Kgor - Chapter 2 v13

KGOR - CHAPTER 2 V13
PAGE ONE (3 PANELS)
PANEL 1
EXTERIOR FARM
PUSHING IN OVER TOP of a farmer's field full of golden long
wheat
ANIA (VO)
When I was in grade school the
other girls would force my face
into the mud, and tell me to eat it
because they said I liked the taste
of shit.
The focus of this shot is on an OLD WOOD BARN in the mid
ground.
CHYRON
Outside of Reykjavik.
Off to the sides, we see a FUTURISTIC HARVESTER, hovering
above the fields, at work.
http://tinyurl.com/jls4r9v
http://tinyurl.com/jgko2py
In the background, we see the main FARMHOUSE, cute and
classic, with a front porch, rocking chairs.
http://tinyurl.com/hwpwbac
http://tinyurl.com/jlfcn2f
PANEL 2
INSIDE THE BARN
WIDE SHOT DOWN LOW looking at the interior of the barn.
It's big and open. All wooden style with a few hints of
futuristic technology.
ANIA (VO)
They convinced the boys in high
school to rub their semen on my
locker door.
ANIA (VO)
They said they were doing me a
favor, because I had no dad.
Near the middle of one side of the wall, we see that ANIA is
STRAPPED down to a long wooden board on legs, that looks like
it's been built just for this purpose. It's slightly at an
incline. The straps are leather, and fixed around her wrists
and legs individually. Perhaps intended for another reason...
PIRES
You see that Clara? That's the bad
lady that daddy was talking about.
Standing next to Ania, but hovering above her is PIRES and a
little girl. This is Pires's daughter, CLARA (4).
ANIA (VO)
People tell you that changes after
high school. That the bullies
magically disappear. They're wrong.
Pires is holding down a piece of jerky to a small pig, that
eats from the end of it.
PIGS run around errantly in the foreground, eating slop.
PANEL 3
MEDIUM CLOSE UP On Pires as he bends over slightly, hands on
his thighs, in a fatherly way to talk to Clara
PIRES
She hurt daddy, but daddy stopped
her. She's pretty scary right?
Ania tied in the background, behind them, struggling in her
straps
PAGE TWO (5 PANELS)
PANEL 1
MEDIUM CLOSE UP on Ania
ANIA
(angry)
For god’s sake Pires, get the girl
out of here. She shouldn't see this.
PANEL 2
OVER THE SHOULDER of Ania in the foreground onto Pires and
Clara cheated towards her, looking at her, Pires still bent
over, talking to Clara
Clara looks at Ania, a bit scared of her
PIRES
You see how she lashes out. She's
got what we call a sharp tongue.
Should we teach that sharp tongue
of hers a lesson?
CLARA
Are you going to send her away
daddy?
PIRES
We could, but don't you think
she'll just hurt some other poor
little girl like yourself?
PANEL 3
MEDIUM CLOSE UP on Clara frame dirty with Pires
CLARA
(worried, wideeyed)
What should we do daddy?
PANEL 4
OVER THE SHOULDER OF Clara looking up to Pires, who looks
large and imposing in this frame
Pires HOLDS out a knife to Clara, handle out
PIRES
You see this? It's for skinning
pigs.
(beat)
Here... take it...
PANEL 5
MEDIUM SHOT ON Clara cheated towards the camera, holding the
knife, looking at it.
Behind Clara in the midground is Ania, strapped down.
In the background, standing above Ania is Pires, looking down
over at Clara, on the other side
PIRES
Careful with that. It's very very
sharp. You don't want to cut
yourself.
CLARA
I don't like sharp things, Papa.
PIRES
It’s time for you to grow up,
Clara. Now put that knife in
between her toes. Right here, on
that webbed part.
PAGE THREE (5 PANELS)
PANEL 1
CLOSE UP DOWN LOW ON the blade touching down between the
fleshy bit between Ania's big toe and middle toe, with Clara
holding it in the midground, cheated back to us.
Clara looks unsure of herself...
PIRES
Now I want you to pull it, so that
it cuts into her.
PANEL 2
BEHIND CLARA ONTO Ania, as she speaks to Clara, sincerely
ANIA
Clara. You don't need to do this.
Your dad is a bad person. He
kidnapped me
PANEL 3
CLOSE UP DOWN LOW of the Knife CUTTING deep into Ania's skin,
severing the webbed part of the toes, blood flowing, with
Ania's face in pain the background
SFX
Szzzzlt!
ANIA
Aannghh!
PANEL 4
MEDIUM WIDE SHOT on Pires, Ania lying in front of him, and
the back of Clara's head in the foreground
PIRES
That's great Clara! Now this bad
lady knows where all the other bad
people are hiding. It's called
Camp2, and they have a relativity
machine.
(beat)
You could even use that machine to
bring mommy back.
CLARA
(concerned)
When can we bring mommy back?
PANEL 5
WIDE SHOT FROM UP high looking down on all three of them, as
Ania looks helpless.
Pires places the blade to Ania's cheek.
PIRES
Let's find out. Clara, why don't
you try cutting right here.
ANIA
Pires. Please.
(beat)
Don't make her do this.
CLARA
(shy, scared)
Okay daddy.
PAGE FOUR (5 PANELS)
PANEL 1
OLD SQUARE IN TURIGUS
WIDE SHOT DOWN LOW looking up at the KNIGHT GUARDIAN'S JET
as it LANDS still hovering a few feet of the ground
Behind it we can see the crumbled facades from buildings and
stones that are still worn from old wars.
Even though it hasn't touched down yet, the landing ramp is
already down, and Sufan is STEPPING off of it, as Piotr holds
himself in the open doorway, watching him go
CHYRON
Turigus
PIOTR
(loudly over jet noise)
Sufan, give us a second to actually
land this thing.
SUFAN
Get to Ania as fast as you can. Wait
for nothing.
SFX
(Whirrrr)
DELETE SFX
PANEL 2
BEHIND Piotr, so that this shot is framed by the jet's open
doorway, and Piotr's arm across it onto the doorframe,
holding himself from falling out.
In this frame is a MEDIUM SHOT of Sufan, now standing on the
ground, looking up at Piotr and us
SUFAN
I've already contacted the
Reykjavik police, but it's in your
hands to get to her first.
PIOTR
Who's going to chase down the leads
to Aaran's killers?
PANEL 3
MEDIUM CLOSE UP on Sufan
SUFAN
I'm still a Knight Guardian, if you
remember. Now hurry up and get
going.
PANEL 4
BEHIND SUFAN, onto a WIDE SHOT of Piotr in the Jet's doorway
as it starts to ascend again away
PIOTR
Sufan. You can't escape using the
relativity machine forever.
SFX
Whoooooshhhh
PANEL 5
MEDIUM CLOSE UP on Sufan's face, hardened, as he considers
Piotr's words...
PAGE FIVE (4 PANELS)
PANEL 1
WIDE SHOT DOWN LOW of Sufan walking away from us in the
foreground
Towards a bar in the background labelled "CAFE BERLINER"
PANEL 2
INSIDE THE BAR
WIDE SHOT on Sufan, entering inside the door into the bar
from the background
Everything is wood, and brass. But the thing that really
stands out is the strange TAXIDERMY ANIMALS that are spread
all around the bar.
http://tinyurl.com/gm4xyo8
http://tinyurl.com/jr3dguv
http://tinyurl.com/jyo2ps8
http://tinyurl.com/zp8ojjq
In the foreground, on the left side of frame is the ROBOT
BARTENDER behind the bar, wiping down the counter. An OLD
WOMAN sits up at the bar and drinks, almost drowning in her
own glass.
Dispersed around the tables are a few other CHARACTERS, who
all all look like they have their own stories to tell. Mostly
old, some with war scars, or mechanical appendages.
PANEL 3
OVER THE SHOULDER OF Sufan, as he walks towards a man seated
at a table, looking up to him and us. This is JON VISCOUNT.
VISCOUNT
Sufan.
Standing behind the table, between them, is a giant
TAXIDERMY BLACK BEAR, standing up on its hind legs, GROWLING,
belly right up against the table. It's somewhat unnerving.
There's also SMALL FAT CAT lying on the table between them,
in front of the bear. It's the only LIVING animal in this
entire place, and it's decided to pick their table to lick
its own butthole at the moment
PANEL 4
SIDE PROFILE MEDIUM WIDE SHOT on Sufan sitting down at the
table, opposite side of Viscount, with the bear standing over
them in the middle.
The Fat Cat looking up momentarily from its butthole
VISCOUNT
Why do you still choose to meet in
this old dump?
SUFAN
(gesturing to cat)
Do you know a place with better
company in this city?
PAGE SIX (6 PANELS)
PANEL 1
MEDIUM SHOT on Viscount.
VISCOUNT
I'm sorry to hear about Aaran.
PANEL 2
OVER THE SHOULDER of Viscount onto Sufan. The Fat Cat looking
up at him now curiously.
SUFAN
Let's make sure he didn't die in
vain, Jon.
VISCOUNT
What are you implying?
SUFAN
Aaran was murdered because he
found someone attempting to break
the treaty.
PANEL 3
WIDE SHOT of Sufan and Viscount talking at the table.
In the foreground is a SHADY GUY drinking a beer, cheated
towards camera, but clearly eavesdropping in on the
conversation behind him with Sufan and Viscount
VISCOUNT
No offense Sufan, but Aaran was
always picking fights. Maybe this
time he picked a fight not suited
to an old man.
SUFAN
The bodies of Anjan Carn and a dead
Cino gang were also found at the
Chalet. You know who Anjan Carn
is.
PANEL 4
SIDE PROFILE MEDIUM SHOT on Sufan and Viscount, with the
roaring bear taking up most of the spotlight in the middle.
Viscount POURS a little bit of his beer on the table in front
of the cat
VISCOUNT
Come off it Sufan. No one is stupid
enough to try that again after the
wars.
SUFAN
No one is stupid enough to try and
build a device that will give them
absolute power? Really Jon?
VISCOUNT
What proof do you have?
PANEL 5
OVER THE SHOULDER of Sufan onto Viscount. The cat is lapping
up Viscount's little puddle of beer on the table now
SUFAN
We're working on it. But I have to
ask you. Who do you think would do
something like this?
VISCOUNT
There is someone. He's called
Zentner Van Heerden. Does it ring a
bell?
PANEL 6
MEDIUM CLOSE UP on Sufan
SUFAN
Only rumors. What are the facts?
PAGE SEVEN (3 PANELS)
PANEL 1
REFUGEE DISTRICT 35 YEARS AGO
WIDE SHOT DOWN LOW inside the refugee district. We're in
among the CROWDS of starving people, of all ethnic cree,
beaten by the world, and by the system.
VISCOUNT (OS)
Van Heerden's from Turigus
originally. He grew up in the back
streets of the Refugee District.
CHYRON
35 years ago
Trapped by barbed wire and fences. ARMED GUARDS and watch
towers. Poverty. Hover patrol ships SHINING their LIGHTS
down.
http://tinyurl.com/zy45q8d
Inside are makeshift buildings from tarp and metal. Tents
strewn among the building ruins on the outsides from the
wars.
http://tinyurl.com/z78meas
http://tinyurl.com/nrmt3kz
http://tinyurl.com/j86y5dn
PANEL 2
MEDIUM DOWN LOW on a YOUNG BOY (6) holding his stomach in
starvation, sitting among scraps of garbage on the ground,
cold and alone. This is YOUNG VAN HEERDEN. We'll call him Boy
VH
In the background, we can see a HOVERING ARMORED HUMMER,
guards standing outside of it, surrounding an refugee couple

TROOP
Get down! Get down or I'll smash in
your kneecaps!
PANEL 3
MEDIUM SHOT on the TROOPS BEATING down the refugee woman and
man in the foreground, as a CAMERA WOMAN in the midground
kicks a child trying to get away.
http://tinyurl.com/jntcsl7
In the background, we can see Boy VH, sitting on the ground,
watching all of this. He's seen this sort of random violence
here before
SFX
Whack!
TROOP
Where did you get these clothes?
You stole them didn't you?
WOMAN
Please! Don't, we're just trying to
get back to our tent!
PAGE EIGHT (5 PANELS)
PANEL 1
OVER THE SHOULDER of Boy VH onto the wide open door of the
HUMMER
TROOP (OS)
Search their pockets and bags.
PANEL 2
MEDIUM SHOT FROM DOWN LOW on the Hummer backseat. Sitting on
it, right in the immediate foreground is a FOOD RATION BAR.
FRAMED by the open door of the Hummer, now standing in the
background, looking right at the food in front of us is Boy
VH
PANEL 3
MEDIUM SHOT FROM DOWN LOW of the Refugee Woman being beaten
down by the troop standing above and behind her, using the
butt of his rifle to CRACK her in the temple
SFX
WHACK!
WOMAN
Unghh!
PANEL 4
SIDE PROFILE WIDE SHOT from a distance, of the Troops walking
and getting back into the Hummer
As the injured refugees are laid out on the ground in front
of the Hummer, beaten
TROOP
Move out!
PANEL 5
HIGH ANGLE FROM ABOVE, looking down at the hovering Hummer
ZOOM away revealing lying underneath it was
Boy VH with the food ration bar in his hands.
SFX
Zoooom
PAGE NINE (5 PANELS)
PANEL 1
MEDIUM WIDE SHOT on Boy VH UNWRAPPING the food ration bar, as
he walks into a more empty alleyway between tents
PANEL 2
MEDIUM CLOSE UP on Boy VH as the food ration bar is SNATCHED
right out of his hands by SOMEONE out of frame as Boy VH
turns his head in surprise
PANEL 3
BEHIND Boy VH, to make him look small
As in front of him is an older boy named KURT with a gang of
other kids behind him. Large and foreboding. Kurt holds up
the bar to gloat
KURT
Thanks for the food, asswipe.
BOY VH
Give it back, Kurt.
PANEL 4
SIDE PROFILE MEDIUM SHOT of Kurt GRABBING Boy VH's shoulders,
as leverage to
KNEE HIM HARD!!! Right in the stomach
KURT
Here's something to fill your
stomach.
SFX
THUD!
As Boy VH takes the full force of it in pain
BOY VH
Unngh!!
PANEL 5
MEDIUM WIDE SHOT DOWN LOW with Boy VH down on the ground,
facing us, HOLDING his gut in severe pain, totally collapsed
in the dirt. Litter around him, old bottles, and junk. An old
broken toilet.
Kurt walks away with the other kids in the background, taking
a bit BITE out of the food ration bar
KURT
(smirking)
This bar tastes like shit.
PAGE TEN (5 PAGES)
PANEL 1
MEDIUM ON Kurt as he WALKS AWAY eating the food ration bar,
as the other kids flank him.
Behind him, in the gap between the kids, we see that Boy VH
is forcing himself BACK UP, head down, looking small
compressed by these large figures in the foreground
MULLET KID
Let’s go back and watch the guards
strip some more newbie’s.
PANEL 2
MEDIUM CLOSE UP on Kurt as an old toilet lid SMASHES across
the back of Kurt's head and back!!!
SFX
(type made from toilet
fragments maybe?)
Smash!!!
PROPELLING him forward, the food ration bar SPITTING out of
his mouth Sending him down to the ground hard!
KURT
Unnngh!
PANEL 3
MEDIUM WIDE SHOT of Boy VH standing above Kurt, who's on the
ground, bleeding from his nose
Boy VH has his leg raised up above Kurt's head, about to
STOMP his face into the dirt
KURT SFX
Unnnnn....
PANEL 4
MEDIUM CLOSE UP on Boy VH's face as he FOOT STOMPS Kurt's
head into the ground!
SFX (OS)
STOMP!!
We see the intensity in his expression it's MURDEROUS
The other kids in the background, looking down at Kurt in
fear and shock Paralyzed from such excessive violence to
do anything
PANEL 5
CLOSE UP on the food ration bar pieces on the ground in the
dirt, as blood SPLATTERS onto them
DOUBLE PAGE SPREAD ELEVEN AND TWELVE (7 PANELS)
PANEL 1
HIGHWAY IN THE WASTELANDS
We're out in the wastelands, which is mostly rock and desert,
with old destroyed pieces of civilization scattered among it.
Old crashed war helicopters, rusted out cars halfburied in
the sand.
CHYRON
15 years ago
http://tinyurl.com/gulhxtq
http://tinyurl.com/hhurtro
WIDE SHOT on top of a JAGGED DEAD ROCK HILL This is our
BIG PANEL stretching across BOTH PAGES
Looking out at a LONE HOVER CAR on the left side of the
frame, driving towards the right On a dark highway road,
just it's own lights illuminating the way The sky above it
is filled with hints of color, like ASTRONOMICAL TWILIGHT
VISCOUNT (OS)
He escaped to the Wastelands when
he was older with his gang. Used to
terrorize those using the highways
in and out of town.
In the FOREGROUND, on top of the hill, we're with an OLDER
VAN HEERDAN. He's rough looking, but almost handsome in a
way, like a Tom Hardy type.
VISCOUNT (OS)
We sent a few patrol groups after
him at first, but he’s stubborn and
damn elusive.
He leans up against a cool HOVER MOTORCYCLE next to grown up
versions of the gang of kids from the refugee camp. Van
Heerdan is cheated towards the frame, as the others look out
at the car, some in profile, some with backs to us
http://tinyurl.com/zytswyu
http://tinyurl.com/gnl6kps
http://tinyurl.com/gmcl8ee
They watch as the HOVER CAR rockets towards passing the
bottom of the hill they're perched up on VADA (20) is a
badass woman, dark hair, tattoos, health goth style clothes

VADA
Will you look at these smug
Townies.
(beat)
Boss, I think it's in everyone's
best interest if I just shoot them
now.
VAN HEERDAN
Dead bodies get investigated. Nobody
goes looking in the wastelands for
stolen money.
(beat)
Targo.
TARGO (16), like a younger kid brother, scrawny but tough as
shit, super smart tech kid.
TARGO
Got it.
PANEL 2
MEDIUM CLOSE UP on Targo PRESSING a button on his watch
device.
PANEL 3
WIDE SHOT DOWN LOW on a GLOWING SET OF GROUND LIGHTS strung
across the the road. Like a LIGHT version of tire SPIKES
activating right in front of us as the lights SHOOT UP
from their belt on the ground
SFX
Zwooop!
In the background, the hover car RACES towards it, unable to
slow down in time
PANEL 4
WIDE SHOT from up high
As the HOVER CAR crosses the lights, its hover mechanism
disengages, HITTING the ground hard, as it SCRAPS across the
ground!
SFX
(DELETE SFX)
A few SPARKS flying from the nose
PANEL 5
SIDE PROFILE WIDE SHOT as the car SLIDES across the
highway, tons of FUCKING SPARKS flying everywhere
SFX
KSSHHHHHHHZZZZZHHHH
PANEL 6
MEDIUM SHOT on Van Heerdan and the gang, as they watch The
others are excited, already hyped
But Van Heerdan is steady, calm, watching with sharp eyes
VADA
You’re going soft, Van Heerden.
PANEL 7
MEDIUM WIDE SHOT DOWN LOW, as we see the car's emergency jets
suddenly KICK ON and it HOVERS back on it's way again
TARGO (OS)
Shit! They've got backup jets!
PAGE THIRTEEN (5 PANELS)
PANEL 1
MEDIUM ON Van Heerdan, as he turns his bike in the opposite
direction dust SWIRLING up
As the others start to RACE away from him in the midground

VAN HEERDAN
Follow them, I'll dip this side.
PANEL 2
WIDE SHOT BEHIND VAN HEERDAN in the foreground, as he RACES
fast down the JAGGED hill
DODGING sharp boulders and busted up crashed hoverbikes that
didn't survive this run before
PANEL 3
SIDE PROFILE SHOT of Van Heerden's hover cycle BLASTING
towards the bottom of the hill
All the emphasize on how steep and fucking dangerous this is

PANEL 4
MEDIUM WIDE SHOT of Van Heerden's hover cycle coming to a
stop in the middle of the highway in front of us in the
foreground as he lifts up a shotgun
POINTING it at the car approaching him and us from the
background
PANEL 5
MEDIUM WIDE SHOT FROM on Van Heerden on the hover cycle,
which is side profile to us
As he points the gun past us at the car and FIRES!
SFX
BLAT!
PAGE FOURTEEN (6 PANELS)
PANEL 1
MEDIUM SHOT on the hover car's JET on one side getting HIT!
with a small explosion of smoke and FIRE out the side
As the hover car BARRELS out of control towards us
SFX
Boooom!
PANEL 2
WIDE SHOT on the Hover car ROLLING violently in the
foreground towards Van Heerdan, who sits still on his bike,
as it SMASHES towards him pieces FLYING off everywhere
It's TOTAL FUCKING CARNAGE
PANEL 3
SIDE PROFILE WIDE SHOT of the car ROLLING and SMASHING right
past Van Heerdan on the side
Totally leaving him unscathed
SFX
(Smaassh!)
DELETE SFX
PANEL 4
WIDE SHOT on the car in the foreground, upside down, its one
jet still with a small fire on it, the rest of the car just
crushed and SMASHED
Whoever is inside just got brutally beat up in that wreck
In the midground, we see Van Heerdan looking over at it, as
the other cycle gang ZIP UP to him from the background
PANEL 5
MEDIUM SHOT on Van Heerdan, as the others ride up to him
VADA
(having fun)
Looks like you still love getting
people killed!
VAN HEERDAN
(even)
I was trying to slow them down.
TARGO
Let's grab the cash and bail.
PANEL 6
MEDIUM SHOT on Van Heerdan, turning to Targo, as he PULLS up
next to him in the foreground of frame, side profile, so that
just part of the frame is dirty with Targo's face
VAN HEERDAN
Careful... They could be armed.
PAGE FIFTEEN (4 PANELS)
PANEL 1
OVER THE SHOULDER of Van Heerdan onto Targo
As Targo RIPS the door OPEN on the FLIPPED over car
SFX
Cliink
PANEL 2
MEDIUM WIDE SHOT from inside the cab of the car to reveal
that it's empty
We're looking OUT the open door in the middle, like frame for
Targo, who's down looking inside the car
We can see Van Heerdan's legs in the background further
away from the car
TARGO
What the hell? There's no one
inside this thing?
PANEL 3
WIDE SHOT with the car and Targo on one side of frame, as the
car FUCKING EXPLODES!!!!
Engulfing Targo AND BLASTING VAN HEERDAN back VIOLENTLY
as shrapnel FLIES at him
SFX
BOOOOOMMM!
PANEL 4
WIDE SHOT on Van Heerdan, on the ground, his face halfripped
off, looking like a horror film monster trying to PUSH
himself back up The red and oranges of the fire reflecting
off his face
As he looks at the FLAMING CAR and Targo's crispy burnt
body next to it
VAN HEERDAN
(weakly)
Targo....
PAGE SIXTEEN (5 PANELS)
PANEL 1
VET OPERATION ROOM/CRIMINAL HOSPITAL
We're inside a rough looking vet operating room, with animal
cages in the back. It's also used for criminals who can't go
to the hospital There's a few futuristic looking pieces of
equipment next to what's mostly run down junk
MEDIUM WIDE SHOT on Van Heerdan sitting facing us, on the
operating bed.
Next to him is a tiredlooking DOCTOR (50), looking him over,
and talking casually
DOCTOR
Judging by the burns and chemical
residue, this was definitely a
military grade hotplate.
DOCTOR
You're lucky you survived. Your
female friend is bleeding through
her bandages, won't last the night.
In the foreground, we can see Vada's body in the bottom of
the frame, BLEEDING OUT of the bandages in her gut
PANEL 2
MEDIUM SHOT on Van Heerdan as the doctor lifts a helmet over
Van Heerdan's head to SLIDE it down
DOCTOR
This will help keep everything in
place, and your eyes… They’ll be
sensitive to light.
PANEL 3
CLOSE UP on Van Heerdan with the helmet on. A deep sense of
hate coming from what's left of his visible face
DOCTOR (OS)
You might experience some problems
eating with your jaw.
PANEL 4
BACK AT THE BERLINER
BEHIND Sufan, onto Viscount on the other side of frame, with
the bear in the middle of frame. The Fat Cat is now on the
bear's arm, trying to paw at it's face
VISCOUNT
He's been dealing the drug
Messioxicelithopayne since. Payne
for short. It’s a variation on the
drug used to clear the chests of
the workers who are sent to the
wastelands.
(beat)
He’s become bloody powerful on the
back of it...
SUFAN
You should have brought him down by
now.
VISCOUNT
It's not that easy. He's organized,
weaponized and far more clever than
a common crook.
(beat)
If he's got a Hadron Converter,
than you need to act now.
PANEL 5
MEDIUM CLOSE UP on Sufan, as he considers Viscounts words,
and this dire situation he's in
VISCOUNT (OS)
Sufan, you can't wait any longer.
PAGE SEVENTEEN (5 PANELS)
PANEL 1
MEDIUM WIDE SHOT on Ania, she looks like hell. She's badly
cut up. Beat and bruised all over.
ANIA
Unnnnhh...
Pires and Clara poke into the side of the frame, hovering
just above her both on the same side of Ania now.
Pires is CHEWING a big piece of Jerky greedily, as BITS fall
onto Ania
PIRES
Clara do you want to see what
electricity does to the body?
CLARA
(nervously)
Um…
ANIA (VO)
Pork jerky. Of course he’d eat pig
in front of the pigs.
PANEL 2
WIDE SHOT of Ania on the board, as Pires and Clara stand
above her, on the other side, facing us
Pires HOLDS out the handle of an electric cattle prod to
Clara.
PIRES
It actually melts the flesh. Now
make sure not to touch this end.
Maybe try her face first, if you
want.
CLARA
Papa, she scares me when she
screams.
PIRES
It's okay, doing the right thing is
sometimes hard Clara.
PANEL 3
MEDIUM SHOT on Clara moving the cattle prod in towards Ania's
face, so both are cheated to camera
PIRES (OS)
Try it on the pigs first.
PANEL 4
MEDIUM CLOSE UP on Clara moving the burning electric cattle
prod towards us. She's struggling. On the verge of tears. The
frame is dirty with the edges of Pires's body, to make him
imposing over her
CLARA
(tears)
Papa, I don't want to...
PIRES (OS)
Clara, do it. Or daddy will put you
back into the dark box again. Do
you want that?
PANEL 5
OVER THE SHOULDER of Clara onto Ania, who looks at Clara
unafraid. She speaks to her sincerely
ANIA
Clara, you can stop.
(beat)
I'll tell you where Camp2 is.
Pires, just get her out of here
before you kill me.
PAGE EIGHTEEN (6 PANELS)
PANEL 1
MEDIUM SHOT DOWN LOW BEHIND Clara looking up at Pires, making
him look big above her and Ania
PIRES
(beat)
Come on Clara, let's take you back
to the house.
PANEL 2
MEDIUM WIDE SHOT with Ania side profile looking up at the
bottom of the frame in the foreground
Pires and Clara's back are to us, as he holds her hand,
leading her to the door out in the background
PIRES
That was fun, wasn't it.
She LOOKS back to Ania, fear and concern on her face
PANEL 3
MEDIUM CLOSE UP on Ania. All of a sudden she looks very
ALERT, as she looks down at something by her side
PANEL 4
CLOSE UP on her hand opening to reveal a large piece of
fallen jerky in it. Close to the leather straps on her wrist

PANEL 5
CLOSE UP of Ania's hand awkwardly SLIDING the jerky up into
the space between her wrist and the leather strap
PANEL 6
WIDE SHOT DOWN LOW on a PIG eating in the foreground, Ania
lying in the midground, and the background door shut now,
with Pires and Clara gone
ANIA
Here piggypiggypiggy! Come here
little piggy! I've got a treat for
you.
(beat)
I hope you like pork jerky…
PAGE NINETEEN (6 PANELS)
PANEL 1
MEDIUM CLOSE UP on the Pig looking up at Ania from his slop
on the ground
SFX PIG
Skkreeeee!
PANEL 2
MEDIUM SHOT from behind the pig as it now is standing with
Ania in front of it, looking up to her
She looks down at it, trying to TUG her wrist straps
ANIA
Come on. Have a smell.
SFX PIG
Sniff sniff
PANEL 3
MEDIUM CLOSE UP of the pig trying to EAT through the leather
strap to get to the piece of jerky
SFX PIG
Chompchompchompchomp
ALSO taking small BITES out of the sides of Ania's wrist!!
PANEL 4
MEDIUM CLOSE UP on Ania fighting through the pain of this
animal eating into her arm flesh
ANIA
(in pain)
Annngh...
PANEL 5
MEDIUM WIDE SHOT of Ania PULLING her arm out of the broken
frayed eaten strap, as the pig still tries to eat bits of
jerky on the strap
SFX PIG
Chomp... chomp...
We can see Ania's arm is BLEEDING, with large GASHES from the
pigs teeth into her wrist and lower arm
PANEL 6
MEDIUM SHOT of Ania using her bleeding arm, and hand, to undo
the other strap on her other arm
Total resolve on her face
PAGE TWENTY (5 PANELS)
PANEL 1
OUTSIDE THE BARN
MEDIUM WIDE SHOT of Ania stepping out of the barn, through
the door
Her bleeding wrist and lower arm now wrapped in a bloody
cloth tied around it
PANEL 2
WIDE SHOT THROUGH THE LONG GRASS looking at Ania as she
RUNS from the barn towards the field to escape
PANEL 3
MEDIUM WIDE SHOT just grazing over the tops of the grass,
following behind Ania as she RUNS towards the forest in the
background, through the long field
The HOVERING HARVESTER off in the distance
HARVESTER SFX
(DELETE SFX)
PANEL 4
MEDIUM SHOT on Ania stopped in the long grass all of a
sudden.
The barn and the farmhouse behind her, as she contemplates
something
PANEL 5
CLOSE UP on Ania as she turns her head slightly, as if
deciding whether to turn back or not...
The FARMHOUSE in the background
Silence...
PAGE TWENTY-ONE (6 PANELS)
PANEL 1
WIDE SHOT of Ania GRABBING a large AXE sticking handle up out
of a fire wood pile in the midground
The FOREGROUND of frame is the porch of the Farmhouse,
FRAMING Ania, between the support pole, and the house wall,
with a rocking chair on it. Looking rustic and quaint
PANEL 2
INSIDE THE FARMHOUSE
MEDIUM WIDE SHOT on Ania coming towards us, down the hallway,
the open front door behind her
PANEL 3
WIDE SHOT of Ania passing by a large framed opening in the
hallway into a large living room.
Couches and rustic pieces of furniture in the foreground.
Mixing in with some futuristic pieces of tech, like a
hologram projector TV with an ad for MAKEUP REMOVAL
TV
longlasting and fastacting
acids clear anything off your face,
including hair, invisible food
particles, or microscopic nanobots

PANEL 4
MEDIUM SHOT of Ania stopping in front of a closed door
listening into a sound
SFX
(coming out of door)
Ohhhh... Hmmmm... Ohhhh...
PANEL 5
SIDE PROFILE MEDIUM SHOT of Ania BASHING in through the door
with her axe in hand
SFX
WHUMP!!
PANEL 6
BEHIND ANIA DOWN LOW with the axe in the foreground, as part
of the frame is cropped with the doorway. Trapped in the
middle of Ania in the foreground, and the doorframe
Is Pires. Sitting on the toilet, pants down, taking a shit,
while watching porn on a futuristicdigital tablet he holds in
his hands
SFX TABLET
Uhhh... ohhhh yeah....
Pires looks totally caught off guard, weak and pathetic in
this moment
PIRES
What the
PAGE TWENTY-TWO (4 PANELS)
PANEL 1
MEDIUM WIDE SHOT BEHIND Pires, still on the toilet, as he
REACHES for his gun on the sink edge, as his other hand still
holds the tablet, with the porn screen in view to us
Ania in the doorway raising the axe up to SWING
PANEL 2
OVER THE SHOULDER of Ania as she SWINGS the axe RIGHT THROUGH
Pires neck SPLURTING BLOOD out of it!!
SFX AXE
(DELETE SFX)
As Pires arm only got halfway up, and FIRED the gun off to
the side
PIRES
Guuugh!
SFX GUN
BLAT!
PANEL 3
BEHIND CLARA as she is suddenly standing in the doorframe
looking at the headless body of Pires, her father
The left side of frame dirty with Ania's body and axe
SFX TABLET (OS)
Uhhhh... Hmmm... you're so dirty...
ANIA (OS)
Clara, don't look...
PANEL 4
MEDIUM SHOT on Ania looking down at Clara, as Clara is
HOLDING something into Ania's stomach...
It's the KNIFE from before!
PAGE TWENTY-THREE (1 PANEL)
PANEL 1
This is a FULL PAGE SPREAD
POV FROM ANIA onto a MEDIUM SHOT looking down to see a knife
in her side
And Clara hands letting go of the handle, as Clara's innocent
and confused face looks up at her and us Really this whole
image is about her face
SFX TABLET (OS)
Ohhh baby... shit, that feels
good... ohhh yeah...
This whole moment is somewhat surreal...
TO BE CONTINUED...

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