’t want to upset her.

            EMMA:  Do I have to go back to school, Mommy?

            MOM:  Of course, you do.  Why would you say such a thing?

Panel 3:  Close-up of Emma, tears streaming down her face

            EMMA:  Cause I wook wike a fweak.

            MOM (not shown):  Emma, focus…

            EMMA:  I don’t care! 

Panel 4:  Same as Panel 1 except Emma’s mom has reach back to put a hand on Emma’s head.

            MOM:  You’re not a freak, Emma.  You’re a very special, very pretty little girl.

            EMMA:  But…

            MOM:  Lie down and get some rest, baby.  We’ll be home soon.

Panel 5:  Side view with Emma’s mom in the front of the panel, looking off to the driver’s side.  Her father is still looking ahead, but behind him we see a pair of bright headlights approaching.

            DAD:  Do what your mom says, kiddo…

            MOM:  Carl, watch out!

Panel 6:  (This should take up the rest of the page.)  From the backseat of the car, looking up from the floor.  The interior of the car is brightly lit from the headlights of the other car, which is smashing into the driver’s side door.  Emma’s father and mother are tossed right, but both are wearing their seatbelts.  Emma is lying on the backseat with hands over her head and looking down at the floor.

            MOM:  Aaaaaah! (or something to approximate a scream)

Page 124

Panel 1:  Close shot from the driver’s side.  Emma is sitting up and looking towards the passenger’s side.  (The interior is still lit by the other car headlights so it has a whitish glow.)

            EMMA:  Mommy?

            MOM (not shown):  Emma?  Are you all right?

            EMMA:  Yes.

Panel 2:  Shot from over Emma’s shoulder.  She’s looking up between the seats and seeing her father slumped over the steering wheel.  There’s blood on him and on the steering wheel.

            EMMA:  Mommy, what’s wrong with Daddy?

Panel 3:  Similar to Panel 1 except that Emma’s mother is looking over the passenger’s seat down at her.  Emma’s mom is looking stern and has some blood on her forehead.

            MOM:  Daddy’s just taking a nap, baby.

            EMMA:  Mommy, you’re bweeding!

            MOM:  It’s just a scratch.

Panel 4:  Similar to Panel 3.  But now Emma’s mom is pointing at her with a finger and has her other hand on the forehead cut.  She’s looking very solemnly at Emma.

            MOM:  I want you to lie down on the seat and no matter what happens you aren’t to peek or make a sound until I say so.  Understood?

            EMMA:  But Mommy…

            MOM:  There’s no time to argue, young lady.  Do as I say.

Panel 5:  Shot from behind Emma’s mom as she puts a hand (not the one with blood on it) on Emma’s head.  Emma is lying down, facing the trunk.

            MOM:  Good girl.  I’ll be right back, baby.  I just need to make a phone call.

Panel 6:  Straight on shot from the back of the backseat.  Emma is in the front of the panel, crying to herself.  Above her, looking down sadly over the seat, is her mother.  Her father is off to the side, his body still slumped over the wheel.

            MOM:  I love you, baby.

Panel 7:  Similar to Panel 4 except Emma’s mom is outside, visible through the passenger’s side window pitching forward with arms outspread, bullet holes in her back.  On the backseat, Emma is still lying there, though her head is raised slightly, not enough to see what’s going on.  She has a hand pressed to her mouth.  (Insert gunshot sound effects)

            KILLER #1:  Got her.  Make sure no one else is in the car.

            KILLER #2:  There’s no time, man.  Cops are coming.

Page 125

Splash Page:  Shot from ground level with Emma’s mom lying on the pavement in the same position as in previous shots.  There’s blood pooling around her.  There are buildings, alleys, and whatever off in the background.  Behind her is the smashed-up car.  Emma’s face is just visible peeking over the back window.

            EMMA:  Mommy? Mommy? (small, shaky lettering)

Page 126

(We are returning to the present now.)

Panel 1:  Close-up of Emma’s eyes, which still have yellow irises and pupils, but now the whites are actually white.

Panel 2:  Shot from behind Emma, who is sitting up in her bed in her apartment.  There’s no one else around and the scarlet armor has been picked up off the floor, but there’s still a hole in the wall left by Becky.

Panel 3:  Shot from over Emma’s shoulder, looking down at her feet, which are a good two feet from the edge of the mattress.  Her right hand is covering her mouth.

            EMMA:  Oh no…(small lettering)

Panel 4:  Shot from behind Emma standing in front of the vanity mirror.  In the mirror is herself at 8 years old, just like in the flashback before the incident with Jimmy Gates the bully.

            EMMA:  What’s happening to me?

Panel 5:  The same as Panel 4 except Becky (back to her adult self) is in the doorway.  Emma has her head turned towards the doorway.

            BECKY:  Emma?  Are you awake?

            EMMA:  Becky?

Panel 6:  Side view of Becky squatting down and hugging little Emma to her chest, one hand on the back of Emma’s hand.  Becky is relieved while Emma is crying.

            BECKY:  It’s all right, kid.

            EMMA:  No it’s not!  I’m not a widow kid!

Panel 7:  We need like a split screen here.  In one half is a woman’s hand knocking on the apartment door—with appropriate sound effect.  In the other half is a side view of Becky still holding Emma at arm’s length.  Becky’s head is turned to the door.

            BECKY:  Great, what now?

Page 127

Panel 1:  Side view of Becky holding Emma with just one hand.  The other has a finger pointed up in Emma’s face in warning.  To one side should be the door knocking sound effect again.

            BECKY:  It’s probably Agnes and Sylvia.  I want you to get back in bed and wait for me to come back.  Understood?

            EMMA:  But…

            BECKY:  No buts, young lady.  Do it.

Panel 2:  Shot from behind Becky, who is standing in front of the open front door.  Facing her on the opposite side of the door is Detective Donovan, who is looking grim and puffing on a cigarette and holding up her badge.

            BECKY:  Can I help you, Detective?

DONOVAN:  Is Dr. Earl here?

Panel 3:  Shot from over Donovan’s shoulder, facing Becky.  Becky’s face is looking hard and impassive.  She has one hand on the door, ready to slam it shut.

            BECKY:  No.  Is something wrong?

            DONOVAN:  I’d rather discuss that with her.  Is she going to be back soon?

            BECKY:  No.  She’s gone.

Panel 4:  Side view of Becky and Donovan standing within just a few inches of each other in the doorway, glaring at each other.

            DONOVAN:  Where’d she go?

            BECKY:  Some conference.  I think it was in Chicago.  Or maybe Detroit.

Panel 5:  The same as Panel 4 except that Donovan has moved closer.  Becky has moved forward as well, her stomach pressing into Donovan’s midsection.

            DONOVAN:  Right.  I’d suggest you get out of my way.

            BECKY:  Unless you can show me a warrant you’re not taking another step.

Panel 6:  Close-up of Becky’s face.  There’s smoke surrounding it from Donovan’s cigarette, which Donovan intentionally blew into Becky’s face so that her eyes are watering and her face is a little red as she wants to cough.

            DONOVAN (not shown):  I just need to ask her a couple of questions.

            BECKY:  Tell me what’s going on and maybe I can help you.

            DONOVAN (not shown):  There was a break-in at her old house in Parkdale.

Panel 7:  The same as Panel 2 except both Donovan and Becky are looking towards the bedroom

            BECKY:  I think that’s out of your jurisdiction…

            EMMA (Not shown):  Becky?

            DONOVAN:  Who’s that?

Page 128

Panel 1:  Shot from over Donovan’s shoulder at Becky, who still has her head turned slightly.  Becky is looking worried.

            BECKY:  That’s my niece.  She’s staying over.

            DONOVAN:  Your niece.  Right.

Panel 2:  The same angle as Panel 1 except now Becky is squatting down and little Emma is pressed up against Becky’s chest.  Emma’s head is turned so that her face is away from Donovan.

            EMMA:  I don’t wanna be a kid again.

            DONOVAN:  What’s she talking about?

            BECKY:  It’s nothing.  She’s not feeling well.  I should get her back to bed.

Panel 3:  Flashback to a police break room, straight ahead shot through the doorway.  There are a few round wooden tables and plastic chairs scattered about as well as a vending machine and coffee machine to one side.  Officer Early is sitting at one table, staring down at it with an ice pack pressed to her head.  Donovan is in the doorway with her back to us.

            DONOVAN:  Jesus, Lois, you look like shit.  Some perp knock you on the noggin?

            EARLY:  No.  I don’t know what happened.

Panel 4:  Same through the doorway shot except now Donovan is sitting at the table, with a hand on Early’s back.  Early is still looking down at the table.

            DONOVAN:  Why don’t you tell me about it?

            EARLY:  It’s all kind of hazy, like a dream.

Panel 5:  Closer shot of Early and Donovan at the table, same positions.

            DONOVAN:  Go on, just tell me what you remember.

            EARLY:  There was a house, in Parkdale.  And two old women.  They gave me something.  It tasted like ashes.

Panel 6:  The same angle but now Donovan is leaning close to her friend, who’s begun to cry, hands pressed to her face.

            DONOVAN:  Anything else?  You can tell me, Lois.

            EARLY:  There was a little girl.  She had red hair.  And these eyes…these terrible yellow eyes!  They glowed!  Oh God, Lottie, I must be going crazy!

            DONOVAN:  It’s all right.  You just need to get some sleep.

Panel 7:  Side view of Donovan squatting down in the doorway, reaching out towards Emma, who’s still pressed to Becky’s body.

            DONOVAN:  Come here, sweetheart.  I’m a policewoman.  I can help…

Panel 8:  Close-up of Emma’s face looking back at Donovan, tears pouring from her yellow eyes

            DONOVAN (Not shown):  Jesus Christ.

Page 129

Panel 1:  Shot from over Donovan’s shoulder.  Emma is still looking at Donovan and crying, but now Becky is pulling her back with both hands.  Becky is looking horrified.  Donovan’s cigarette has fallen out of her mouth from the shock.

            BECKY:  You leave her alone!

Panel 2:  Side view of Becky and Donovan both standing now.  Emma is pressed against Becky’s side, face buried in Becky’s hip.  Donovan and Becky are glaring at each other, with Donovan poking a finger into Becky’s chest.

            DONOVAN:  I want to know what’s going on here.  Now.

            BECKY:  I told you, she’s sick.  She needs to go back to bed and rest.

Panel 3:  Shot from over Becky’s shoulder at Detective Donovan, who is reaching into a jacket for a cigarette and is looking very angry.

            DONOVAN:  You keep this up and we’ll be having a conversation downtown.

            BECKY:  On what charge?

            DONOVAN:  I can think of something.

Panel 4:  Close-up of Becky looking extremely angry.

            BECKY:  See here, Detective, I know my rights.  You lay a hand on my niece again and I’ll make sure you’re brought up on charges. 

Panel 5:  Same as Panel 3 except that Donovan has moved back out of the doorway and the cigarette is lit and in her mouth now.

            DONOVAN:  If that’s how you want to play it.  But don’t think I won’t be watching you.

Panel 6:  Side view of Donovan walking down the dark hallway, the door to Emma’s apartment closed now.

Panel 7:  Side view of Donovan’s car parked across the street from the apartment building.  Donovan is sitting in the driver’s seat, smoking and looking up towards a lit window that is presumably Emma’s apartment.

            DONOVAN (thinking):  That Emma Earl is involved in something big.  I can feel it.

Page 130

Panel 1:  Close overhead shot of Emma lying back in bed, her eyes closed and a smile on her face.  It’s a few hours later and now Emma is about 14 years old.  Her hair is long and loose and her cheeks are thinner and pale with a few zits on them.  She’s wearing a green flannel nightgown and a pair of bulky, clear plastic-framed glasses.  Behind these, her irises are still yellow but now there are black pupils.

            BECKY (not shown):  Are you ready?

            EMMA:  Yes.

Panel 2:  Wider, straight on shot of Emma sitting up in the bed.  Becky is off to one side with a tray.  On the tray is a plate loaded with some kind of vegetable stir-fry.  There’s also a large glass full of water.

            EMMA:  You don’t have to do that.  I’m not an invalid.

            BECKY:  You just stay in bed until you’re all better.

Panel 3:  The same as Panel 3 except now the tray is on Emma’s lap.  She’s jabbing at the contents of the plate with her fork.  Becky is off to the side, watching her expectantly.

            EMMA:  How long is that going to be?

            BECKY:  I don’t think anyone knows.  Just eat and try to relax.

Panel 4:  Side view of the bed, facing Becky, who’s leaning down with a hand on the back of Emma’s head.  Emma is looking down sadly at her plate.

            EMMA:  Could you at least let me have a book?

            BECKY:  No reading, young lady.  You need to rest.

Panel 5:  Same as Panel 4 except Emma has dropped the fork to cross her arms over her flat chest and looking angry.  Becky has her arms crossed over her chest as well and is glaring angrily back

            EMMA: You can’t tell me what to do.  You’re not my mother.

            BECKY: No, but I’m still big enough to give you a spanking.

Panel 6:  Straight on view of Emma sitting up in bed, eyes rolled up to look at the ceiling while her arms are still crossed.  Becky is in the same position as Panel 5.

            EMMA:  How about a newspaper then?  Just the comics?

            BECKY:  Fine.  But that’s it.  You’re supposed to be resting.

Panel 7:  Closer side view than Panel 5 so that Emma is close to the front.  Her head is turned to watch Becky, who is going through the doorway.

            EMMA:  You don’t have to be such a mother hen.

            BECKY:  It’s my job.

Page 131

Panel 1:  Straight on shot of Emma sitting up in the bed.  There’s a newspaper covering all but the top of her head.  On the back of the newspaper we see a “Comics” heading and some vague comic strips.

Panel 2:  Shot from behind Emma’s shoulder.  She’s looking down at a crossword puzzle in the newspaper, her right hand with a pen in it poised over a box.

            EMMA:  And last word…Rutabaga.

Panel 3:  The same as Panel 1, except the paper is lying flat on Emma’s lap.  She’s turned to look at the alarm clock, which says ’10:49.’

            EMMA:  Six minutes.  I must be rusty.

Panel 4:  Same as Panel 2 except the paper is lying flat on her lap, the crossword side up.  Emma is looking down at it.

            EMMA:  Oh my God…

Panel 5:  Close-up of the crossword puzzle.  We’ll figure this out exactly later.  Circles around the words “Scarlet,” “Knight,” “Plastic,” “Hippo,” “Midnight,” “Vendetta.”

            EMMA:  …it’s a message!

Panel 6:  Side view of Emma sitting up in bed, looking towards the doorway, where Becky is standing now, arms folded across chest and looking stern.

            BECKY:  What’s going on in here?  You’re supposed to be resting.

            EMMA:  Becky, look!  There’s a message in the crossword puzzle!

Panel 7:  Close, straight on shot of Becky with the newspaper in her hands, reading the crossword puzzle.  Becky is still looking stern.

            BECKY:  So what?  It’s obviously a trap.

            EMMA (not shown):  What if it’s not?  What if she wants me to help her?

Panel 8:  Same as Panel 6, only Becky is holding the newspaper.

            BECKY:  There’s nothing you can do right now.  You’re not the Scarlet Knight.

            EMMA:  But…

            BECKY:  You’re not going anywhere until you’re better, young lady.

Page 132

Panel 1:  Same as Panel 8 of the previous page, except the door is closed and Becky is gone.  Emma is looking down at the foot of the bed, arms folded across chest.

            EMMA:  I am too the Scarlet Knight.

Panel 2:  Straight on shot from inside Emma’s closet.  The armor is piled up on top of the quilt.  Emma is looking down at it with a slight smile.

            EMMA:  I’ll show her I’m not some little kid she can push around.

Panel 3:  Same as Panel 2 except that Emma now has the cape tied around her neck.  The cape is more of a pastel canary yellow at this point.  She’s holding the helmet over her head to put it on.  It’s still largely gray but there are some red spots on it like rust.  The plume is the same yellow as the cape.

Panel 4:  Straight on shot of Emma perched in her bedroom window.  She’s looking back towards the door, making sure Becky isn’t coming.

Panel 5:  Wide, side view of Emma in the air, leaping between her building and the rooftop of an adjoining building.  It is of course nighttime.

Panel 6:  Overhead view of Emma on her hands and knees of the roof of the other building.

            EMMA:  Ouch.

Panel 7:  Close-up of Emma’s hands, which aren’t cut at all.

            EMMA:  Wow…

Panel 8:  Side view of Emma running across the rooftop, cape trailing behind her.

Page 133

Panel 1:  Shot from behind Emma, who’s squatting on the edge of a rooftop overlooking the Plastic Hippo, which is down at the very bottom of the panel and isn’t very recognizable because the lights are all turned off.  Emma is looking up at Marlin, who’s floating above her.

            MARLIN:  What do you think you’re doing?

            EMMA:  Going to see Don Vendetta.

Panel 2:  Shot from over Marlin’s shoulder.  He’s looking down at Emma, who has the visor of the helmet up so we can see her face with her glasses on.  She’s looking annoyed back at him.

            MARLIN:  I thought you were smarter than to walk into an obvious trap.

            EMMA:  It’s not a trap.

            MARLIN:  How do you know?

Panel 3:  Side view of Emma looking up at Marlin and pointing down to the Plastic Hippo.

            EMMA:  She’s scared of him.  I already helped her once so she thinks I’ll do it again.

            MARLIN:  You have looked in a mirror lately, haven’t you?

Panel 4:  Close-up of Emma’s face, looking serious.

            EMMA:  If I can get her on my side, that would make things easier with him.

            MARLIN (Not shown):  You think she won’t turn on you…

Panel 5:  Side view of Emma with the visor back down and jumping through the air, the cape trailing behind her.  Marlin is back up by the roof, looking down on her.

            MARLIN:  Hey!  Come back you little snot!

Panel 6:  Shot from behind Emma who is sitting in a Dumpster.  Ahead of her is an alley and at the end of that a wall of the Plastic Hippo.  There are a half-dozen burly goons like the bouncer earlier carrying guns and looking around.  Marlin hovers in front of Emma, by one shoulder.

            MARLIN:  What are you going to do now, Miss Smarty Pants?

            EMMA:  I have an idea.

Panel 7:  The same shot except Marlin is looking away from Emma to watch the alley.  The goons are looking off to their left.  (Emma’s first dialog bubble should come from the far left and point as if it’s coming from the front of the clear.)

            EMMA:  Hey, tell your boss the Scarlet Knight is here to see her!

            MARLIN:  You can throw your voice?

            EMMA:  I read an article on it in the dentist’s office.

Panel 8:  Shot from behind Emma but now she’s running through the alley, the cape wrapped around her, though it doesn’t work yet to make her invisible.  Marlin is following along behind her.  The goons are not visible.

Page 134

Panel 1:  A shot from over Emma’s shoulder.  She’s in a darkened corridor, and ahead of her are silver streamers covering an opening.  She’s pushing these back with one hand.

Panel 2:  Straight on shot of Emma standing on a black catwalk with a brass pole off to one side and some lights along the edges of the catwalk.  There’s a bright light shining in her face and she’s got a hand up to the eye slit of her visor to block it out.  The cape is wrapped around her body so no one can see her nightgown.  Marlin is off to the left.

            VENDETTA (not shown):  That’s far enough.  Did you come alone?

            EMMA: Yes.

Panel 3:  Shot through Emma’s visor.  Everything is white except for a couple of black shadowy figures ahead and off to the left.  One figure is Don Vendetta and the other one of her goons.

            VENDETTA:  I wasn’t sure you’d see my message.  It’s not easy to contact a superhero.

            EMMA:  Can you get to the point?

Panel 4:  The same as Panel 3 except the figure of Don Vendetta is gray and more distinct now because she’s moved closer to Emma.

            VENDETTA:  Direct.  I like that.  I want your help in taking down that black knight asshole.

            EMMA:  What do I get in exchange for helping you?

            VENDETTA:  Information.  I can tell you what he’s planning.

Panel 5:  Shot from behind Vendetta, who’s now sitting in a wooden chair beside the stage, a drink in her hand.  A goon is standing behind her with a hand in his jacket pocket.  Emma is looking straight ahead still, not at Don Vendetta.

            EMMA:  How about you tell me what he’s planning and I won’t arrest you?

            VENDETTA:  I’ll give you a taste and then you can decide if it’s worth being friends.

Panel 6:  Close-up of Vendetta with a fruity tropical drink by her lips.  She’s smiling fiendishly at Emma.

            VENDETTA:  He wants to regulate crime in the city.

            EMMA (not shown):  Regulate?

            VENDETTA:  He wants us all of us to work for him.

Panel 7:  Side view of Emma standing on the stage, still looking the wrong way.  Her hands are on either side of the helmet and her head is thrown back as she screams.  The cape has fallen back so that her nightgown is visible.  Off to the side, Don Vendetta is sipping from her drink as if nothing’s happening and the goon is looking as impassive.

            EMMA:  How does he plan…to do…Aaaaaaah! (Or something to indicate a scream.)

Page 135

Panel 1:  This is a three-part shot.  From the side we see just Emma’s upper torso and head, which is still back in a scream.  The first part is like Panel 7.  The second one Emma is naked and her whole body (including cape and helmet) are glowing white.  The final shot is the same position but now Emma’s wearing a purple T-shirt (her breasts are slightly bigger too) and the helmet is almost entirely a dark red except for a spot or two of gray.  The cape and plume on the helmet are a slightly darker yellow now as well.

            EMMA:  Aaaaaaah! (Or something to indicate a scream.)

Panel 2:  Side view from the level of the catwalk.  Emma is on all fours.  Besides the purple T-shirt she’s wearing matching sweat pants with “Northwestern” written on the side in white.  Don Vendetta is still sitting in her chair, sipping her chair while the goon has his hands on the helmet to pull it from Emma’s head.

            EMMA:  No…don’t. (small lettering)

Panel 3:  Close-up of Emma’s face looking up.  Her hair is frizzy and dangling in her face and she’s sweating a lot.  The zits on her face have multiplied.  Her mouth’s open so that we can see braces on her teeth.  She’s wearing the same glasses, behind which the irises of her eyes have turned a mustard yellow.

            GOON (not shown):  Boss, she’s just a kid!  What do I do?

            VENDETTA (Not shown):  Bring her to me.

Panel 4:  Side view of the goon standing with his back against the catwalk.  He has one arm around Emma’s waist and the other pulling her head back by the hair.  Don Vendetta is standing, the drink in her hand replaced by a gun, which she has pressed to Emma’s cheek.  Emma has turned pale and is grimacing.

            VENDETTA:  What is this, some kind of prank?

            EMMA:  Sort of.  I saw your message and I thought it’d be neat to pretend.

            VENDETTA:  I should blow your damned head off.

Panel 5:  Shot from over Don Vendetta’s shoulder.  The gun is still pressed to Emma’s cheek.  Emma is looking up at the ceiling while the goon continues to hold her.

            EMMA:  No!  I can help you.

            VENDETTA:  You?  I don’t need the help of some little punk.

            EMMA:  I can take you to her!  I know where she hides out!

Panel 6:  Shot from over the goon’s shoulder.  Emma’s head is visible close-up, crying now.  The don has pulled the gun back a little and her other hand is touching Emma’s cheek.  The don is smiling coldly.

            VENDETTA:  How do you know that?

            EMMA:  She’s my neighbor.  I saw her in it and I saw your message and I stole the helmet and cape.  I’m sorry!  Don’t kill me!

Panel 7:  Close side view of Vendetta with one hand squeezing Emma’s jaw.  She’s looking down into Emma’s eyes, the pistol brandished to the side of Emma.

            VENDETTA:  I’m not going to kill you, honey—just yet.  Vinny, put her in the car.  We’re going for a little ride.

            EMMA:  No!

Page 136

Panel 1:  Side view of Emma in front of the goon.  He’s still got her head yanked back by her hair as he pushes her along.  They’re in the middle of the club with some tables and chairs.  A bar is in the background.  (I haven’t been in enough strip joints to describe one all that well so use your imagination.)  Don Vendetta is walking behind them with gun in hand and pointed down at the floor.  A couple feet in front of them up in the air are three round red objects.

            EMMA:  Ow!  You’re going to pull out my hair!

            VENDETTA:  That’s not all he’ll do if you’re lying, kid.

Panel 2:  Shot from over the goon’s shoulder.  He’s putting a hand to shield his eyes, the other one still holding Emma’s hair.  There’s an explosion of yellow-white over his head from where the red objects were so that everything is colored like that.

            GOON:  Aaaaaah!  (or something to indicate a scream)

Panel 3:  Side view with everything still bathed in yellow white light.  The goon and Don Vendetta are on all fours while Emma is racing for the door.

            GOON:  My eyes!  I can’t see nothing!

VENDETTA:  I’ll find you, you little bitch!

Panel 4:  Shot from over Emma’s shoulder.  She’s facing the doorway, where Becky is standing, a smile on her face and arms open wide.  The color is back to normal now.

            BECKY:  Hey, kid.  You look like you need rescuing this time.

Panel 5:  Close shot from the side of Becky hugging Emma, who’s crying on her shoulder.  Becky is patting the back of Emma’s head.

            BECKY:  It’s all right.  You’re safe now.

            EMMA:  But her guards…

Panel 6:  Straight on shot of Sylvia carrying a machine-gun in each hand and bandoliers crossed over her chest so that generally she looks like Rambo.  Some goons are lying unconscious at her feet.

            SYLVIA:  I wouldn’t worry about them.  Now, let’s get out of here.

Panel 7:  Straight on shot of Becky and Emma running from the Plastic Hippo.  Becky’s arm is around Emma’s shoulder.  Both of them are smiling.

            BECKY:  We are going to have a serious talk about this when we get home, young lady.

            EMMA:  Yes, ma’am.