cs3ink
07-08-2003, 09:35 AM
I generally wait to post scripts done for the sixshooter activities until long after the activity is done, but since 6S is having some short term difficulties, I figured I'd go ahead and post it here.
Rob and Thom, my sympathies and support are all yours. Trust me, I'll be back to 6S the minute things are worked out.
Daddy's Girls
by Chip Skelton
PAGE 1 (2 Panels)
PANEL 1: 2/3 the page, starting from the top. Full width of the page. World War II, the last moments of the landing at Omaha Beach. Pretty much reference the opening scenes from Spielberg's 'Saving Private Ryan'. A shot from just off shore, straight on the beach. Bodies are everywhere. They float in the water, and litter the beach. Occasional tracer fire splits the hazy atmosphere. Again reference 'Saving Private Ryan'.
CAPTION: D-DAY. JUNE 6TH, 1944.
SFX (OP, Small Lower Case): rat tat tat tat
PRIVATE LINCOLN (OP, No Tail, Small Lower Case): no...
PRIVATE LINCOLN (OP, NT, SLC): oh god, no...
SFX (OP, SLC): boom
PRIVATE LINCOLN (OP, NT, SLC- bottom of the panel): ...no no no...
PANEL 2: Bottom 1/3 of the page. Closer in on the beach. Looking slightly to the right, down the beach. More sparse tracer fire.
SFX (OP, SLC): krak krak krak
PRIVATE LINCOLN (OP, NT, SLC): ...oh god oh god...
PRIVATE LINCOLN (OP, NT, SLC): ...this ain't hap'nin.
SFX (OP, SLC): ka-boom
PAGE 2 (6 panels)
PANEL 1: The 'camera' continues to turn right. Now we're on the shore, looking down the beach. In the distance we see PRIVATE LINCOLN sitting with his face in his hands. He is too far away to make out much about him.
PRIVATE LINCOLN (SLC): ...oh god, this ain't real...
SFX (OP, SLC): rat tat tat tat
PANEL 2: Closer on PRIVATE LINCOLN. His face is still buried in his hands. Tracer fire jets perilously close to him, but he does not even flinch. Bodies lay all around him.
SFX (OP, SLC): ka-boom
SFX (OP, SLC): krak
PANEL 3: Closer still to PRIVATE LINCOLN. He takes up most of the panel. He has begun to lower his hands, as he stares off quizzically at something in front of him. He has huge blue eyes.
SFX (OP, SLC): blam blam blam
BREE (OP, NT, SLC): gaaa duh momma...?
BREE (OP, NT, SLC): oh wee da?
PANEL 4: A shot from behind, and over the shoulder of, PRIVATE LINCOLN. Further up the beach, in front of PRIVATE LINCOLN, we see a tiny figure (BREE) ambling through the carnage.
SFX (OP, SLC): krak kkkraak
SFX (OP, SLC): boom
PRIVATE LINCOLN: WHUT THE HELL?
BREE: ZAGA BBBRAK.
BREE: HEH HEH HEH.
PANEL 5: PRIVATE LINCOLN has stood up. This is a waste high shot, looking up at PRIVATE LINCOLN. He stares just in front of himself, off panel, at something he obviously cannot believe he is seeing. He is a kid. 15 (he lied to get into the service). He is very tall, and skinny, his uniform fitting awkwardly.
PRIVATE LINCOLN: THIS AIN'T HAP'NIN. YOU AIN'T REAL.
BREE (OP): DAYA GOOGA? NANA.
PANEL 6: A shot from PRIVATE LINCOLN's POV looking down at BREE. She is 1 1/2 years old. She is looking up at PRIVATE LINCOLN. BREE has a round face, with a tiny nose, and impossibly huge brown eyes. She is smiling a little awkwardly, the expression made all the weirder because she has four of her top front teeth, and only two of her bottom front ones. Her hair is long, straight, and brown, the bangs cut high. She is wearing a beautiful, modern, orange sundress with Minnie Mouse on the chest. BREE's reaching up, toward PRIVATE LINCOLN. Don't forget the carnage all around.
BREE: JA JA? UBBA DA?
BREE: UP.
PAGE 3 (5 panels)
PANEL 1: PRIVATE LINCOLN has knelt down in front of BREE. She is still reaching out to him.
SFX (OP, SLC): wweeeee boom
PRIVATE LINCOLN: WHUT'RE YOU DOIN' OUT HERE IN YOUR PAJAMAS? AH'VE LOST MA MIND? THIS AIN'T REAL. NONE A THIS IS REAL.
BREE: UP. UP.
PANEL 2: PRIVATE LINCOLN stands, BREE in his arms. She is pointing off into the distance in front of them.
PRIVATE LINCOLN: AH NEED TA GET YOU OUTTA HERE. THIS AIN'T NO PLACE FER A LITTLE GIRL...
PRIVATE LINCOLN: ...even if you ain't nuttin' but a fever dream.
BREE: THAT. THAT.
PRIVATE LINCOLN: YOU LIVE THAT WAY?
PANEL 3: A worm's eye POV. An exact twin of PRIVATE LINCOLN lies in the immediate foreground. His eyes are open but lifeless, staring just past us. Blood trickles from his nose and mouth. PRIVATE LINCOLN , BREE in his arms, heads off in the distance.
PRIVATE LINCOLN: DON'T S'POSE YOU KNOW WHUT'S GOIN' ON?
BREE: DADDEE IGA RUH. THAT.
PRIVATE LINCOLN: THAZ STUPID. 'COURSE YOU DON'T KNOW WHUT'S HAP'NIN TA ME.
PRIVATE LINCOLN: LES' GIT YOU HOME.
SFX (OP, SLC): ratatat tat tat
PANEL 4: Same shot as last panel. The two characters are barely visible in the distance.
BREE: THAT. THAT.
PRIVATE LINCOLN: AH KNOW. AH KNOW. THAT WAY. I'M GOIN' THAT WAY.
PANEL 5: A shot from some distance off shore, looking straight on the beach. It's a wide shot. On the far left we can barely make out MICAH and ASIA moving toward the center of the panel. On the far right, we can barely make out PRIVATE LINCOLN and BREE, also walking toward the center of the panel. MICAH and ASIA's word balloons should be located on their side of the panel, while PRIVATE LINCOLN's and ASIA's should be on their side.
MICAH and ASIA (NT): BREE BREE!
MICAH and ASIA (NT): BREE BREE!
MICAH (NT): DAD'S GONNA KILL US IF WE CAN'T FIND HER.
MICAH and ASIA (NT): BREE BREE!
BREE (NT): DA-DEE! DA-DEE!
PRIVATE LINCOLN (NT): THAT YOUR FAMILY?
PAGE 4 (5 panels)
PANEL 1: We're back on the beach. MICAH and ASIA are running toward us, apparently unmoved by the carnage all around them. They both look excited. MICAH is a very well-built 17 year old with shoulder-length blond hair. She has green/grey eyes, and an angular face, and is dressed in blue jeans, a light blue spaghetti-strap, and white, low-top tennis shoes. ASIA is 5 years old. She is very thin, with slightly curly, very blond hair. Her large eyes are a deep brown, and her face is even more angular (yet, still softer) than her older sister's. She is dressed in a red and orange striped sundress and dainty, white sandals.
SFX (OP, SLC): blam blam
SFX (OP, SLC): krak krak krak
MICAH: BREE BREE, THERE YOU ARE. WE WERE WORRIED SICK.
ASIA: YEAH. DADDY'S GONNA BE REALLY ANGRY AT YOU.
MICAH: HE IS NOT, ASIA. I'M JUST...
PANEL 2: The four stand staring at each other. BREE is smiling as she stares at PRIVATE LINCOLN. PRIVATE LINCOLN, and the other two sisters are staring at each other in surprise.
SFX (OP, SLC): ka-boom
BREE: DA-DEE! FINNA OGA.
PANEL 3: Same panel as 2, only MICAH's head is down, with her hand covering her face, and ASIA is staring up at her older sister.
MICAH: I TAKE THAT BACK. WE ARE ALL IN WAY TROUBLE.
ASIA: WHAT...?
PANEL 4: A straight on shot of of PRIVATE LINCOLN holding BREE.
PRIVATE LINCOLN: WHUT ARE YOU GIRLS DOIN' HERE? WHUT'S GOIN' ON?
MICAH (OP): UH...
MICAH (OP): YOU NEED TO TALK TO...
MICAH (OP): DA-AD! DA-AD! BREE BREE SORTA MESSED UP!
PANEL 5: A shot from behind MICAH and ASIA. They are looking off behind PRIVATE LINCOLN and BREE. PRIVATE LINCOLN has tuned to look behind himself. BREE is reaching out for me. I can be seen walking up from behind him. I'm 5 feet 6 inches. I have a very angular face with a large, strong chin, and high cheek bones. I have very, very short brown hair, and deep-set, dark brown eyes. I have broad shoulders, and a fairly square frame. Not fat, just big boned (honestly). I'm wearing blue jeans, all black Chucks, and a black Greatful Dead shirt with a parade of their brightly-colored teddybears marching across my chest.
BREE: DA-DEE! DA-DEE! UP. UP.
ME: MELLO , MICAH. BREE BREE DIDN'T MESS ANYTHING UP. WE'RE COOL, KIDDO.
PAGE 5 (6 panels)
PANEL 1: A close-up of PRIVATE LINCOLN and ME facing each other. BREE is climbing into my arms. PRIVATE LINCOLN and I are focused on each other, ignoring BREE'S relocating.
ME: YOU MUST BE TIMMY LINCOLN. YOU'VE ALREADY MET BREE BREE. THESE OTHER TWO PANICKY GIRLS ARE MICAH, AND ASIA. I'M--
PRIVATE LINCOLN: YOU'RE...
BREE: HEH HEH... DA-DEE.
ASIA (OP): DADDY, BREE RAN OFF AN'--
PANEL 2: Same shot, only pull back to show the other two girls.
ME: ASIA... DON'T WORRY ABOUT IT, HONEY. EVERYTHING'S FINE.
PRIVATE LINCOLN: YOU'RE...
ME: YES, TIMMY, I AM.
PANEL 3: PRIVATE LINCOLN is looking down at himself, his hands, fingers outstretched, on his chest.
PRIVATE LINCOLN: THEN I'M... OH GOD... I'M...
ME (OP): YES, YOU ARE. IT WASN'T SO BAD, WAS IT? I'M HERE TO TAKE YOU HOME.
PRIVATE LINCOLN: ...HOME?
PANEL 4: A shot of all of us heading up the beach, Me, in the lead, holding BREE.
ME: HEAVEN, TIMMY. YOU'RE GOIN' HOME.
PRIVATE LINCOLN: WHAT ABOUT EVERYONE---?
ME: YOU'RE THE LAST ONE. I WAS RUNNING A LITTLE BEHIND. THAT'S WHY BREE GOT TO YOU FIRST.
BREE: DAGA IK, NANA?
ME: YA DON'T SAY, KIDDO.
PANEL 5: A shot from behind us as we head further away up the beach.
ASIA: ARE WE GOING HOME, TOO, DADDY?
MICAH: I'VE GOT HOMEWORK.
ME: YEAH, GIRLS. I REALLY ENJOYED HAVING YOU ALL TAG ALONG TODAY. HOPE YOU HAD FUN.
PRIVATE LINCOLN: WHAT ARE YOUR DAUGHTERS DOING HERE?
ME: WHAT CAN I SAY...?
PANEL 6 (full width of the page): A more panoramic shot of panel 5. We have all but disappeared, only the faintest silhouette can be seen. We are not too far away, so it needs to be obvious that we are literally fading away.
ME: IT WAS 'TAKE YOUR DAUGHTERS TO WORK' DAY.
Rob and Thom, my sympathies and support are all yours. Trust me, I'll be back to 6S the minute things are worked out.
Daddy's Girls
by Chip Skelton
PAGE 1 (2 Panels)
PANEL 1: 2/3 the page, starting from the top. Full width of the page. World War II, the last moments of the landing at Omaha Beach. Pretty much reference the opening scenes from Spielberg's 'Saving Private Ryan'. A shot from just off shore, straight on the beach. Bodies are everywhere. They float in the water, and litter the beach. Occasional tracer fire splits the hazy atmosphere. Again reference 'Saving Private Ryan'.
CAPTION: D-DAY. JUNE 6TH, 1944.
SFX (OP, Small Lower Case): rat tat tat tat
PRIVATE LINCOLN (OP, No Tail, Small Lower Case): no...
PRIVATE LINCOLN (OP, NT, SLC): oh god, no...
SFX (OP, SLC): boom
PRIVATE LINCOLN (OP, NT, SLC- bottom of the panel): ...no no no...
PANEL 2: Bottom 1/3 of the page. Closer in on the beach. Looking slightly to the right, down the beach. More sparse tracer fire.
SFX (OP, SLC): krak krak krak
PRIVATE LINCOLN (OP, NT, SLC): ...oh god oh god...
PRIVATE LINCOLN (OP, NT, SLC): ...this ain't hap'nin.
SFX (OP, SLC): ka-boom
PAGE 2 (6 panels)
PANEL 1: The 'camera' continues to turn right. Now we're on the shore, looking down the beach. In the distance we see PRIVATE LINCOLN sitting with his face in his hands. He is too far away to make out much about him.
PRIVATE LINCOLN (SLC): ...oh god, this ain't real...
SFX (OP, SLC): rat tat tat tat
PANEL 2: Closer on PRIVATE LINCOLN. His face is still buried in his hands. Tracer fire jets perilously close to him, but he does not even flinch. Bodies lay all around him.
SFX (OP, SLC): ka-boom
SFX (OP, SLC): krak
PANEL 3: Closer still to PRIVATE LINCOLN. He takes up most of the panel. He has begun to lower his hands, as he stares off quizzically at something in front of him. He has huge blue eyes.
SFX (OP, SLC): blam blam blam
BREE (OP, NT, SLC): gaaa duh momma...?
BREE (OP, NT, SLC): oh wee da?
PANEL 4: A shot from behind, and over the shoulder of, PRIVATE LINCOLN. Further up the beach, in front of PRIVATE LINCOLN, we see a tiny figure (BREE) ambling through the carnage.
SFX (OP, SLC): krak kkkraak
SFX (OP, SLC): boom
PRIVATE LINCOLN: WHUT THE HELL?
BREE: ZAGA BBBRAK.
BREE: HEH HEH HEH.
PANEL 5: PRIVATE LINCOLN has stood up. This is a waste high shot, looking up at PRIVATE LINCOLN. He stares just in front of himself, off panel, at something he obviously cannot believe he is seeing. He is a kid. 15 (he lied to get into the service). He is very tall, and skinny, his uniform fitting awkwardly.
PRIVATE LINCOLN: THIS AIN'T HAP'NIN. YOU AIN'T REAL.
BREE (OP): DAYA GOOGA? NANA.
PANEL 6: A shot from PRIVATE LINCOLN's POV looking down at BREE. She is 1 1/2 years old. She is looking up at PRIVATE LINCOLN. BREE has a round face, with a tiny nose, and impossibly huge brown eyes. She is smiling a little awkwardly, the expression made all the weirder because she has four of her top front teeth, and only two of her bottom front ones. Her hair is long, straight, and brown, the bangs cut high. She is wearing a beautiful, modern, orange sundress with Minnie Mouse on the chest. BREE's reaching up, toward PRIVATE LINCOLN. Don't forget the carnage all around.
BREE: JA JA? UBBA DA?
BREE: UP.
PAGE 3 (5 panels)
PANEL 1: PRIVATE LINCOLN has knelt down in front of BREE. She is still reaching out to him.
SFX (OP, SLC): wweeeee boom
PRIVATE LINCOLN: WHUT'RE YOU DOIN' OUT HERE IN YOUR PAJAMAS? AH'VE LOST MA MIND? THIS AIN'T REAL. NONE A THIS IS REAL.
BREE: UP. UP.
PANEL 2: PRIVATE LINCOLN stands, BREE in his arms. She is pointing off into the distance in front of them.
PRIVATE LINCOLN: AH NEED TA GET YOU OUTTA HERE. THIS AIN'T NO PLACE FER A LITTLE GIRL...
PRIVATE LINCOLN: ...even if you ain't nuttin' but a fever dream.
BREE: THAT. THAT.
PRIVATE LINCOLN: YOU LIVE THAT WAY?
PANEL 3: A worm's eye POV. An exact twin of PRIVATE LINCOLN lies in the immediate foreground. His eyes are open but lifeless, staring just past us. Blood trickles from his nose and mouth. PRIVATE LINCOLN , BREE in his arms, heads off in the distance.
PRIVATE LINCOLN: DON'T S'POSE YOU KNOW WHUT'S GOIN' ON?
BREE: DADDEE IGA RUH. THAT.
PRIVATE LINCOLN: THAZ STUPID. 'COURSE YOU DON'T KNOW WHUT'S HAP'NIN TA ME.
PRIVATE LINCOLN: LES' GIT YOU HOME.
SFX (OP, SLC): ratatat tat tat
PANEL 4: Same shot as last panel. The two characters are barely visible in the distance.
BREE: THAT. THAT.
PRIVATE LINCOLN: AH KNOW. AH KNOW. THAT WAY. I'M GOIN' THAT WAY.
PANEL 5: A shot from some distance off shore, looking straight on the beach. It's a wide shot. On the far left we can barely make out MICAH and ASIA moving toward the center of the panel. On the far right, we can barely make out PRIVATE LINCOLN and BREE, also walking toward the center of the panel. MICAH and ASIA's word balloons should be located on their side of the panel, while PRIVATE LINCOLN's and ASIA's should be on their side.
MICAH and ASIA (NT): BREE BREE!
MICAH and ASIA (NT): BREE BREE!
MICAH (NT): DAD'S GONNA KILL US IF WE CAN'T FIND HER.
MICAH and ASIA (NT): BREE BREE!
BREE (NT): DA-DEE! DA-DEE!
PRIVATE LINCOLN (NT): THAT YOUR FAMILY?
PAGE 4 (5 panels)
PANEL 1: We're back on the beach. MICAH and ASIA are running toward us, apparently unmoved by the carnage all around them. They both look excited. MICAH is a very well-built 17 year old with shoulder-length blond hair. She has green/grey eyes, and an angular face, and is dressed in blue jeans, a light blue spaghetti-strap, and white, low-top tennis shoes. ASIA is 5 years old. She is very thin, with slightly curly, very blond hair. Her large eyes are a deep brown, and her face is even more angular (yet, still softer) than her older sister's. She is dressed in a red and orange striped sundress and dainty, white sandals.
SFX (OP, SLC): blam blam
SFX (OP, SLC): krak krak krak
MICAH: BREE BREE, THERE YOU ARE. WE WERE WORRIED SICK.
ASIA: YEAH. DADDY'S GONNA BE REALLY ANGRY AT YOU.
MICAH: HE IS NOT, ASIA. I'M JUST...
PANEL 2: The four stand staring at each other. BREE is smiling as she stares at PRIVATE LINCOLN. PRIVATE LINCOLN, and the other two sisters are staring at each other in surprise.
SFX (OP, SLC): ka-boom
BREE: DA-DEE! FINNA OGA.
PANEL 3: Same panel as 2, only MICAH's head is down, with her hand covering her face, and ASIA is staring up at her older sister.
MICAH: I TAKE THAT BACK. WE ARE ALL IN WAY TROUBLE.
ASIA: WHAT...?
PANEL 4: A straight on shot of of PRIVATE LINCOLN holding BREE.
PRIVATE LINCOLN: WHUT ARE YOU GIRLS DOIN' HERE? WHUT'S GOIN' ON?
MICAH (OP): UH...
MICAH (OP): YOU NEED TO TALK TO...
MICAH (OP): DA-AD! DA-AD! BREE BREE SORTA MESSED UP!
PANEL 5: A shot from behind MICAH and ASIA. They are looking off behind PRIVATE LINCOLN and BREE. PRIVATE LINCOLN has tuned to look behind himself. BREE is reaching out for me. I can be seen walking up from behind him. I'm 5 feet 6 inches. I have a very angular face with a large, strong chin, and high cheek bones. I have very, very short brown hair, and deep-set, dark brown eyes. I have broad shoulders, and a fairly square frame. Not fat, just big boned (honestly). I'm wearing blue jeans, all black Chucks, and a black Greatful Dead shirt with a parade of their brightly-colored teddybears marching across my chest.
BREE: DA-DEE! DA-DEE! UP. UP.
ME: MELLO , MICAH. BREE BREE DIDN'T MESS ANYTHING UP. WE'RE COOL, KIDDO.
PAGE 5 (6 panels)
PANEL 1: A close-up of PRIVATE LINCOLN and ME facing each other. BREE is climbing into my arms. PRIVATE LINCOLN and I are focused on each other, ignoring BREE'S relocating.
ME: YOU MUST BE TIMMY LINCOLN. YOU'VE ALREADY MET BREE BREE. THESE OTHER TWO PANICKY GIRLS ARE MICAH, AND ASIA. I'M--
PRIVATE LINCOLN: YOU'RE...
BREE: HEH HEH... DA-DEE.
ASIA (OP): DADDY, BREE RAN OFF AN'--
PANEL 2: Same shot, only pull back to show the other two girls.
ME: ASIA... DON'T WORRY ABOUT IT, HONEY. EVERYTHING'S FINE.
PRIVATE LINCOLN: YOU'RE...
ME: YES, TIMMY, I AM.
PANEL 3: PRIVATE LINCOLN is looking down at himself, his hands, fingers outstretched, on his chest.
PRIVATE LINCOLN: THEN I'M... OH GOD... I'M...
ME (OP): YES, YOU ARE. IT WASN'T SO BAD, WAS IT? I'M HERE TO TAKE YOU HOME.
PRIVATE LINCOLN: ...HOME?
PANEL 4: A shot of all of us heading up the beach, Me, in the lead, holding BREE.
ME: HEAVEN, TIMMY. YOU'RE GOIN' HOME.
PRIVATE LINCOLN: WHAT ABOUT EVERYONE---?
ME: YOU'RE THE LAST ONE. I WAS RUNNING A LITTLE BEHIND. THAT'S WHY BREE GOT TO YOU FIRST.
BREE: DAGA IK, NANA?
ME: YA DON'T SAY, KIDDO.
PANEL 5: A shot from behind us as we head further away up the beach.
ASIA: ARE WE GOING HOME, TOO, DADDY?
MICAH: I'VE GOT HOMEWORK.
ME: YEAH, GIRLS. I REALLY ENJOYED HAVING YOU ALL TAG ALONG TODAY. HOPE YOU HAD FUN.
PRIVATE LINCOLN: WHAT ARE YOUR DAUGHTERS DOING HERE?
ME: WHAT CAN I SAY...?
PANEL 6 (full width of the page): A more panoramic shot of panel 5. We have all but disappeared, only the faintest silhouette can be seen. We are not too far away, so it needs to be obvious that we are literally fading away.
ME: IT WAS 'TAKE YOUR DAUGHTERS TO WORK' DAY.