WC POLL#77 : Silent Comic

[Zepster]

Great idea for this competition.

A bit experimental though, so hope this works.

As ever, crits always appreciated

A debt repaid

Page 1

Panel 1

We're in feudal Japan.

A mist shrouded valley at night. Oriental roof tops and buildings can be seen poking through the mist. One building in particular stands proudly above the others, the fortress of the local lord. Torches line its walls and maybe we can see a guard or two on patrol.

We can also see that the valley is heavily forested.

Panel 2

A forested skyline in silhouette against the night sky

Panel 3

We’re looking in at the trees at the edge of the forest now. The mist and moonlight gives rise to a mix of shadow and light beneath the eves of the forest. There we can see, albeit with difficulty, the standing figure of a lone warrior. Katana strapped against his back and clad in a mix of black/grey traditional ( 7 samurai reference time ) warriors garb. His hair is in a topknot and he is clean shaven. He is quite slender looking.

Call him Shingen.

Panel 4

Close in on the shadow streaked face of the warrior as he glares with furious but restrained rage down at where we think the fortress may be. There can be no mistaking that this guy is not here for a social call.

Page 2

Panel 1

Close in on the weary and remorseful eyes of an older man. This is the local lord, he is a distinguished/stern man but right now quite sad/regretful looking. He is in his office, but we cannot see that just yet.

We’ll call him Hidesato

Panel 2

We’re behind Hidesato and can see that he is of very broad build and he is sitting on a cushion on the floor in front of a low writing desk. He is writing and is wearing white robes. Beside him on a stand rests a katana and beside that, on a separate pedestal is a tanto ( ritual knife ), with a white cloth wrapped about the blade. There is a portrait of a woman resting on the table on which he writes.

Hidesato is preparing to commit ritual suicide.

Standing behind him are two retainers, one of whom is a samurai bearing a naked katana. Both men are rigidly standing to attention, awaiting their masters command.

Panel 3

Hidesato has completed his poem and is holding the parchment up to dry but he is looking to where we consider the portrait to be. Mournful.

Panel 4

We can see the portrait, it is of a young woman, smiling. Beside it, we can see the tanto on its pedestal and Hidesato’s hand reaching for it.

Panel 5

Hidesato, close in, as something has caught his attention and he is looking sharply behind him. All traces of regret gone from his features, we can now see the quick determination/intelligence that makes Hidesato such a formidable lord.

Page 3

Panel 1

We’re outside on the castle walls. In our immediate foreground is the dead eyed stare of a dead guard’s severed head. Torches burn on the walls at regular intervals and further down the wall we can see another dead guard clutching his belly. Behind that guard we can see an open door on the battlements that leads into the fortress.

Panel 2

We’re inside the fortress now and in a corridor. Three dead guards line the corridor, and admidst the blood on the floor we can see footprints leading away from us.

Panel 3

Back in Hidesato’s office. Hidesato is rising from his table with sheathed katanna in hand. He looks furious. Both retainers have their weapons out now, one standing in front of Hidesato weapon ready, the other running for the door.

Panel 4

Our POV is from the doorway.

We can see the retainer that was running for the door flying backwards through the air, his throat cut.

In mid-air we have a small squadron of shruiken flying towards the guarding retainer.

Behind that retainer we have Hidesato drawing his katana.

Panel 5

Our guarding retainer facing down the now imminent threat of the shruiken with a determined look on his face, sword ready.

Page 4

Panel 1

The retainer is full action, effortlessly dealing with the shruiken, deflecting them with his blade.

Panel 2

Our immediate foreground has the retainer looking ready to deal with the attacker. However Hidesato is placing a restraining hand on his shoulder.

Shingen stands in the doorway, blood dripping from his blade, silently looking directly at Hidesato.

Panel 3

The retainer bowing respectfully as Hidesato stands forward, blade ready.

Panel 4

Hidesato faces Shingen across the office, while the retainer stands to one side.

Both Hidesato and Shingen are looking towards the portrait on the table.

Panel 5

The portrait in close up again. However, now streaked with a splash of blood from the first retainer slain earlier.

Page 5

The layout here is important.

On either side of the page we have, panel free, Shingen and Hidesato in ready combat stances facing each other across the page, standing almost full length of the page. Shingen coldly angry, Hidesato almost happy but determined.

The rest of the panels vertically downwards, but plenty of discretion on shape once they satisfy the narrative.

Panel 1

Hidesato attacking directly towards us

Panel 2

Shingen attacking directly towards us

Panel 3

The crossed blades of their katanas, remembering Shingen’s is already dripping blood

Panel 4

Blood splatter through the air

Panel 5

Both men on opposite side of the room, facing away from each other, both clearly wounded.

Panel 6

Both slumped dead on the ground, Hidesato’s retainer kneeling over his body.

Panel 7

The portrait, now quite covered with blood, the picture barely discernible.

[Shaun]

Fish in the Sea

PAGE ONE

P1
DAN is an average looking mid-thirties type in preppie clothes kneeling in front of his girlfriend. He opens a ring box containing a sparkling diamond ring. She, a stunner in a summer dress, is stunned by his proposal. They are on a picturesque seaside pathway at dusk. A question mark hangs over Dan’s head, emphasizing the question popped.

P2
The same framing as the previous panel with Dan still on one knee. His girlfriend backs away. Her hand over her mouth covers more than shock… pending rejection.

P3
In the girlfriend’s POV - looking down at Dan as he looks up with all the horror of an ill-timed proposal revealing the futility of a five year relationship.

P4
Dan rises to both feet and turns to watch his girlfriend race off into the distance. He tosses the ring box away in disdain.

P5
Dan begins to stagger home. Drunk with failure, he holds his hand to his temple.

P6
Tight shot on Dan looking back over his shoulder at us with sudden realization. An exclamation point above his head emphasizes his shock.


PAGE TWO

P1
We are stationed at ground level just over a grilled sewer cover. In the foreground the ring box bounces toward us, having just opened. The diamond ring springs out. In the background Dan races toward the ring.

P2
Same framing as Dan dives for the ring, hands outstretched, just as the ring falls through the slats in the drain cover.

P3
Dan is on his knees again. This time he has both hands on a drain grate and is pulling back with all his might. His face contorted in anger and frustration… a bad night, getting worse.

P4
Crouched in the dank, cavernous sewers is a massive humanoid with the head of an Anglerfish. The beast has a nasty thicket of sharp teeth, small beady eyes and a tentacle lure pitched over its head. Oddly this hideous creature appears female by the patchy mop of stringy black hair hanging from her head. This is PIRANNIE. She holds the sparkly ring in her webbed fingers and gazes at it lovingly.

P5
Same framing as the previous panel. Pirannie lacks proper fingers so she slips the ring over one of her thinner teeth. In the background Dan splashes not gracefully into the sewer water from the surface world above. For Dan the water is nearly chest high.


PAGE THREE

P1
Pirannie charges Dan, the diamond teeth glinting even in the low light. Dan looks stunned, an exclamation and question mark hang above his head.

P2
Pirannie bashes Dan with a wicked backhand that sends him flying.
SFX
WHAAAM

P3
Pirannie snaps her jaws at Dan. He rears his head back just in time to avoid losing it.
SFX
SNAAAAP

P4
Dan grabs onto the tooth with the ring around and it and pulls back, snapping it at the gum. Pirannie has enough teeth it doesn’t seem to bother her.

P5
Pirannie chomps at Dan and this time doesn’t miss. She has him up to the shoulder in her mouth. It’s his right arm, the one that held the diamond and the tooth.


PAGE FOUR

P1
Dan rears back in pain and as he does he tears the tooth through the top of Pirannie’s head.

P2
Pirannie’s eyes flutter to the back of her skull as the life drains from her. Dan pulls his tattered arm free from her mess of teeth.

P3
Dan staggers through the water, dragging his shredded limb, a ghastly sight. In the extreme foreground the ring floats atop the scummy water, encased in blood and fish grizzle.

P4
Back on the surface world it is morning and the once deserted beachside path is now mired in pedestrians. Dan pulls himself out of the sewer to the shock of people nearby. Exclamation points float over their heads.

P5
Dan turns himself on to his back and holds the ring above his face, gazing at it lovingly. The faint outline of a heart hovers above his head.



PAGE FIVE

P1
Dan lies in a hospital bed. His entire right arm up to his neck is in a massive cast. There are two detectives in dark suits on either side of his bed, they hold up a sketch of an ugly hag with the word SUSPECT above it. Lazy question marks frame their heads. In the background Dan’s pretty nurse looks on.

P2
From Dan’s POV at the pretty nurse smiling at him.

P3
Dan is in his hospital bed, his head partially wrapped in bandages. But we can make out his goofy, hopeful smile.

P4
It is some weeks later and Dan is walking outside the hospital beside his nurse. He is back in his preppy clothes and has traded in the big white cast for a much smaller sling. A yellow cab waits at the curb for him.

P5
Medium framing on Dan smiling at the nurse and she looks away bashfully, her cheeks blushed. Above Dan’s head a filled heart symbol.

P6
Insert panel. Tight shot of the diamond ring in Dan’s hand. There’s a small smear of blood on it but it shines brighter than ever.

[Ale_Tolosana]

Hey everyone, I've not entered this forum for a while, now, but I hope I will be writing more in the future.

Here goes my piece:

SATELLITE 46218 by Ale Tolosana.

PAGE 1 - 7 PANELS
Panel 1 is page-wide. Under Panel 1, Panels 2 to 6 occupy the width of the page. Under that, Panel 7 is also page-wide.

PANEL 1
No frame. Moon landscape. We see an astronaut’s helmet to the left of the scene. The Earth reflects on it.

PANEL 2
High angle shot of the astronaut looking at a little black cube at his feet, of about 20 cubic cm (8 inches).

PANEL 3
Low angle shot of the astronaut trying to lift the cube with both hands.

PANEL 4
Close up of the astronaut’s right hand touching the side of the cube.

PANEL 5
Close up of the astronaut’s left hand touching the top of the cube.

PANEL 6
Extreme close up of the astronaut’s left-hand index finger touching a small blue lined circle, slightly bigger than his gloved fingertip, at the back of the cube.

PANEL 7
No frame. All very bright white.

PAGE 2 – 5 PANELS
Panel 1 is page-wide. Under Panel 1, Panels 2 to 4 occupy the width of the page. Under that, Panel 5 is also page-wide.

PANEL 1
No frame. All black.

PANEL 2
All black except for a horizontal white line crossing the panel.

PANEL 3
Now the horizontal white line becomes a blur, bright white with some red .

PANEL 4
From the viewpoint of the astronaut, we see a room with white walls, all covered in glowing red alien symbols.

PANEL 5
High angle shot of the astronaut sitting on a bright white floor, also covered with red alien symbols.

ASTRONAUT: ...

PAGE 3 - 6 PANELS
Panel 1 is page-wide. Under Panel 1, Panels 2 to 5 occupy the width of the page. Under that, Panel 6 is also page-wide.

PANEL 1
No frame. Wide shot of a rectangular door, lined in yellow on the wall, among the red alien symbols.

PANEL 2
Close up of the astronaut’s right hand touching the wall.

PANEL 3
Close up of the astronaut’s left hand touching the wall.

PANEL 4
Extreme close up of the astronaut’s left-hand index finger touching a particular red symbol.

PANEL 5
Same as Panel 4, but now the symbol glows light blue instead of red.

SFX: SWOOSH

PANEL 6
No frame. Full body frontal shot of the astronaut at the open door. He’s holding his helmet under his right arm, now, and we can see he’s an African-American man, aged about 30. The lighting in the new room is way dimmer, with a blueish glow and there are no symbols on the walls.

PAGE 4 – 5 PANELS
Panel 1 is page-wide. Under Panel 1, Panels 2 to 4 occupy the width of the page. Under that, Panel 5 is also page-wide.

PANEL 1
Medium shot of the astronaut’s legs, seen from behind, over to the left side of the panel. He’s dropped his helmet and it’s bouncing off the floor towards the right side of the panel.

SFX (SMALL): BONK BONK BONK

PANEL 2
Close up of the astronaut’s astonished face.

PANEL 3
Same as Panel 2, but we see the astronaut shaking his head violently.

PANEL 4
Same as Panel 2.

PANEL 5
We see the Earth on a very big screen. Under the screen we see a smaller screen, with some green alien symbols on it, and under the screen a keyboard, with glowing red alien symbols.

PAGE 5 - 9 PANELS
Panel 1 is page-wide. Under Panel 1, Panels 2 to 5 occupy the width of the page. Under that, Panels 6 to 8 occupy the width of the page. At the bottom, Panel 9 is also page-wide.

PANEL 1
Profile shot of the astronaut’s face being scanned by a red laser beam.

SFX (SMALL): TICK TICK TICK TICK TICK TICK TICK TICK
SFX: BLEEP

PANEL 2
The frame has rounded edges, like those of a screen. All the panel is the smaller screen, now, and we can read the following on green letters (where the X’s represent alien symbols):

XXXXXXXXXNG 19.6%...

XXXNSLATING 65.8%...

TRANSLATING 100%

PANEL 3
Same screen as above, we read:

HELLO, CAPTAIN ROGER FROST OF NASA. YOU’RE INSIDE SATELLITE 46218, KNOWN TO YOU AS ‘THE MOON’.

SATELLITE 46218 IS A SELF SUFFICIENT CYBERNETIC ORGANISM IN CHARGE OF MONITORING PLANET 3, KNOWN TO YOU AS ‘THE EARTH’.

I AM IT’S A.I.

PANEL 5
Same screen as above, we read:

MY FUNCTION IS TO REPORT ON THE ENVIRONMENTAL IMPACT OF PLANET 3 OVER THE SOLAR SYSTEM.

SOME HOURS AGO I FILED MY FINAL REPORT, AND A COURSE OF ACTION HAS BEEN SUGGESTED.

PLANET 3 SHOULD BE REMOVED FROM THE SOLAR SYSTEM IN ABOUT 0.58 OF YOUR EARTH MINUTES.

PANEL 6
Close up of the astronaut’s astonished face.

PANEL 7
Same as Panel 6, but we see the astronaut shaking his head violently.

PANEL 8
Same as Panel 6.

ASTRONAUT: ...

PANEL 9
Same as Panel 5 of Page 6, but now there’s no Earth on the big screen.

BOTTOM CAP: THE END (OF THE WORLD).

[Insomniac Pillz]

Hey everyone, let me know what you think.

 
This script is the dramatic conclusion to the old "girl stuck in the house with the serial killer".

THE GIRL: Mid teen's, kind of scrawny. She is sporting the long t-shirt and socks sleeping combo. She is streaked with blood. Her face is Not sure how I want her hair to be. Her movements are quick, panicked.

THE KILLER: 6+ feet tall, easily 300 lbs he wears a wool cap (http://www.kaboodle.com/reviews/engl...ol-driving-cap). He wears a brown trench coat. He is splattered with blood, his hands and forearms are almost entirely soaked with blood (think The Maxx, but red instead of yellow). His cap shade's his face making his features hard to read. He barely fits through the door's in the house. His movements are slow and methodical.

Page 1 (1 panel)

PANEL 1. Open up on full page half face/shoulder with hallway over shoulder view of THE KILLER, face/shoulder splattered with blood, insane smile. hair and face are messy as hell, like a dreg. some fresh scratches on the face. The hallway ends with a folding closet door. An entry way to a bedroom on the right wall of the hall.

Page 2 (6 panels)
PANEL 1. Close up on closet door.

PANEL 2. Extreme close up on the door we see a sliver of light partially illuminating THE GIRL'S face, wide eyed with terror.

PANEL 3. Like the audiences eyes, the picture adjust to the lack of light to see it is a young girl, early teens wearing long t-shirt and socks to sleep in standing in the closet surrounded by hanging jackets. She is clutching at her mouth with both hands

PANEL 4. A first person perspective from her we look out the crack in the closet door to see THE KILLER walking towards THE GIRL in the closet. Massive in size 6ft blood splatters his face, and chest. His hands and half his forearms are completely covered in blood. He has one of those wool caps on (like 1930's cap the paper boy would wear). He also wears a trench coat. He looks like a moving mountain.

PANEL 5. THE GIRL'S face is now shadowed, light is not coming through (shadow cast by THE KILLER in hallway).

PANEL 6. THE GIRL has disappeared behind the jackets


Page 3 (4 panels)

PANEL 1. Over THE KILLER'S shoulder, we see him throwing the door open to the closet, but nothing is there.

PANEL 2. Focus on THE KILLER'S face, the grin has turned to a frown.

PANEL 3. Same shot from PANEL 2 but now a profile, as if he has seen/heard something to draw his attention.

PANEL 4. A shot from inside an adjacent bedroom THE KILLER filling the doorway, light silhouetting him. He is reaching for a light switch.


Page 4 (6 Panels)

PANEL 1. From outside the room, from hallway. The room light is turned on, and we see the bottom of THE KILLER'S leg, and arm mid stride going deeper in to the room We can now see that he is surprisingly clean for how much blood had gotten splattered across the room. THE GIRL in the closet is sticking her head out.

PANEL 2. We see THE GIRL in the hallway sneaking past the door.

PANEL 3. THE GIRL is climbing down the stairs, using the railings for support.

PANEL 4. Now in the kitchen THE GIRL grabs a butcher knife from a block. A phone can be seen attached to the wall next to the block.

PANEL 5. THE GIRL has the kitchen phone in hand the wire is obviously cut. Her face show's shock.

PANEL 6. A view inside the kitchen we see the bottom of the stair case, a cast shadow from THE KILLER and a creak from the stairs.

SFX: Creak


Page 5 (5 Panels)

PANEL 1. Cornered in the kitchen THE GIRL makes a break for the doorway.

PANEL 2. We are looking up the staircase again seeing THE KILLER. similar to previous pages view. THE KILLER is half way down the stairs. There is a hallway on the bottom floor mirroring the top floor. THE GIRL is at the bottom of the stairs mid dash, knife in hand.

PANEL 3. Same shot, THE KILLER is hopping over the stair railing as THE GIRL tries to run down the hallway (maybe show a doorway to the outside world at the end of the hall?).

PANEL 4. We see the profile of the stairway. THE KILLER, and THE GIRL post collision, he is laying on top of her. A pool of blood coming out from under them.

PANEL 5. Same shot, THE GIRL pulling herself out from under killer (using the stair case to climb out from under him). He is in some mid air rotation from her getting up, we see a good portion of the knife stuck in to THE KILLER'S chest.

[My name is Tommy]

Title: Silence.

I was gonna name it silence, but in French... but I found out it's spelled exactly the same as in English haha.

*I'd love to see this sucker drawn.

Here's a little diddy I wrote up. Crits are always welcome, but first I must say I know this is going to be considered a lot of panels by some. I feel it fits/flows well and without having to worry about dialogue I feel it works. Feel free to disagree :].

Page 1 (6 panels)

Panel 1:
Start with a wide, establishing shot of a boulevard in France. While we don't necessarily need to see any specific buildings, this street should be near the Louvre, along with the other nearby museums/tourist attractions. The scene is filled with tourists.
We can see a mime going over the trapped-in-a-box routine. There is also a group of three boys, roughly 12 years old, standing not far from the mime.

TITLE
Silence

Panel 2:
Pull in on the group of boys. They are now huddled up with mischievous grins on their face, barely holding back their giggles. Two of the boys have their backs to the mime, who we can see in the background still doing the box routine. The last boy, we will call his Arnold, has his back to us and is peeking up at the mime.

Panel 3:
Arnold is now standing roughly 3 feet in front of the mime. They are looking into each other's faces. Arnold has a smug, annoying grin on his face. Both characters should have their arms down at their sides.

Panel 4:
Repeat panel, except now the mime has his right hand up, palm out as if pressing it against an invisible wall. Arnold is mirroring the mime's action.

Panel 5:
Repeat Panel 4., except now the mime's left hand is lifted as well, palm up as if pressed against an invisible ceiling. Arnold is, once again, mirroring the mime's action.

Panel 6:
Closeup of the mime's face. He is looking down at Arnold, with an annoyed expression, but nothing too dramatic yet.

Page 2 (6 panels)

Panel 1:
The mime has turned his back on Arnold. He is now crouched down. His fist are clenched like he's picking up an invisible rope. Behind him we can see Arnold who has turned to face the other 2 boys further in the background. The 2 boys are laughing and encouraging Arnold, egging him on to continue messing with the mime.

Panel 2:
Arnold is standing in front of the mime looking down at the invisible rope. He has his fingers shaped like scissors and is holding them out, threatening to cut the invisible rope.

Panel 3:
Shot of Arnold from over the mime's shoulder. Arnold is looking up at the mime's face. The smug grin from Panel 1.3 has evolved into a more menacing sneer. He now has the invisible rope in between his scissor-shaped fingers.

Panel 4:
Repeat Panel 4., except now Arnold has closed his two extended fingers together, cutting the invisible rope. The mime is starting to fall backwards here.

Panel 5:
The mime is reeling, trying desperately to catch his balance as he's falling backwards.

Panel 6:
The mime has fallen on his butt and is looking up at Arnold's face. Arnold is laughing hard, but has his hand over his mouth suppressing the laughter.

Page 3 (5 panels)

Panel 1:
Shot from in front of the mime, who is still down on the ground. He has a very angry frown on his face. Behind him we can see Arnold walking towards his two friends. The two friends are laughing, but too far away to hear.

Panel 2:
Switch to a shot from the mime's side. He has turned around to face the direction Arnold is walking in and is twirling an invisible lasso over his head, ready to throw it.

Panel 3:
Repeat Panel 2., except now the mime has just thrown the invisible lasso.

Panel 4:
Repeat Panel 3., except now the mime is pulling the invisible rope with both hands as if he has caught something and is now trying to pull it in.

Panel 5:
Shot of the three boys walking away. Arnold is falling forward, a surprised look on his face.

page 4 (6 panels)

Panel 1:
Shot from behind the mime, who is still on one knee. He is once again pulling the invisible rope, much like in Panel 2.2., but with much more ease. Further back in the shot we can see Arnold and his 2 friends. Arnold is on his belly getting dragged by the invisible rope, the other boys are looking down at him, completely frozen from the shock of what they're seeing.

Panel 2:
Repeat Panel 1., except now the mime has pulled Arnold closer to him. Arnold should be roughly half as far from the mime in this shot as he was in Panel 1.

Panel 3:
Repeat Panel once more, but now the mime has pulled Arnold all the way over to him and is lifting him off the ground with his hands.

Panel 4:
The mime and Arnold are now both on their feet. The mime has Arnold by the back of his shirt with one hand. With the other hand, he has opened an invisible door.

Panel 5:
The mime has thrown Arnold onto the ground through the invisible door.

Panel 6:
The mime is slamming the invisible door hard.

Page 5 (6 panels)

Panel 1:
Small panel.
Closeup of the mime's hand has he is locking the invisible door with an invisible key.

Panel 2:
The mime has his head tilted backwards and has dropped the invisible key down his throat.

Panel 3:
The mime is now looking down at Arnold. He has a pleased look on his face and is rubbing his belly has if he just ate something delicious.

Panel 4:
Arnold has stood up. While attempting to walk towards the mime he has ran into an invisible, yet very solid wall.

Panel 5:
Shot from just behind the mime. The mime is looking down at Arnold, a victorious smile on his face. Arnold is banging on the walls of the invisible box, but it's a useless struggle.

Panel 6:
We're further away now, about where Arnold's friends were standing in Panel 4.1. We're looking in the direction of the box. In the foreground the mime has walked away from the scene and is just about to walk past us. He has a very pleased, amused smile on his face. He is near laughter.
Further back, Arnold is stuck in the box and is screaming and pounding on the walls with all his might, to no avail. His 2 friends are now near him trying to figure out how to get him out as well.

END TITLE
(In cursive writing.)
Fin.

[Inkspot]

Note: Should this be illustrated, the first two panels of Page 1, and the last two panels of Page 5, would be the only ones to have concrete borders. The rest of the panels, taking place in a dream, would be more freeform and uneven.


Page 1:
----------
1/ A bedroom. A young girl wrapped in blankets. The ephemera of her short life strewn around her. Posters on the wall, toys on the floor, and a stuffed rabbit clutched to her chest. Her hair falls over her face, tangled and devoid of rhyme or reason.

2/ She turns, facing the other way now. A stern look crosses her face, which was serene mere moments ago. Dreams, good and bad, have finally found her.

3/ The little girl stands, still dressed in her oversized sleep shirt with a simple design across the front, standing on the berm of a sandy beach, with the ocean on one side, and fields on the other. Mountains rise in the distance. An ornate mirror stands between her and the water. Being where a mirror should not be.

4/ She cocks her head to one side, causing her disheveled hair to fall into its natural alignment, parted to the right. Even for a dream, she is confused by the placement of it.

5/ Nevertheless, she turns her head, beginning to look over her shoulder. Towards the mountains. If there's one thing she's learned from fairytales and fantasy stories, it's that mirrors are not to be trusted, and she wants no part of this one.


Page 2:
----------
1/ But when she fully turns to face the plains instead of the water, she is confronted by another mirror. No. The same mirror. The one on the beach behind her having vanished, instead replacing itself in her path. She has little choice but to confront her reflection.

2/ Striding across the grass, she tentatively approaches the ornately carved frame with one hand outstretched. A glimmer of her reflection can be seen, mirroring her actions.

3/ She bites her lip. Her mirror-self does the same.

4/ When her hand touches the mirror, she finds her hand go through the glass, like she suspected it would, and intertwine with the hand of her mirror-self.

5/ They both pull. The girl attempts to free her mirror-self, but is not as strong.

6/ Instead, her feet falter, and she is pulled into the mirror.


Page 3:
----------
1/ Both girls collapse in a heap, laughing.

2/ They separately rise to their feet, mimicking each other as they run their fingers through their hair, and tuck strands behind their ears. Parted to the right for the girl. Parted to the left for her mirror-self.

3/ The girl, flanked by her mirror-self, stands in the middle of Times Square at its busiest. Billboards, neon signs, cars, monumental skyscrapers, and people as far the eye can see. The difference between when she stood by the beach and where she, … they, … stand now is staggering.

4/ Her stomach rumbles and she instinctively clutches for it. The same movement everyone tries, as if it will make her hunger go away, or at least be less audible.

5/ Now, the mirror-self wears a mischievous look as an exclamation point appears above her head.


Page 4:
----------
1/ The two girls stand by a hot dog vendor's cart. This being a dream, he happily hands over two hot dogs, which they happily accept, despite neither having any money to pay.

2/ The girl scarfs down her hot dog, eating it in as few bites as possible. Her mirror-self has started to drift away from her, nowhere to be seen.

3/ She turns to her right, looking for her personified reflection. No dice.

4/ She turns to her left, and still sees nothing.

5/ Suddenly, she spies the mirror, almost forgotten, in the middle of the sidewalk. Pedestrians pour from either side and converge in front of it again. They block her view at first. She is certain that the mirror was not there just a second ago.

6/ When she takes several steps towards the mirror, the crowd parts to make way for her. The beach scene where she once stood becomes visible, as does her mirror-self, having already stepped through the mirror. Alone.


Page 5:
----------
1/ The girl rushes to the mirror. Her mirror-self smirks through the other side, even more of the natural setting visible behind her.

2/ As her mirror-self walks away, the smirk turns into a sinister grin. The girl bangs on the mirror, still trapped inside the dream New York. She's screaming.

3/ Outright crying now. Tears stream down the girl's cheeks as she continues to pound at the glass of the mirror to no avail.

4/ The girl bolts upright in bed. She gasps for air, her hands beating at nothing but air. The pillows and blankets are sent flying. So is her stuffed rabbit.

5/ Calmly, she collects herself, smiles as she looks around the room, and parts her hair to the left.

[barrytown83]

The Unity Parade

PAGE ONE (five panels)

Panel 1 – Wide shot of a city street, kind of run-down. A young woman is crossing the street, drinking from a can. She’s young, fit. A large banner can be seen on the side of one of the buildings that reads “CENTRAL CITY UNITY PARADE: Attendance Mandatory.” Poor-looking people can be seen milling about on the sidewalks, some checking their watches. Armed police in futuristic body armor guard the streets.

Panel 2 – She is tossing the can behind her, while one of the police has stepped away from the sidewalk, angrily beckoning her out of the street.

Panel 3 – Small panel, close shot of the can, lying in the middle of the street.

Panel 4 – Shot of the woman stepping onto the sidewalk. The policeman is glaring at her. Behind him we can see, well down the street, a rank of soldiers marching down the street.

Panel 5 – Wide shot of the parade. Several ranks of soldiers in dress uniforms followed by an expensive looking, futuristic car. In the back seat of the car an older man is standing and waving. Someone is walking next to the car, a menacing-looking cyborg. The cyborg’s face is completely covered, it carries no weapons but a large blade mounted on the back of its right hand. A lens where one eye should be glows red.

PAGE TWO (seven panels)

Panel 1 – Shows the roof of a run-down building. A door is open and the woman is rushing out.

Panel 2 – Shows an empty corner of the roof. We can just see over the edge to tell that the corner looks over onto the street. The floor is bare.

Panel 3 – Small panel. Close shot of the woman’s hand, holding a small device, like a key fob, her thumb depressed on a button.

Panel 4 – The same shot of the corner of the roof, only now a sniper rifle is appearing, slightly translucent, with a sort of aura around it (the rifle was left cloaked, and is now being uncloaked).

Panel 5 – Seen through the scope of a rifle, we can see the man in the back of the car, waving and smiling. The cyborg appears to be looking directly at the viewer.

Panel 6 –Closer shot through the scope, now the cyborg is almost entirely transparent (it’s teleporting).

Panel 7 – Still looking through the scope, only now the image is just a blur of the cyborg, directly in front of the scope (blurry because it’s teleported up to the rooftop).

PAGE THREE (five panels)

Panel 1 – The woman is laying down, looking up in shock from the rifle. The cyborg is crouched down on the edge of the roof, looking down at her. His leg obscures the sight.

Panel 2 – Shot of the woman moving back away, while trying to bring the rife barrel up to aim at the cyborg.

Panel 3 – The cyborg slices through the rifle with his blade.

Panel 4 – The cyborg kicks her square in the chest.

Panel 5 – A shot of the man in the car, standing and waving. From the angle, we can see the car is approaching the spot where the woman dropped the can.

PAGE FOUR (six panels, panel 3, 4, and 5 should be small, across the page just above the middle, so that panel six takes up just about the bottom part of the page)

Panel 1 – The woman slams violently against the brick wall behind her, while the cyborg appears directly in front of her (show it translucent, like it’s teleporting), blade poised to stab her. A small device which is clearly a detonator can be seen attached to her belt, and she’s got her hand on it.

Panel 2 – The cyborg impales her on his blade, going straight through into the brick wall behind her. She has a look of pain and shock on her face. Her hand grips the detonator.

Panel 3 – Small panel, very low shot of the car, passing over the can in the street.

Panel 4 – Small panel, very close shot of the woman’s hand, thumb pressing down on the detonator button.

Panel 5 – Small panel, close shot of the can under the car, a light is now on inside the can.

Panel 6 – Takes up a little less than half the page, across the bottom. Wide shot of the street, the car is engulfed in a huge explosion. Police are thrown to the ground, the crowd ducks down or throws their arms up. Chaos, etc.

PAGE FIVE (six panels)

Panel 1 – Shot of the cyborg looking back at the explosion, which can be seen in the background. His arm is still outstretched, blade pinning the woman to the wall.

Panel 2 – The woman smiles wryly, blood running from her lips.

Panel 3 – Shot from the side, the cyborg looks down at the woman as she slumps down onto its arm.

Panel 4 – The cyborg has taken a step back, pulled its sword out, and the woman is falling to the ground.

Panel 5 – The woman is now laying on the ground, clearly dead. The cyborg is crouched over her body, looking down at it curiously.

Panel 6 – Shot of the woman’s body just wide enough that we can see the faint outline of the cyborg, teleporting away, and the puddle of blood that she lays in.

[Chris2.0]

And here's mine...

What makes a man...

Synopsis:

A lone man is moving through a lush, verdant jungle, going after the mass-murdering robot overlords that killed his family… He is holding something close to his chest in a satchel… He sees them and shoots one of them! But then attacked by 2 others! He fights them! He takes out another one! But the remaining one plunges a bladed tentacle through his chest! But he has a secret weapon and the robot falls! But then the man gets up!? Finally he gets to where he wanted to go… 3 graves… And the truth is revealed…

Character Descriptions:

- Matt – An older, weathered Matthew McConaughey – the years has been hard & unkind…
- Squidbots - these aren’t your Uncle Neo’s squids… They’re more upright then the vertical flying Squiddies from Matrix. They have a main body, with tentacles sprouting below the head. Said head has camera sensors, a pair in front, and then singles on the sides and back. But then we also get to see them rusted, patched and repaired? (But in flashbacks – new & gleaming of course…)
- Matt’s family (in flashbacks – wife, 2 kids – boy and a girl…) For the headstone reference – their surname is xxx and wife’s name is Cathy, kids are Isaac and Courtney. All died on 16 Dec 2021…

Surroundings:

Takes place in:
- Post-pocalypse - the jungle has reclaimed almost everything… Either NY or Rio – with a damaged Lady Liberty or The Redeemer statue visible in the background…
- Matt’s family home & the graves dug in front of the remains of the destroyed house…
- Machine HQ – but only in a flashback, and only the inside of one room…

Breakdowns:

Page 1 - Matt gets a nightmarish flashback to what happened when he was in the clutches of the machines! He snaps out of it, and continues his search for the machines… He finds 3 of them!

Page 2 - He fires, and takes out one! He aims for the second one! But his rifle jams, meaning he has to fight the others hand to hand!

Page 3 - They attack! He takes out one more with a bladed energy weapon!

Page 4 - Only one left! It’s mano-a-machino! But Matt gets a bladed tentacle through his chest and he falls! But the bomb he planted goes off and destroys the squidbot!

Page 5 - Matt gets up! We see the hole in his chest healing up, his blood mixing with the oil from his cyborg chassis… He gets to the graves, adding all the broken robot CPU’s he’s collected since the last visit… The machines may have turned him into a cyborg, but he’ll not stop until all of them are destroyed for what they did to him and his family…

Script:

Page 1 (6 panels)

Panel 1 – Top of the page [Flashback panel – will have different colouring scheme and/or border around them care of colourist, to identify flashback & present day panels… ]

A man is having a nightmare – he’s stretched out on an autopsy table, his skin being flayed off! An android is standing next to the table, doing the flaying [Or is visible in the background, and a squidbot with its tentacle arms with sharp blades are doing the surgery - take your pick!] So basically it’s a man, strapped down, with the leg/arm/body part of his skin being carefully peeled off his body, leaving the muscle/cartilage visible… I want at least his face and neck’s skin still attached, so we can see what he looks like, and to join up to the next panel… If possible show him with his head to the left, and the result of the flaying surgery to the right… He’s awake for the procedure, so his mouth is open.


Panel 2 – Below Panel 1, same tier as Panel 3.
He wakes up from said nightmare – try to keep him in the same pose if possible! If possible, have him lying on the ground or a low branch… He’s holding his mouth shut to suppress any noise… He is dressed in an old ragged soldier’s uniform & behind him we see a lush, verdant jungle, he’s got a rifle slung over his shoulder/body. If possible, show the statue landmark in the far background, so as to show the reader more or less where we are, and that a LOT has changed!


Panel 3 – Below Panel 1, next to Panel 2.
Zoom in – he’s standing now, try to have him the same pose as the android in Panel 1 – to be explained why later… It’s a close-up of his face and chest – pretty haggard looking man w/ beard and clutching a satchel/bag to his chest –asif it contains untold riches or something very important to him…

Panel 4
He is also very careful, looking around, tilting his head so he can listen, as he removes the rifle from his shoulder…

Panel 5
And he aims – he has a resolute – “this ends here” look on his face… He’s actually on a bit of a hull, so he’ll be aiming slightly down towards the target…

Panel 6 (Bottom of the page)
We see what he is aiming at – 3 squidbots… They’re in pretty bad shape – patched together and broken weapons/appendages… Each one is looking in a different direction – the pair of “eyes” shows us in which direction they are looking… This is also the 1st shot of the rifle’s Heads-Up Display (HUD) we will see on Page 2 as well… And of course the squidbots, being human-made, uses a slightly modified version of the HUD as well… So using futuristic font I’d like to see at least the following info displayed – Mag-Gun M45. Distance to target – 900m. Elevation – 1983m. Wind Direction SSW – 15 km/h. Temp – 35 degr. Humidity – 90%. And a 3D icon pointing to North. Power Level – 55% and charging. Zoom Level 30x



Page 2 (5 panels)

Panel 1 – Top of the page
Still looking thru the scope, we see him shoot the one he was aiming for! A small entrance point + some damage can be seen… Can be almost an exact copy of the last panel on Page 1, save for the Power Level – it’s down to 49% and charging… There can be a circle on the screen with some text next to it – CP/AI unit targeted

Panel 2 – Flashback panel
Show 4 or 5 squidbots, where they were looking new and shiny… More or less the same pose(s) as the ones he was looking through the scope at, just with some additional ones to show there were more of them then… They are near a residential house, which we will soon learn is home to Matt and his family…

Panel 3
Back to present day – still looking thru the scope, we see the squidbot explode that he shot! Also some electrical sparks shooting out, showing there’s some serious electrical power in each squidbot… [Can be an almost exact copy of the last panel on Page 1, save for the Power Level – it’s up to 50% and charging…] and Zoom Level 35x

Panel 4
Show Matt again – otherwise we don’t have him on Page 2 at all! He’s aiming at them again, close-up of him, his finger visible on the trigger if possible – he’s ready to shoot again…


Panel 5 - Big panel, bottom of page…
Still through the scope – he sees the remaining 2 are looking right at him, and coming for him! But there’s something wrong with his gun – displays on HUD – WinUX has encountered an error and needs to restart, please be patient… and it’s Windows bluescreening on the right of the panel…



Page 3 (5 panels)

Panel 1 - Big panel, top of the page…
They get to him! Breaking through the trees, vines and leaves! You can make this a pretty big panel to show the squidbots in better detail – one titbit we might have missed earlier is that one of the squidbots has an energy bladed weapon as an appendage! Show Matt somewhere in the panel – and he’s actually dropped his rifle! Show it halfway towards the ground! And show him reaching into his backup whilst dropping the rifle!

Panel 2 - Flashback panel
Flashback to previous attack – 3 or more squids vs. him and his family – wife and 2 kids! He’s dressed in his (still new) soldier’s uniform, carrying a gun, and he is shielding his wife and kids behind him… They’re standing inside a damaged room of their house from Page 2 Panel 2 – the roof and most of the walls have been blown away, facing the squidbots! One of them has an energy-blade weapon all lit up…

Panel 3
Back to present day – he’s taken out the same type of energy-blade weapon - it also looks tentacle-like, to show it was scavenged from the very same type of squidbot!

Panel 4
He uses it to give the squidbot a “tentacle-cut”! Cuts off all the hanging tentacles!

Panel 5
And then he cut through the bot like it was jell-o! Actually cuts an “X” into the robot – from both sides! I’m thinking you can either show the results of the 1st cut, whilst he’s making the 2nd cut? Things are looking pretty good for our main character…! But of course that’s going to change soon…!




Page 4 (6 panels)

Panel 1
Only one left! They face each other - Machine vs Man… It’s on the left, and he’s on the right… Both of them have their energy-blade weapon all lit up as well… It’s hovering a few feet from the ground, its energy-blade tentacle pointed up at Matt. Matt has the energy-blade in one hand, and something else in his other hand, which I’d like to be on the far right of the page. A small box-like object which we’ll later see is a bomb!

Panel 2
We see him from the bot’s POV – and on the HUD we see the “man” is actually an android… But the HUD isn’t in English, so the reveal is spared for later – as there is the same circle on the screen with some text next to it – “Rogue unit CP/AI unit located”

Panel 3
But then the squidbot thrusts the energy-bladed weapon through him! It actually penetrates his chest and exits on the other side – he is dead!? If possible show that it does not damage the satchel he is still carrying… And show his hand which had been carrying the bomb in Panel 1 is empty! But he’s still clutching his energy blade if possible! I see this panel as the 2 mortal enemies on opposite sides of the panel as on Panel 1, with a red background.

Panel 4 - flashback panel
Another flashback– still surrounded by their half-rubble house - he’s captured (and in same position as in Panel 3, but more to the left of the panel) by the squidbots, but his wife+kids are dead, on the right side of the panel! How to show this without seemingly glorifying violence against women and children? They’re in shadows? Or show the outlines of their broken/battered/charred bodies? [Not much better, I know!]

Panel 5
Show the bomb attached to the head part of the bot on the right of the page! On the bomb’s display “00:01” is visible!

Panel 6
Explosion! [Competition note - couldn’t show the destruction in only one panel any other way?] I could have a shot of the squidbot’s HUD – to show it shattering? And some text of “Explosive Device Detected!”?



Page 5 (6 panels)

Panel 1
Matt gets up! Show the wound in his chest, blood and oil mixing as it runs down his cyborg chest. He is using the energy-blade as crutch/staff to get up… The squidbot is in smoking parts all around him…

Panel 2
Close-up of Matt, showing the wound in his chest has closed up/healed! But the soldier’s uniform is still torn, with blood/oil soaking the edges… Show him walking away from the 2 bots – he’s in the foreground, they’re smashed open in the background… And he’s still clutching the satchel close to his “heart”…

Panel 3
Finally he gets to where he wanted to go… Three graves in an area of the jungle that has been cleared… Show the names and dates as per character info… If possible show that the graves are actually near their old house, now just overgrown by the reclaiming jungle… And if possible again, show the statue landmark in the far background…

Panel 4
He unwraps the satchel - inside are lots of broken CP/AI units he’s extracted… They are branded “ARM Core-X A99 CP/AI” if spaces allows…

Panel 5
Close-up on his wife’s grave - He adds the broken robot parts to the pile already on the graves - he is avenging their deaths, one bot at a time…

Panel 6
Show Matt walking away from the graves, back towards the jungle – the graves are closest to the reader, then Matt, then the statue landmark visible in the far background…


THE END

Alternative ending:
Panel 6
Flashback (in red) – “Matt” as the cyborg, killing his old, but now skinless self with a bullet to the head… [Or blade to the heart?] Can be a copy or mirror image of Page 1 Panel 1 to show there is a connection between them… If I could put in a caption, I would’ve put something along the lines of “He was captured, and his skin transferred to a bot… But not just his skin, his consciousness as well… concern for his family as well? Or something like that – still going to re-do this later…

[cbikle]

Molly's Adventure: The Kidnapping.



PAGE 1

Panel 1

The story begins outside of a brownstone building in the city. It is night and we can see two guys in ski-masks and gloves sneaking around the brownstone. One is a little heavier set and the other is tall and wearing a leather jacket.

Panel 2

We see Zach (a child) sleeping with Molly (his dog, a German Shepherd) at the foot of bed.

Panel 3

We see the 2 ski-masked thugs kick the bedroom door in.

Panel 4
Molly bites into the arm of the tall, leather jacketed thug.

Panel 5
The leather jacketed thug shoots Molly (grazing her skull) with a revolver he’s drawn; Molly crumples to the floor but the tears off part of the leather jacket in the process.

Panel 6
It’s now later and we see in background, Mom on knees sobbing into her hands; in foreground we see part of a ransom note; the letters have all been cut out of magazines in classic ransom -note style and says:

IF YOU EVER (and the rest is obscured)

PAGE 2

Panel 1

Back inside, the police are talking to the stressed out mom & dad; Molly is now bandaged and guys with FBI on back of jackets are working and doing various criminal forensics stuff.

Panel 2

Molly sniffing the patch she tore out of the leather jacket that the thug was wearing.

Panel 3

It is daylight and we see Molly walk out of the brownstone.

Panel 4

Molly is now on a highway and walks past an electronic sign that says:

CHILD ABDUCTED

Panel 5

Molly still tracking, now in the bad part of town (hookers, crack dens, etc.)

Panel 6

Outside of a run down home, Molly sees tall guy leaving it; the guy has blonde hair, sideburns, crooked nose and he is wearing the same leather jacket as the guy who shot Molly (part of the arm of the jacket is torn off).

Panel 7

In the background we see the guy walking away down the street and in the foreground, we see Molly enter through side window.

PAGE 3

Panel 1

In the basement now, in the background we see Molly jump down into the basement and in the foreground we see that the entire floor is covered with plastic sheeting and there’s a couple of lined garbage cans and next to those we see 6 industrial-sized bottles labeled: BLEACH. On top of one of the cans , we see three hand-saws of varying length and thickness.

There are also stairs going up to the first floor.

Panel 2

Molly walking up stairs.

Panel 3

Molly looking around corner other and sees the fat thug watching TV.

Panel 4

Molly sneaks past him.

Panel 5

Molly looking into room and we see Zach, in his now-dirty PJs; both hands are handcuffed around a radiator and his mouth is covered with duct tape, but he is NOT blindfolded. Zach has a black eye and some dried blood around his mouth/nose.

Panel 6

Zach sees Molly and smiles and his face completely brightens.

Panel 7

Same panel as above but Zach is now screaming in terror.

PAGE 4

Panel 1

We see the fat thug hit Molly with an aluminum softball bat.

Panel 2

Looking like a rabid wolf, Molly leaps up and tears out the throat of the fat thug. Lots of blood and gore.

Panel 3

Molly grabbing handcuff keys as the guy clutches at his throat which is pouring tremendous amounts of blood.

Panel 4

In the doorway we see tall, leather jacket guy with gun drawn. He looks angry and confused.

Panel 5

Ripped jacket guy shoots Molly again, this time in the body.

Panel 6

Molly bleeding and seemingly lifeless from the many wounds.

PAGE 5:

Panel 1

Ripped jacket guy shoots the fat thug.

Panel 2

Ripped jacket about to shoot Zach who looks terrified.

Panel 3

Molly leaps up and bites groin of ripped jacket guy, who drops gun in pain/surprise.

Panel 4

The leather jacket guy(now terrified) is on the ground with hands in defensive position as Molly lunges.

Panel 5

Molly calmly presenting the handcuff keys in mouth to Zach the same way that a dog would be returning a tennis ball, except there’s a tremendous amount of blood dripping from Molly’s jaws.

Panel 6

Happy ending outside of the house with Zach and Molly in ambulance with family(everyone smiling) while on the other side of the panel, 2 sheet-covered gurneys are loaded into a county morgue van.

[jwall]

LOST BUT NOT FORGOTTEN

PAGE 1
1. A large Newspaper article is hanging on particle board reading, “90th Anniversary of Missing Cruise Ship”. It’s accompanied by a picture of a cruise liner from the 1920’s.

2. The morning sun casts a mellow pink in to the sky as a Brunette woman is casting ropes off the bow of her personal power boat.

3. Inside the cabin, she turns the key. The small table next to her is cluttered with papers and empty coffee mugs. Empty wrappers from meals gone by liter the seats and floor.
SFX: BRRRRR blum blum blum blum blum

4. The boat cruises out of the pier slowly. Little wake so as not to distress the docked boats.

5. Full speed now as she cruises past empty beaches.

6. She is still close to some shore, passing large plumes of rock that jet out the water.

7. Now there’s no more land left to see. Just open water. The boat still jamming away across open water at full blast.

8. A red light is flashing on the panel next to her. An alarm is going off.
SFX:bloopbloopbloopbloopblopp

PAGE 2
1. Checking the depth finder, she looks intently at a large grouping of lights on the radar.

2. The woman is now in a full scuba out fit with fins on her feet. On her back is an oxygen tank. She is about to put on the mask, but her face is still visible.

3. She checks the oxygen levels on her wrist. The meter reads completely full.

4. Underwater, she slowly kicks her way down from the surface.

5. On her way down, it begins to get darker. She passes a school of small fish and others that are brightly colored and some that aren’t. None of which are big enough to give her any trouble.

6. Darker still, she now has to turn on her flash light. The water gets murky and the fish get larger.

7 & 8. (2 panels) Then comes the big reveal of the ship. It’s mostly covered in moss. Fish swim in and out of the windows and out of the large coal stacks. There is a break in the middle of the ship severing it in half. Decks and rooms are only slightly visible through the destruction of the opened hull.

PAGE 3
1. Our diver is swimming in to an open stair way that is only partially blocked by debris.

2. She checks her oxygen level again at three quarters full.

3. Her flashlight shines on some of the cabins and on to floating corpses still fully dressed in bedroom attire.

4. Down the hall way, she sees a man in a tuxedo. His face is undamaged by the water, and his hair flows freely above his head. He’s standing in the hallway, not floating. He looks perfectly alive and he’s staring at her.

5. The woman is taken aback; frightened. Only her eyebrows can be seen raised high on her forehead. She puts up her hand in a startled way and is obviously taken aback.

6. Looking back the man is gone. Only a dark long hallway.

7. She looks at her oxygen levels at half left.

PAGE 4
1. She continues on to the kitchen. Cooks and servers withered by the water to near skeleton form float amongst the ovens and prep tables.

2 & 3. The dining room has several long tables. The one closest to her has a group of people sitting there, all like the man before. The table is still nicely arranged with bowls of fruit and trays of meats all sitting in perfect sterling sliver platters. All of the people are dressed in the ballroom wear. They have their hair floating about, their skin is pale, and their eyes are sunken. All of them are smiling and all of them are looking at her.

4. She is thrown back with fear yet again, but, this time, with more panic in her eyes and body.

5. She races through the kitchen swimming as fast as she can.

6. She checks her oxygen levels at a quarter tank left.

7. She swims in to the hallway, only to find her exit blocked by debris.

8. She swims though another flight of steps going up ward.

PAGE 5
1. At the top of the steps is another long hall way with two large wooden doors at the end of it. There are no other doorways around.

2 & 3. This is the large and exquisite ballroom. There is not a drop of water in sight. The dance floor has a large chandelier hanging above it. There is a band playing next to it, accompanied by musical notes. The group from before is standing there and looking towards her, though now they all look completely in place. They are still dressed in tuxes and ball gowns. Some of the men still sport the handlebar mustaches. The room has a distinct 20’s feel to it, like it’s been trapped in time. The man in front extends a hand out.

4. The woman looks down at her self in surprise. She is now wearing a ball gown as well. Her hair is pinned up. A large necklace lays about her neck.

5. She takes the mans hand.

6. They walk in to the ballroom and everyone begins to introduce themselves.

7. Above the waves, the boat floats there alone on an endless sea.