Thursday, March 5, 2015

Supersonic Free-Falling In Love



6 X 6
Momentum
“Supersonic Free-Falling In Love”
By Ken Henningsen


PAGE 1 (6 PANELS)
Six panel page 1. Panel one is a large vertical panel on the left side of the page. Panels 2-6 are smaller horizontal panels running down the right side of the page. A man is taking a space dive from an extremely high orbit, almost space. The first panel should be him stepping out of a high orbit capsule, reference for this can be found online. Panels 2-6 should show him falling, his figure is very large in the second panel and very small by panel 6. North America should be shown in the distance.

Page 1, Panel 1

CAPTION 1: STORY TITLE
SUPERSONIC FREE-FALLING IN LOVE

Page 1, Panel 2

CAPTION 1:
Love is a thing of frenzy and madness.

Page 1, Panel 3

CAPTION 1:
It’s what we surrender ourselves to.

Page 1, Panel 4

CAPTION 1:
It frees us.

Page 1, Panel 5

CAPTION 1:
It imprisons us.

Page 1, Panel 6

CAPTION 1:
And it transforms us.

PAGE 2 (5 PANELS)
Five horizontal panels starting in the upper left hand corner and descending like a staircase until the last panel is in the bottom right hand corner. There will be background negative space not filled with panels on this page, those should be lightly detailed with sky and clouds. Beautiful blue azure coloring. Each panel should be a 45 degree head down side profile shot of the space diver as he rockets towards the earth.

Page 2, Panel 1

CAPTION 1:
When I was young I loved without question or reservation.

Page 2, Panel 2

CAPTION 1:
I fell deeply and it was damning.

Page 2, Panel 3

CAPTION 1:
Into the abyss.


Page 2, Panel 4

CAPTION 1:
Into the fire.

Page 2, Panel 5

CAPTION 1:
Unto the shattered remains of self.

PAGE 3 (SPLASH PAGE)
Downward shot of the space diver as he falls towards the earth. He’s getting closer so there should be details of distant fields and houses on the ground, lots of greens and tans. No captions on this page, just a beautiful expansive shot of the dive.

PAGE 4 (5 PANELS)
Five horizontal panels stacked on top of each other descending down the page. Each panel should show the space diver getting closer and closer to the earth, artist’s  full discretion on how to portray this.

Page 4, Panel 1

CAPTION 1:
Even the devil’s descent was due to love.

Page 4, Panel 2

CAPTION 1:
The intoxication of another.

Page 4, Panel 3

CAPTION 1:
Being woven together from your broken pieces and theirs.

Page 4, Panel 4

CAPTION 1:
Those moments shared filling in the holes inside your heart and mind.

Page 4, Panel 5

CAPTION 1:
And there below, the sudden stop.

PAGE 5 (3 PANELS)
Three vertical panels running from left to right. The space diver is landing, the parachute has been pulled! The background should be rural and rustic in all of the panels.

Page 5, Panel 1
Space diver is towards the top of the panel.

CAPTION 1:
Beware, the finale approaches---

Page 5, Panel 2
Space diver is in the middle of the panel

CAPTION 1:
---and as inevitable as gravity---

Page 5, Panel 3
Space diver is landing with feet on the ground!

CAPTION 1:
---every story comes to it’s end.



Wednesday, January 14, 2015

PULP COMICS #2 - "Mystery, Science, and Theatre" - Episode 2: Murder at the Kabuki Theatre (Page 1)



PAGE 1 (SPLASH PAGE)

Page 1, Panel 1
Bill and Audrey are standing on stage at a kabuki theatre surrounded by about two dozen heavily armed ninjas. SO MANY NINJAS! There’s a lot going on in this scene and everything is very colorful. It’s traditional kabuki where men play both the male and female roles so Bill is dressed as a woman in full kabuki costuming and make-up, he is also wielding an enormous katana. Audrey is dressed to the nines in a very form fitting slinky dress with a phoenix design, her tattoo sleeve of colorful orchids on her left arm is visible, she’s wearing her thick black framed glasses, and she’s holding an uzi. They are standing back to back getting ready to take on the ninja horde surrounding them.

AUDREY:
MOTHER F*CKERS. 

Tuesday, January 13, 2015

PULP COMICS #1 - "Mystery, Science, and Theatre" - Episode 1: Death of a Femme Fatale

Pulp Comics
"Mystery, Science, and Theatre"
Episode 1: Death of a Femme Fatale
Issue #1





PAGE 1 (NINE PANELS)
A man in a dark suit descends a series of stairs in a run down building. His cane hitting the floor repeatedly, mimicking the pulse of his intended victim.  Panels are equal size. The man in the dark suit has a fedora on, his face is in shadow, his cane is black also with a silver handle, the shape of the number 9 is stamped into the handle. Building is a rundown warehouse in Kansas City, KS; everything is in disarray and falling apart, windows are broken, moonlight is streaming in but there are plenty of shadows, colors are cold, washed out blues and grays. SFX should start out slowly, then continue faster and faster until the last panel.

CAPTION 1: (IN THE UPPER LEFT PANEL)
Prologue

SFX 1: (Spread though out the 9 panels)
Click. Clack. Click. Clack. Click. Clack. Click Clack ClickClackClickClackClickClack..........









PAGE 2-3 (DOUBLE PAGE SPREAD)
Title is in the bottom right corner of page 3: Episode 1-Death of a Femme Fatale. Saul Bass type face.

Double page spread of Kansas City, MO and Kansas City, KS at night. Kansas City, KS is on the left and should appear more industrial, Kansas City, MO is on the right and should be very cosmopolitan, lots of bright neon lighting the city up, a large bridge connects the two cities across the Missouri River. Double page spread should look like a widescreen movie with black bars at the top and the bottom featuring characters from the story and the title and credits. Pictures of Bill Kade and Audrey Kade should be featured on the top left of page 2. Dog footprints and a silouette of their dog, Shasta should be on the top right of page 3.

Note: All artwork on this page, including title and sound effects should be done in a Saul Bass style. The exceptions are the square shots of the characters along the top of the page.

SFX 1: Done in red lettering coming from a warehouse building on the Kansas City, KS side of page 2. Lettering starts small, getting larger until the end of the word.
SCREAM












PAGE 4 (3 PANELS)
Three wide screen panels.

Page 4, Panel 1.
Far away shot looking down a city street at night, working class neighborhood full of apartment buildings and local businesses that you’d find in a community. A physically attractive woman in a green dress is hanging from a light post. Her body is clear in the shot but not her face.

Page 4, Panel 2.
Closer shot of the same scene with a Kansas City, KS police car pulling up next to the lamp post and the hanging body. Police lights are giving off blue and red lighting. The woman’s body is still seen but not her face, blood runs down from her neck, bright red blood dripping down over the bright green of her dress. She isn’t wearing shoes and her fingernails and toenails are bright red also.

SFX 1:
Siren sounds from the police car.

Page 4, Panel 3.
Close shot of the two Kansas City, KS police officers out of the car looking up at the hanging body of the woman, they look a little sick. Her head can be seen clearly now, she is wearing a Janus mask, two-faced mask of the Roman God of beginnings and transitions. The mask should look classically Roman, not like the happy/sad actors mask of the same name. Blood has flowed from her neck, staining her dress, it is still dripping on the pavement.

FIRST POLICE OFFICER:
My God.

SECOND POLICE OFFICER:
The hell is this? Why the mask?

FIRST POLICE OFFICER:
Don’t know. Call it in, sooner she can be taken down the better. Sorry this happened to you, lady.


PAGE 5-6 (5 PANELS)
Panel 1 is a large panel on top stretching across two pages. Panels 2-5 are smaller, on the bottom across pages 5 and 6.

Page 5-6, Panel 1
Long widescreen panel of Bill Kade walking his dog, Shasta in front of a very fancy apartment building. Bill is tall, lanky, and impeccably dressed in a nice suit. He has dark and somewhat messy hair, is handsome but not classically handsome. Give his face some character. He’s in his late thirties. Shasta is a wire terrier. The street in front of the building is busy with lots of nice cars and cabs.

SFX 1:
Whistling.

SFX 2:
Car noises.

Page 5-6, Panel 2
Bill and Shasta enter a very fancy apartment. Audrey Kade (Bill’s wife) is sitting at a desk or maybe a kitchen table working on a laptop, There are lots of papers scattered around. Audrey is stunning, she has short pixie-ish blonde hair and dresses like a 40s era hipster,  she also wears thick framed glasses (like the hipster kids). She’s in her mid-20s, is about 5’3 with a slender build (no Lady Death boobs), and has a tattoo sleeve of colorful orchids on her left arm.

AUDREY:
You two rabble-rousers have a nice walk?

BILL:
Magnificent. Shasta is now acquainted with a very nice corgi from the dog-park. We should start saving for a sufficient dowry.

AUDREY:
Well, as long as she’s happy I’m happy. They grow up so fast.

Page 5-6, Panel 3
Close up shot of Bill giving Audrey a kiss on the cheek. They absolutely adore each other, the art should reflect that.

SFX 1:
Kiss.

AUDREY:
You’re silly. Think I’ll keep you around for a while.

Page 5-6, Panel 4
Audrey continues to work at the desk, Bill goes through some mail.

BILL:
How much more work do you have left?

AUDREY:
Not much. Why?

BILL:
I thought I might take my lady out for drinks and dancing.

AUDREY:
You nefarious charmer. THAT will get you everywhere, sir.

SFX 1:
KNOCK KNOCK

Page 5-6, Panel 5
A hand written note has been slid under the door. The note says, “Get out, now!”


PAGE 7 (4 PANELS)
First panel is one long one on the left side of the page. Panels 2-4 are on the right hand side, stacked on top of each other.

Page 7, Panel 1
Long vertical panel along the left hand side of the page. Outside shot of an explosion from an apartment maybe 10 stories or so up, not the top floor but pretty close. Leaping from the apartment is Bill, he’s holding Audrey, and she is holding Shasta (the dog).

SFX 1:
KABOOM!!!

Page 7, Panel 2
Bill, Audrey, and Shasta land on the street below, he has cushioned their fall (he’s impervious). Everything is in chaos, debris is falling, along with fire and flame going all over. Their cloths are a mess and their faces are smudged but they’re alright.

BILL:
Are you okay!?

AUDREY:
Yes! Are you?

BILL:
Yeah.

Page 7, Panel 3
Three dark sedans full of armed thugs race down the street. Some are hanging out the windows shooting, artwork should be close enough to see the crazy joy of the thug firing out of the first car.

SFX 1:
RATATAT! RATATAT! RATATAT!

SFX 2:
SCREACH!!!

Page 7, Panel 4
The three dark sedans full of thugs pull up close to Bill, Audrey, and Shasta. They’re all out of the car shooting at them. Thugs are just dressed in street clothes, nothing special about their appearance. Bill shields Audrey with his body, Shasta hides under a car. Really show his suit getting torn apart.

BILL:
Audrey!

SFX 1:
RATATAT! RATATAT!

SFX 2:
POP POP POP !!!!!















PAGE 8 (3 PANELS)
3 panels. The first and third panel are large panels on the top and bottom of the page. Second panel is a circle shaped one on the middle right of the page containing a close up of Audrey speaking.

Page 8, Panel 1
Crazy scene of thugs shooting and Bill and Audrey, they take cover behind a car, bullets are going everywhere, cops are starting to arrive in the distance.

BILL:
Stay here! I’ll draw them off, they can’t hurt me.

Page 8, Panel 2
Circular panel with a close up of Audrey’s face. She’s a little dishevelled but looks beautiful and determined.

AUDREY:
Baby. I’m nobody’s damsel in distress, not even yours. Now get after those bastards and bring me back a big gun!

Page 8, Panel 3
Chaos everywhere but Bill and Audrey share a beautiful kiss. Not overly passionate but very tender.









PAGE 9 (4 PANELS)

Page 9, Panel 1
Large panel. Back shot of Bill standing up looking down the street at the thugs, bullets bouncing off of him.  Like an old west shoot out, except he has no gun.

Page 9, Panel 2
Medium panel. Bill running towards the goons shooting at him, bullets going everywhere.

GOON 1:
Shoot the son of a bitch! Keep shooting!

Page 9, Panel 3
Large panel. Bill is in the middle of the goons, some are still shooting, some are fighting. Bill’s body language should look like an old fashioned boxer.

Page 9, Panel 4
Close shot of Audrey taking cover behind a car, a big gun (maybe a Tommy gun) falls into her hands. She has a mischievous smile on her face.

AUDREY:
Thanks, baby.








PAGE 10 (5 PANELS)
Two large panels on the top and bottom, those are the first and last panels. Three descending panels on the right hand side.

Page 10, Panel 1
Shot of Audrey screaming and shooting the big large gun (maybe a tommy gun) at the goons, looking like the most beautiful gun moll you’ve ever seen. Shasta the dog is next to her barking away.

SFX 1:
RATATATATATATAT!!!!!

SFX 2:
BARK BARK BARK

Page 10, Panel 2
Close up of Bill punching a goon in the face hard.

SFX 1:
CRUNCH!

Page 10, Panel 3
Bill smashes a goon through the windshield of a car.

SFX 2:
SMASH!

Page 10, Panel 4
Bill uppercuts one of the goons sending him flying up into the air.

SFX 1:
WHACK!

Page 10, Panel 5
Shot of Bill and Audrey standing next to each other overlooking all of the knocked out and bloodied goons. Bill and Audrey’s body language should be tired and kinda sexy, they should be leaning on each other for support. She still has the tommy gun. Shasta the dog is there also, looking like a happy dog, tail wagging. Police cars are approaching in the background.

BILL:
Well that wasn’t too hard.

AUDREY:
Show off.


















PAGE 11 (5 PANELS)
Two large panels on the top and bottom.  Three smaller panels in the middle.

Page 11, Panel 1
Long shot of a shuttle in orbit over the earth, an astronaut is tethered and out on a space walk, he is working on a satellite in space.

CAPTION 1: TOP LEFT HAND CORNER SCIENCE FICTION FONT
Interlude 1

CAPTION 2: BOTTOM RIGHT HAND CORNER, SIMPLE FONT
Earth Orbit - The Future

Page 11, Panel 2
Close up shot of the astronauts helmet, there’s a reflection of him working on the satellite, show a panel with lots of wires and parts, somewhere the number nine should be written on the satellite.

Page 11, Panel 3
Another close up of the astronauts helmet, he has turned toward the shuttle, there is a reflection of the shuttle and a man in another space suit coming towards him. The other man’s suit is much more sci-fi and futuristic, he isn’t tethered to the shuttle, he has a futuristic space jet pack for momentum, and he is armed with a large sci-fi rifle.

Page 11, Panel 4
Final close up shot of the astronauts helmet with a reflection of the other man pointing the rifle at him, focus should be on the rifle.

Page 11, Panel 5
Large far away profile shot of the man with the rifle shooting the astronaut working on the satellite. Panel should show the movement of the projectile and an explosion as the astronaut’s helmet is struck and the air inside is ignited. Left to right movement, man with the rifle on the left, astronaut victim on the right.

CAPTION 2: BOTTOM RIGHT HAND CORNER SCIENCE FICTION FONT
End Interlude 1



PAGE 12 (7 PANELS)

Page 12, Panel 1
Small panel, downward shot of a very green dense jungle. The top of a stone pyramid/Mayan temple should be poking out of the jungle growth.

CAPTION 1: TOP LEFT HAND CORNER IN JUNGLE FONT
Interlude 2

CAPTION 2: BOTTOM RIGHT HAND CORNER, SIMPLE FONT
Mexico, The Yucatan Peninsula - The Past

Page 12, Panel 2
Small panel, closer but still a downward shot of a man hacking his way through the jungle. His look should be reminiscent of Indiana Jones.

Page 12, Panel 3
Small panel, close up shot of the Indiana Jones looking dude hacking through the Jungle. Lots of dense vegetation, in one of the trees overlooking him there should be a large Puma with red eyes looking down menacingly at him. The number 9 should be featured somewhere on his backpack and maybe on some of his equipment, possible his machete.

Page 12, Panel 4
Large widescreen panel in the middle of the page. The Indiana Jones looking dude has emerged from the jungle into a plaza of sorts, lots of Meso American ruins, he’s on the left hand side facing an enormous pyramid/temple on the right. It’s a Mayan temple so there should be steps, plenty of reference can be found online. The plaza is fairly clear but there’s lots of jungle growth around and on things. There is a puma and a jaguar stalking around, the jaguar is hidden in shadow on the temple, the puma is in the background amongst the ruins. Somewhere there is a dark opening to the inside of the temple.

Page 12, Panel 5
Small panel. Shot from behind of the Indiana Jones looking dude walking into the temple. The puma is stalking behind him unseen.

Page 12, Panel 6
Small panel. Shot from behind of a beautiful naked dark skinned (Native Mexican) woman walking into the temple.

Page 12, Panel 7
Small panel. Close shot of the opening of the opening of the temple and of the beautiful woman killing the Indiana Jones looking dude. She’s killing him with her bare hands with what appear to be clawed hands, this should be shown in silhouette.

SFX 1:
AAAAGGHHH!!!!

CAPTION 1: BOTTOM RIGHT HAND CORNER JUNGLE FONT
End Interlude 2






PAGE 13 (6 PANELS)

Page 13, Panel 1
The inside of a police interrogation room. A goon is sitting in a chair in the center of the room, he’s handcuffed to the chair, there is no table. Bill is leaning against a wall, arms crossed, staring at him. Bill is once again wearing an impeccable suit (gray).

CAPTION 1:
Later-Police Interrogation Room

SFX 1:
Whistling from Bill.

Page 13, Panel 2
Bill standing behind the goon, leaning in to speak to him.

BILL:
You and your friends were hired by an older man with a limp in his right leg. He used a cane in his right hand. He was most likely caucasian but not from this country, he had an accent.

Page 13, Panel 3
Bill kneeling in front and to the left of the goon, staring at him, eye level, his hands steepled.

BILL:
The older man wore a suit and had a hat. He also smelled like almonds and cinnamon.....and cigarette smoke.

Page 13, Panel 4
Bill standing against a wall again, his hands in his pockets and his feet crossed. Staring.

BILL:
You were not hired to kill me, you were hired to kill my wife. You were also the back-up plan and had nothing to do with the bomb that destroyed our apartment. You also came with a small army so you were warned that there would be a fight.

Page 13, Panel 5
Bill standing to the right of the goon, leaning in to speak to him.

BILL:
The woman in the green dress was killed by the old man in the suit in an abandoned confectionery warehouse on the Kansas side of the river.

BILL:
You and your friends murdered two bystanders and one police officer during this afternoons cataclysmic attempt on my wife’s life. I am gifted with the keenest mind west of the Mississippi River, I am impervious to harm, and I will make certain that you lot are sentenced to hang by the neck until death for what you’ve done today.

BILL:
Thank you for your help.

Page 13, Panel 6
Close up shot of the goon’s face, he’s sweaty, astonished, and clearly scared for his life.











PAGE 14 (6 PANELS)

Page 14, Panel 1
The room adjacent to the interrogation room with one of those two way mirrors looking in on the goon. Bill and Detective Infantino are talking, Bill looks great, the detective looks a bit rumpled, think Peter Falk in Columbo.

DETECTIVE INFANTINO:
Holy hell, Bill, how did you find out all of that just by walking around the guy and giving him the ol’ evil eye?

BILL:
The answer to that, my dear detective is simple. I am the world’s greatest detective.

Page 14, Panel 2
Bill and the detective walk down a hallway.

BILL:
I suggest we take only a few officers to check out this warehouse, if anyone is still there we don’t want to frighten them off.

DETECTIVE INFANTINO:
Good idea, I’ll pick out a couple that know how to walk soft.

BILL:
As long as they carry a big stick, that’s the important part.

Page 14, Panel 3
Long shot of the detective’s bullpen. Lots of activity, lots of desks and people around.

BILL:
If this is the warehouse that I suspect it is then it’s currently the property of Audrey’s corporate holdings. We should be able to find out all we need to about it.

DETECTIVE INFANTINO:
Do you think that had anything to do with you and Audrey being targeted?

BILL:
Yes and no. The answer to that is far more complicated, I have several half formed ideas but no proof yet.

DETECTIVE INFANTINO:
Anything you can share?

BILL:
Not yet, patience detective.

Page 14, Panel 4
Close up of a bewildered Bill looking around.

Page 14, Panel 5
Another close up of Bill looking around the other direction.

Page 14, Panel 6
Expansive shot of Bill and Detective Infantino standing in the middle of the detective’s bullpen.

BILL:
Um....where did my wife go?







PAGE 15 (4 PANELS)

Page 15, Panel 1
Circular panel with Audrey entering an abandoned warehouse, flashlight in one hand illuminating the dark, Shasta the dog being carried in the crook of her other arm.

CAPTION 1:
Spooky Warehouse

Page 15, Panel 2
Close up of Audrey wandering around the warehouse, machines in the background, creepy clown candy making motifs aplenty.

AUDREY:
Brilliant idea, Audrey. Figure it out before Bill and go poke around the creepy as hell warehouse full of murderous whackos by yourself. Don’t bring your invulnerable husband or anything.

(pause)

Dammit.

Page 15, Panel 3
Shasta is now on the ground on a leash. Audrey and Shasta are looking at each other.

AUDREY:
What?

AUDREY:
Stop with the look. It’s not like you tried to stop me, y’know.

Page 15, Panel 4
Long panel along the bottom of the page. Shot of two hallways meeting at a 90% angle. A group of goons approach down one hallway and Audrey and Shasta approach down the other. The calm before the storm.

PAGE 16 (8 PANELS)
Eight vertical panels. 4 on top, 4 on bottom. Fight scene with Audrey systematically beating the crap out of a bunch of goons. Think of that fight scene with Old Boy in the hallway for inspiration. The dog should be in on the action too. At one point she takes away a gun and shoots one of the goon’s knees. Goons never have the upper hand, it’s always Audrey beating them up, they never lay a hand on her.


Page 16, Panel 1

CAPTION 1:
Time slows.

Page 16, Panel 2

CAPTION 1:
Teeth bared.

Page 16, Panel 3

CAPTION 1:
Fists fly.

Page 16, Panel 4

CAPTION 1:
Guns drawn.

Page 16, Panel 5

CAPTION 1:
Face punched.

Page 16, Panel 6

CAPTION 1:
Bones broken.

Page 16, Panel 7

CAPTION 1:
Knees capped.

Page 16, Panel 8

CAPTION 1:
Goons defeated.













PAGE 17 (5 PANELS)

Page 17, Panel 1
Medium sized panel. Audrey is at the end of the hallway looking tired and worn out from kicking so much ass. She’s got her hands on her knees and is catching her breath. Behind her the hallway is strewn with knocked out goons.

SFX 1:
Gasp!

Page 17, Panel 2
Shot looking out of the hallway to an open area, a man is in the shadows. He is whistling.

SFX 1:
WHISTLING.

Page 17, Panel 3
Big horizontal panel in the middle of the page. Large open area in the warehouse with tall windows, plenty of sun shining in but also plenty of areas in shadow. Audrey and Shasta are on the left side of the panel and on the right side is a homeless man wearing a suicide bomb vest, he has a detonator in one hand and he is also wearing a Janus Mask.

SUICIDE BOMBER:
Hellllooooo Mrs. Kade. We’ve been expecting yooouuu. Yes we have, yes we have. You’ve been a bad girl, Mrs. Kade.

AUDREY:
Sir, I don’t know what’s going on here but you don’t have to do this. You’re being used. Who put you up to this? Did someone give you money?

SUICIDE BOMBER:
Not money...don’t need money. Better. Purpose again, higher calling---

(pause)

The devil, she walks, when you see her, kill her---That’s what he said.

(pause)

“And the great dragon was cast out, that old serpent, called the Devil, and Satan, which deceiveth the whole world.”

AUDREY:
Well, despite what my husband says (in bed), I’m not the devil. So take it easy and---

SUICIDE BOMBER:
DIE!!!

AUDREY:
Oh, shit.

Page 17, Panel 4
Audrey fires the gun she still has at the suicide bomber.

SFX 1:
BANG!


Page 17, Panel 5
Outside shot of the warehouse and an explosion, the whole building doesn’t go down but one side is shattered, glass and bricks going everywhere. Lots of smoke, lots of warm colors playing off of cold colors.

SFX 1:
BOOM!!!

PAGE 18 (7 PANELS)

Page 18, Panel 1
Long far away shot, wide panel of three police cars with lights flashing crossing the bridge from KC, MO to KC, KA. Bridge should look industrial, lots of steel, KC, MO should be on the right and look very modern, KC, KA should be on the left and look very industrial.

SFX 1:
Siren sound effects at the artists discretion.

Page 18, Panel 2
Close up of Bill and Detective Infantino in one of the cars. Infantino is driving.

DETECTIVE INFANTINO:
You sure Audrey’s there?

BILL:
Absolutely. She would totally and completely figure it out first and go there out of some misplaced sense of responsibility.

DETECTIVE INFANTINO:
So she’s a better detective than you, huh?

BILL:
She thinks so.

DETECTIVE INFANTINO:
Uh huh.

Page 18, Panel 3
Straight forward shot of the three police cars barrelling down Kansas City streets. Lots of older looking brick buildings.

SFX 1:
Siren sound effects.

Page 18, Panel 4
Straightforward close up of Bill and Infantino through the front windshield.

BILL:
Faster! Must go faster!

DETECTIVE INFANTINO:
We’re almost there, Audrey’ll be fine.

BILL:
Of course, Audrey can look after herself. I’m worried sick about the dog though.

Page 18, Panel 5
Bill looks out of the window and sees an explosion in the distance.

SFX 1:
KABOOM!!!

BILL:
Audrey....

Page 18, Panel 6
Three police cars pull up in front of an old warehouse.

Page 18, Panel 7
Bill and Detective Infantino along with four other uniformed police officers run inside the warehouse.





PAGE 19 (7 PANELS)

Page 19, Panel 1
Bill, Infantino, and the 4 officers run into the warehouse. There’s smoke and debris everywhere.

BILL:
AUDREY!

BILL:
AUDREY!

Page 19, Panel 2
Close shot of debris and a half buried but unharmed Audrey and Shasta.

AUDREY:
Over here! We’re fine!

SFX 1:
Bark! Bark!

Page 19, Panel 3
Bill and Audrey embrace!

Page 19, Panel 4
Bill and Audrey kiss!

Page 19, Panel 5
Shot of Bill and Audrey holding hands and talking. The dog is looking up amused with a big doggy grin.

BILL:
How did you know to come here anyway?

AUDREY:
I’m the world’s greatest detective, remember?

BILL:
Oh really?

AUDREY:
After all, I did solve that thing in Istanbul with the black bird.

BILL:
Yes, well I solved the thing in New York with the murdered industrialist and the secret formula.

AUDREY:
Okay okay, we’re both the best, honey.

BILL:
Much better.

Page 19, Panel 6
Two of the uniformed cops are standing over a big hole in the ground.

FIRST POLICE OFFICER:
Detective! Over here!

SECOND POLICE OFFICER:
It looks like a horror movie down there.

Page 19, Panel 7
Everyone is gathered around the hole looking down.

DETECTIVE INFANTINO:
That’s a long way down. Anyone know where the stairs are?

AUDREY:
Buried, I think.

BILL:
I can jump down. The rest of you grab some rope and follow as soon as you can.























PAGE 20 (5 PANELS)

Page 20, Panel 1
Shot from below looking up as Bill jumps down.

Page 20, Panel 2
Audrey descends the rope, she almost at the bottom as Bill helps her down.

AUDREY:
That was fun, I don’t think I’ve climbed a rope since high school Phys, Ed.

BILL:
Well thanks for joining me. Set yourself, it’s pretty bad down here.

Page 20, Panel 3
Everyone has climbed down the rope and is standing around.

DETECTIVE INFANTINO:
Well, Bill, what have you found out?

BILL:
Better see for yourself, detective.

Page 20, Panel 4
Large panel with Bill shining a flashlight over a horror scene. Big room with a large altar in the middle covered with blood, knives, and chains. A medical cart is standing next to it with an assortment horrible instruments.

BILL:
Whatever happened down here was no simple murder. It was a human sacrifice.

(pause)

And whoever did this left us a message...




















PAGE 21 (SPLASH PAGE)

Page 21, Panel 1
Bill, Audrey, and Detective Infantino along with four uniformed police officers are standing in the basement of a run down old warehouse. Audrey and Infantino are alarmed but Bill looks almost casual with his left hand in his pocket and his flashlight pointing at a message written on the wall in what appears to be blood, the letters are dripping. Lots of machinery and occult objects are scattered around. They’re all looking up at what appears to be a message written in blood on the wall.

CAPTION 1: (THE WRITING ON THE WALL)
HELLO MR. AND MRS. KADE.

AUDREY:
Well this just got really strange.

DETECTIVE INFANTINO:
The hell is going on here, Bill?

BILL:
Someone’s playing a game with us, my dear detective, and for now......they’re winning.

CAPTION 2:
To Be Continued in Episode 2-Murder at the Kabuki Theatre!








PAGE 22 (9 PANELS)
Same as page 1 there are 9 panels of equal size. In panels 1-6 the same man in the dark suit and fedora is walking down the stairs in a rundown and abandoned apartment building, his black cane with a silver handle engraved with the number 9 hitting the floor in a quickening rhythm. In the seventh panel you see him get to the basement door, in the eighth panel he opens the door revealing a beautiful women in a green dress with red hair chained and huddled on the floor. In the ninth panel the door slams shut and you hear the woman screaming.

CAPTION 1: (IN THE UPPER LEFT PANEL)
Epilogue

SFX 1: (SPREAD THROUGH OUT PANEL 1-6)
Click Clack Click Clack ClickClackClickClackClickClack.........

SFX 2: (IN PANEL 9)
No No No No No........SCREAM!!!!!