PAGE ONE (TWO PANELS)
The whole story takes place in a modern city apartment. In the beginning of the story we find the characters at the apartment’s front door hallway.
Panel 1. Close up at the face of a man in his late forties. He has a full grown fat moustache and he is maturely bald. His expression shows clearly that he is angry and willing to take what he’s here for. You can see his wrinkles around his wrathful eyes almost tearing his face apart. He’s an AGENT that works for the government.
Where is it?
Panel 2. Close up at the face of an OTHER MAN stunned with fear. He is middle aged, barely in his forties but his expression makes him look almost like he is an old man. You can see some cold sweat dripping from his forehead. He is a non-used to violent ways country boy.
I… I… What the…?
PAGE TWO (FIVE PANELS)
Panel 1. Wide panel. The agent points a gun against the other man, but only the agent is shown in the panel. He is wearing a black suit, a white shirt and a tie which at this point is really loosely tied around his neck. His face still shows his anger, only now a sardonic smile is added in his mean expression.
Panels 2,3 and 4 would better be three equally sized panels in the middle of the page.
Panel 2. The other man is shown shot in the right shoulder. With his left hand he presses against his wound while some blood splattering still flows in the air. His face shows both pain and absolute fright.
Panel 3. The agent again, placed in the same stance as in his previous panel, only now showing from another angle, possibly with camera placed downwards.
Panel 4. The other man, now shot in both shoulders, blood splattering from the new wound flows in the air again. He looks like he’s about to lose senses, looking upwards in an almost blank expression with mouth wide open.
Panel 5. Wide panel. For the first time we see both characters in the same panel. The other man is on the floor struggling like he’s trying to get up but he can’t use any of his arms, so he’s like leaning on his side. The agent is standing above him , still pointing his gun at him, full of confidence and even angrier than before. He shoots him again, this time at his feet. The camera is placed behind the other man’s back showing upward.
PAGE THREE (FIVE PANELS)
Panel 1. Harvey is lying unconscious on the floor. We see his feet from his point of view and the agent’s back who has turned away and walks with his head bowed down to the other side of the house.
Panel 2. From the inside of the other man’s dark bedroom we see the agent’s figure opening the door.
Panel 3. Close up at his left hand turning on the light switch.
Panel 4. Close up at agent’s face stunned in surprise.
Panel 5. A young dark haired woman dressed in casual clothes is sitting on the bed, holding a sawed-off shotgun and pointing it at him. There’s a shiny metal box sitting on her lap. The words “U.S. ARMY TOP SECRET” are written on it.
You shouldn’t sneak in other people’s bedrooms like this. You don’t know what you could stumble upon…
PAGE FOUR (FOUR PANELS)
Panel 1. Close up at the agent’s hand trying to reach his gun inside his suit.
Panel 2. The girl has risen her shotgun to the height of her eyes and she’s now aiming at him through the weapon sight.
No, no, no, no, no…! Don’t you dare move a muscle. Us country folks wouldn’t hesitate blowing a Yankee’s head off in cold blood. Come on, give me a reason!
Panel 3. With camera behind the girl’s back we see her pointing her shotgun at him who has leaned against the wall with his hands up.
You don’t know what you’re dealing with my child. Don’t do anything stupid…
Oh I know alright!
Panel 4. The girl is slowly getting up while gently removes the mysterious box from her lap with one hand and places it on the bed. Shotgun still on her other hand.
I know that you are eager to get your filthy hands onto it and what’s in it is probably worth big money. I know that uncle corpse lying over there wouldn’t leave his eyes off it too, so I ain’t missing my chance on hitting the mother lode mister. Screw you!
PAGE FIVE (TWO PANELS)
Panel 1. In the bedroom now the two characters are both standing facing each other, both a little looser from the strict position they previously had. His hands are still up but a little lower and the girl’s shotgun is loosely held in her one arm. Both have angry expressions on their faces as the conversation gets more tense.
That box belongs to the U.S. Government. Put you’re weapon down and get reasonable. This game you’re playing right now is called Doomsday miss.
Cut the crap mister, you’re bluffing!
Panel 2. With a sudden move the girl hits him with the gun’s wooden part right in the face. His head moves backwards spitting blood and teeth.
PAGE SIX (FOUR PANELS)
Panel 1. The girl stands in front of the box which is still on the bed. We see her and the box from the box’s point of view, so she is shown from the chest to the knees. He’s on the floor behind her.
Panel 2. Close up on him getting up. The expression on his bloody face is pure agony.
July 1947… New Mexico… Roswell…
Panel 3. The girl gets her hands on the box and the agent behind her is trying to get to her crawling on his knees, one hand reaching desperately towards her.
Panel 4. Close up at the girl’s face looking down at the box, eyes and mouth wide open as she is frozen in fear. Real bright green light coming from the box down is hitting her face.
PAGE SEVEN (TWO PANELS)
Panel 1. A shot of the bedroom, everything is like there is a green filter above it as the room is covered in green light. The agent lies down-face on the floor and now the girl is falling unconscious too.
Panel 2. A shot of the window. We are about at the first floor of the building and we can see the traffic outside. There are crashed cars, cars stopped diagonally in the middle of the road, people lying down, destruction everywhere. Green filter is still on.
PAGE EIGHT (SIX PANELS)
Panel 1. A wide shot of the night sky, we see the stars glowing, some a little brighter than the others. The brightest of them all is place somewhere at the top right side of the panel and its glow is not white like all the others’ but green.
It would probably look good having panels 2,3 and 4 side to side underneath the wide panel 1.
Panel 2. Smaller panel showing a smaller part of the sky and we see the green star coming as now it’s a little closer.
Panel 3. An even closer shot. Now we can clearer see that the green star is a flying saucer inside a green glow.
Panel 4. We see only part of the saucer covering the whole panel. As the shot is very close there is enough detail of the spaceship.
Panel 5. A black panel showing an alien looking sort of like the one in the supposed alien autopsy footage of the Roswell incident. He is standing in the middle of the panel and a ray of green light is hitting of him coming from above. Like an actor who’s standing on stage hit by the spotlight.
Panel 6. The alien is now closer looking at the camera and behind him there are a few more identical to him, all coming towards camera like a bunch of threatening zombies.
© Copyright ZOMBIE RUST 2010
My contribution to the group’s first collaboration project is a story of mystery and total destruction.
I really tried to keep myself off the Grindhouse aesthetics for this one, but the final result couldn’t get more “b-movie” than this! It’s written strictly in a script form, so it’s kinda tight and I guess it doesn’t leave much freedom to the artists involved, but keep in mind that everything is debatable and I’m open to any ideas and suggestions. If there are enough artists who will want to contribute to this I will not be involved in any of the art at all.
So, anyone interested, just drop a line in this thread or send me a bmail and we’ll work it out… :)
And the story goes like this…