Project Menagerie
Issue #2 Script
Page One (two panels)
Panel 1. From atop a nearby ridge, the border town of El Dorado can be seen below; flat, square buildings of uniform color that look as if they've been long neglected. The cityscape is dotted with the occasional high rise or large, mission-style church. The point of view is far enough back that the edges of the city can be seen – beyond, it is surrounded by miles of empty scrubland. It is dark, so the lights of the city illuminate the smog that hangs heavily over the slum.
WOLF (OP):
Well, I may not know where I'm from –
Panel 2. Back in the cab of the truck, which sits atop the ridge looking down on El Dorado, WOLF, RABBIT and RHINO look out over the city.
WOLF:
But this place looks like a real shithole.
Page Two (five panels)
Panel 1. WOLF leans forward on the steering wheel, staring down at the city. RABBIT, staring out through his eyes, looks ahead as well, while RHINO sits, rigid and indifferent.
RABBIT:
It seems unlikely that we would discover much about our identities here.
RABBIT:
Our…changes couldn't have come from here.
Panel 2. RHINO speaks, her expression barely changing as she does.
RHINO:
I agree. I'm detecting no significant technology in this area.
Panel 3. WOLF looks across the cab at RHINO, curious about her statement. At this point he's beyond being surprised.
WOLF:
You can do that?
Panel 4. RHINO's expression lapses back into a blank, as if she were retrieving the answer to this question from a deep and secret place.
Panel 5. RHINO speaks, but other than that not much about her changes.
RHINO:
Yes.
Page Three (five panels)
Panel 1. WOLF leans forward, reaching under the wheel to start the ignition of the truck.
WOLF:
Well, that'll be handy.
WOLF:
Doesn't much matter right now, though. We need to get rid of this truck and get into some new clothes.
Panel 2. The truck rumbles to life, kicking up dust as it begins down the ridge.
WOLF:
The men in the tunnel probably have friends looking for us.
Panel 3. RABBIT looks over at WOLF curiously, not quite understanding his turn of phrase.
RABBIT:
I didn't sense that the men were friends.
RABBIT:
They seemed more than willing to kill each other once we interrupted.
Panel 4. WOLF speaks, intent on driving.
WOLF:
Well, hopefully that'll work in our favor. But still…
Panel 5. RHINO looks out her window as she speaks, looking out over the city as they close distance to it.
RHINO:
I agree – the practical must take precedence over the theoretical.
Page Four (six panels)
Panel 1. The truck driving on the streets of El Dorado. The streets are littered with trash and most of the storefronts on this avenue seem to be abandoned. Those that aren't are locked tight, gates barring windows.
WOLF (CAP):
At least we can agree on that.
Panel 2. The truck stops in front of one of the few shops that seems to still be in business. It's a pawn shop and, like all the other buildings at night, its windows and gates are barred. Behind the front gate, painted onto the central window in garish letters are the words, 'El Dorado #1 Pawn'.
WOLF:
This looks like a place to requisition some supplies.
Panel 3. The three start out of the cab at the storefront. RABBIT, seated in the middle, leans forward to "see" past RHINO.
RABBIT:
We'll need to be quiet. There are two upstairs sleeping.
Panel 4. RHINO opens the passenger door and steps out of the truck as she speaks.
RHINO:
I will gain us access.
Panel 5. RABBIT is scooching across the truck's seat to make her way to the passenger door when WOLF reaches out to stop her.
WOLF:
Wait a sec.
Panel 6. With the truck in the foreground, WOLF speaks with RABBIT in the cab, while in the background RHINO can be seen grappling with the gate on the door of the pawn shop.
WOLF:
You said Rhino wasn't a robot.
RABBIT:
She isn't.
Page Five (five panels)
Panel 1. A frame of RHINO quickly and quietly breaking the chained lock on the gate. Her expression and body language give no indication of effort.
WOLF (OP):
Then why does she act like one?
Panel 2. Back in the cab of the truck, RABBIT is looking out at RHINO with a whimsical look of empathy, perhaps even pity.
RABBIT:
There is…very little…left of her that is human.
Panel 3. RABBIT turns back to face WOLF, but her expression remains the same.
RABBIT:
Not so different than you, Wolf.
RABBIT:
I can feel your mind screaming, considering possibilities, examining probabilities, while you feel the world is frozen around you.
WOLF:
Stop that, Rabbit.
Panel 4. RABBIT reaches out to WOLF as if she is trying to reassure him.
RABBIT:
You're afraid of me. And not for the way I look.
WOLF:
I said stop that!
Panel 5. A psychedelic frame of WOLF switching channels. His brainwave synchronization causes his thought processes to jump signals, shutting RABBIT out.
Page Six (five panels)
Panel 1. RABBIT withdraws her hand from WOLF, shocked and momentarily disoriented.
Panel 2. Whatever confidence RABBIT was demonstrating has fled from her. She now seems frightened and blind.
RABBIT:
How did you do that?
RABBIT:
I can't see through your eyes anymore.
Panel 3. RHINO stands at the passenger side of the truck, looking in through the window at the two.
RHINO:
The door is open and no alarm has been raised.
Panel 4. WOLF exits the truck from the driver's side door as he speaks to RABBIT.
WOLF:
You'll just have to use her then.
Panel 5. RABBIT stares through the passenger side window at RHINO who gazes back unemotionally.
Page Seven (five panels)
Panel 1. WOLF rounds the cab of the truck as he moves towards the entrance to the pawn shop.
WOLF:
Let's go.
Panel 2. Looking at the entrance from within the shop, WOLF can be seen leading the trio inside.
Panel 3. A frame with an overall view of the inside, which has a southwest feel to it with wooden floors and ceiling fans. Off to one side is a long counter, with an ancient cash register sitting to one side. Behind the counter are standing cases displaying the more dangerous and/or valuable items; rifles, shotguns, musical instruments, jewelry, powertools. Behind the counter, on the far side from the entrance, is a closed door.
On the far wall are electronics, mostly televisions and stereos. Scattered throughout the floor are clothing racks. Near the outside facing display windows are a few mannequins.
WOLF:
Let's make this quick. Grab clothing and anything else that might be useful.
Panel 4. WOLF heads towards the counter, while RHINO makes her way to one of the center clothing racks. RABBIT is drawn to one of the front mannequins.
Panel 5. RABBIT wonders over to the mannequins, her empty, unseeing eyes still seeming to hold a certain fascination with the blank figures.
Page Eight (six panels)
Panel 1. RABBIT steps up to one of the female mannequins, having moved around to its front.
Panel 2. RABBIT reaches out to touch the blank, smooth features of the mannequins face.
Panel 3. Still touching the mannequin, RABBIT reaches up with her other hand to touch her own scarred visage.
Panel 4. RABBIT steps back from the mannequin, a slow light coming into her eyes. She still holds the hand that had been touching the mannequin up at the head level of the statue even though several inches now separates the two.
Panel 5. Focus on the mannequin, the head of the statue lifts off its base by a few centimeters.
Panel 6. Miniscule cracks begin to form throughout the face of the floating head as if it were cracking from some unseen external pressure.
Page Nine (six panels)
Panel 1. The cracks widen, separating the face of the mannequin into various jagged pieces.
Panel 2. With the back of the mannequin in the foreground and RABBIT in the back, the shattered fragments of the statue's face can be seen floating across the distance to her, spreading out as they travel. She continues to hold up her hand as if invisibly guiding them to her.
Panel 3. The pieces begin to come back together again as they near RABBIT's face, swirling to assume polar positions.
Panel 4. The white mannequin face pieces begin to settle on RABBIT's face.
Panel 5. The pieces settle on RABBIT's face, covering her scars, implants and artificial eyes. The visage is still cracked, but fits together seamlessly.
Panel 6. RABBIT touches her own face, running her fingers over the smooth surface that the mask has provided.
Page Ten (five panels)
Panel 1. Behind the counter, WOLF is struggling to figure out how to get the cash register open. He has taken a knife from behind the display counter and is attempting to jimmy the drawer open.
WOLF: (whisper)
God damn it…
Panel 2. The drawer pops open much to WOLF's apparent satisfaction.
SFX:
ting
WOLF: (whisper)
Ha!
Panel 3. Looking down into the drawn, a cash bed can be seen. Next to it lays a short-barreled, wide bore revolver. Reference picture for this can be provided.
Panel 4. Behind the register, WOLF holds up the revolver, smiling at the handgun.
WOLF: (whisper)
This'll come in handy.
Panel 5. Still staring at the revolver, WOLF's gaze goes blank as he is drawn inward by a flashback.
Page Eleven (four panels)
Panel 1. A flashback from WOLF's point of view. He is looking at a man in a black suit who is handing him a revolver by the barrel, so WOLF may take the handle. The man's face is obscured by the shadow of memory, as is the background. The only truly clear things are the gun and the suit.
SHADOWMAN:
If you're going to carry that pea shooter then you might as well take mine too.
Panel 2. Back in the pawn shop, WOLF has gone lax as he is submerged in the memory. His eyes are dull and his mouth is slightly ajar even as he continues to hold the pistol.
Panel 3. In the background, without WOLF noticing, the door behind the counter opens and a figure can be seen emerging.
Panel 4. Approaching from out of the door walks the PROPRIETOR; he is a middle age man with a paunch and leathered skin that has seen so much sun it is impossible to tell if he is Latino or Caucasian. He carries a shotgun that he is leveling at WOLF as he enters.
PROPRIETOR: (whisper)
Sunuvabitch…
Page Twelve (four panels)
Panel 1. PROPRIETOR puts the shotgun to his shoulder, taking aim at WOLF.
Panel 2. From off panel, a television comes flying from RHINO's direction, crashing with incredible force into the PROPRIETOR, smashing the frame of the box. The shotgun goes off in his hands, but the impact causes the shot to go wide. This causes WOLF to snap out of his reverie, falling backwards behind the counter.
SFX:
BOOM
WOLF:
Jesus!
Panel 3. WOLF pokes his head from behind the counter Kilroy style, still gripping the pistol in one hand.
Panel 4. On the other side of the counter stands RHINO, still holding the antenna from the television in one hand. She has changed clothing; baggy army surplus pants and long coat now cover the black, polyethylene suit. She has no shirt on, so the hole is still visible, but her biomemtic layer has grown back.
RHINO:
We have alerted the residents Rabbit warned of.
Page Thirteen (five panels)
Panel 1. WOLF looks down at the PROPRIETOR who is obviously dead. He has been crushed by the television against the wall behind the counter before sliding to the floor in a mess of glass, circuitry, plastic and blood.
WOLF:
Christ.
Panel 2. WOLF turns to RHINO, quickly making a decision.
WOLF:
She said there was two. We need to get out of here.
WOLF:
Grab Rabbit.
Panel 3. RABBIT, is still staring at line of mannequins. Each of the mannequins is missing bits; one is decapitated, another is missing its rack, another its back, and one its arms. She has telekinetically broken these down and attached them to herself, covering her chest, back and forearms in white plastic. This has effectively covered all of her implants. She stands in front of the mannequins as if modeling a new dress.
Panel 4. RHINO unceremoniously grabs RABBIT and drags her away from what she was doing.
Panel 5. RHINO pulls RABBIT towards the back of the pawn shop while WOLF quickly rifles through one of the center clothing racks.
Page Fourteen (four panels)
Panel 1. All three of the units pile through the back door. WOLF is now wearing a longcoat and thrown a similar over RABBIT's shoulders.
Panel 2. A frame of the empty back door.
Panel 3. The silhouette of a middle aged woman with her hair put up for the night appears in the door frame. She wears a dressing gown.
WOMAN: (whisper)
Jim?
Panel 4. A full frame of the woman's face as she discovers the crushed corpse of her husband. She screams in horror.
WOMAN: (scream)
AAAAAAAAAAIIIIIIIEEEEE!!!
Page Fifteen (four panels)
Panel 1. Outside in the back alley RHINO and WOLF are plastered against the dirty wall, holding RABBIT up to the wall. Her body language indicates that she is in pain, although the mannequin faceplate stays in place, hiding her expression.
WOMAN: (OP)
aaaaaaaaaaaaaaaaiiiiiiiieeeeeee
WOLF:
OK.
WOLF:
That's going to bring us trouble.
Panel 2. RHINO and WOLF walk down the alley away from the pawn shop, on opposing sides of RABBIT, nearly carrying her. RABBIT's pain seems to have increased.
WOMAN (OP):
aaaaaaaaaaaaaaaaiiiiiiiieeeeeee
RABBIT: (whisper)
She's in so much pain…
RABBIT: (whisper)
God, what did you do?
Panel 3. RABBIT has nearly collapsed under the woman's emotional anguish; WOLF hands her over to RHINO who holds her up under the arms.
WOLF:
Take her.
WOLF:
I'll scout ahead.
Panel 4. This might be better served as a series of small frames. A frame of RABBIT's face as the pain she is experiencing literally and telekinetically carves itself onto her white mask, bending it into a horrible but subtle tragedy mask.
Page Sixteen (six panels)
Panel 1. WOLF has made his way to the entrance to the alley and looks out. Out on the street he sees a police cruiser light up and take off.
SFX:
wwwwwwwWWWWOOOOOOPPPPP
Panel 2. In the foreground RHINO holds RABBIT, crouched down against the wall of the alley in order to appear as small as possible. In the background WOLF can be seen coming back from the entrance to the alley.
WOLF:
We have to get inside. Some place public.
Panel 3. WOLF crouches down to speak to the other two units.
RHINO:
Could the authorities not assist us?
WOLF:
Maybe before you turned that guy's head into a TV.
WOLF:
Besides, the people who kidnapped us are probably monitoring police bands. They'll know if we get picked up.
Panel 4. WOLF continues to speak and RABBIT is obviously very distraught at his suggestion.
WOLF:
If we're caught out in the open like this thing we'll have to start killing cops.
RABBIT:
NO!!!
Panel 5. WOLF takes RABBIT by the shoulders, showing the same determined gentleness he did when he found her in the tunnel car. RHINO, for the first time, looks a bit perplexed by the exchange.
WOLF:
Rabbit, I need you to pull it together.
WOLF:
You made it through that bloodbath in the tunnel - you can do this.
RABBIT:
I had you as an anchor then. Now all I can feel is that woman's pain.
Panel 6. WOLF looks at RABBIT in a moment of understanding.
Page Seventeen (five panels)
Panel 1. WOLF and RABBIT look into each others eyes.
WOLF:
Right. Open up, then.
Panel 2. RABBIT and WOLF continue to stare at each other, but RABBIT has straighten up, her body language conveying some level of the confidence that she had previously.
RABBIT:
The man…it was necessary.
WOLF:
Yes.
RABBIT:
He was going to kill you.
WOLF:
Yes.
RABBIT:
We need to get moving.
Panel 3. WOLF walks down a dirty El Dorado alley, with RABBIT under his arm, keeping her huddled to him on the side of his body away from the street. RHINO walks not far behind them, scanning the empty intersections.
CAP (WOLF):
Yes.
Panel 4. WOLF turns to face something that can't be seen in this panel, but it sheds a neon light on all three of them. WOLF nearly smiles as the image he looks at tickles some hidden memory.
Panel 5. Flipping the perspective, it can be seen that WOLF is looking at a dingy, side-alley entrance to a rundown barrelhouse. Above the door hangs a bright neon sign that reads, "Bruce's Promise".
WOLF:
God bless the midnight dive.
Page Eighteen (five panels)
Panel 1. The trio enters the bar. It is a small place with sawdust covering the floor and barrels of beer and liquor behind the bar. The bartender is a huge Mexican that is holding a tinier man by his throat as he pulls money from the held man's billfold. Several other patrons laugh at the other's misfortune. This distracts most folks in the bar from the trio entering, but a few of the men do notice the women. There are no other women present in the bar.
Panel 2. The three make their way through the barroom to a table that sits in a corner.
WOLF:
Sit here. I grabbed enough cash to get us something to drink.
Panel 3. In the background, WOLF heads to the bar as RABBIT and RHINO sit with the backs to the wall. More of the men have noticed the women's presence, and don't seem to be particular about their odd appearances.
Panel 4. WOLF leans over the bar to speak with the bartender, who is clearly doing his best to be intimidating. WOLF is having none of it and calmly orders. In the background, several of the locals can be seen talking to the women.
Panel 5. In the foreground, WOLF holds a drink in each hand. In the background, men are accosting the women. RHINO has stood up from the table and is facing off with one of the men.
WOLF:
Biscuits.
Page Nineteen (seven panels)
Panel 1. RHINO stands stoically, looking up at a large fellow (MAN1) that, for any other woman, would be uncomfortably close. Two men have sat down at the table and are leering at RABBIT, who is not bearing it quite as well as her cohort. Still holding the drinks, WOLF stands behind the man facing RHINO.
MAN1:
Damn, you's one flat tittied bitch.
RHINO:
I never developed.
WOLF:
Excuse me.
Panel 2. With the man in the foreground, it can be seen that WOLF's speaking to him is nothing but annoying to the man who is trying to concentrate on RHINO.
WOLF:
Excuse me!
Panel 3. The man turns to speak to WOLF, hostility in his bearing.
MAN1:
What?!?!
Panel 4. WOLF attempts to be friendly, his ugly face cracking into a smile.
WOLF:
We've had a rough day and we'd just like to be alone with our drinks.
WOLF:
Do you mind?
Pane1 5. The MAN1 gives WOLF a condescending look, confidence bred by being on his home turf and the number of his friends.
MAN1:
Well, I know how to relax a lady after a hard day.
Panel 6. MAN1 lays a hand on WOLF's shoulder.
MAN1:
Why don't you just skip and we'll take care of 'em?
Panel 7. In the background, over the shoulder of MAN1, RABBIT can be seen looking in his direction with an expression of pained anticipation.
RABBIT:
You should not have touched him.
Page Nineteen (five panels)
Panel 1. MAN1 flies across the top of the bar, colliding with the barrels behind it. The bartender barely gets out of the way.
Panel 2. The bar turns into a free-for-all, with WOLF and RHINO in the middle, taking on all comers. RABBIT is in the background, sitting on a chair in the corner.
WOLF (CAP):
Rabbit, please tell Wolf not to kill any of these yokels.
RABBIT (CAP):
Already done.
Panel 3. A frame of WOLF's fist smashing into a man's face, causing teeth to fly.
Panel 4. RHINO twists her trunk, causing two men who have grabbed her by the arms to be lifted off their feet.
Panel 5. A man lands on the table in front of RABBIT, who pulls up her feet onto her chair to keep them from being caught under the collapsing wood.
Page Twenty (five panels)
Panel 1. A large frame of the entire barroom, the floor littered with the unconscious bodies of the patrons. RHINO and WOLF stand at the center of it, unscathed if but for a few tears in their clothes. RABBIT sits in the corner, unperturbed.
DEVEN (OP):
Now that's some of the finest damn work I've ever seen.
Panel 2. A frame of the bar, which now only has two people at it. One is the bartender, who has crammed himself into the corner, looking terrified. The other is DEVEN, a tall man with a thin, hard face and shoulder length hair. He is in his mid forties.
WOLF:
You gonna give us trouble, too?
DEVEN:
Nope.
DEVEN:
Could call the police, but seein' as most of these boys are wanted, that might not go over too well.
DEVEN:
Particularly since they work for me.
Panel 3. DEVEN gives a winning smile, revealing no small amount of charm. He extends a hand to WOLF.
DEVEN:
Name's Deven.
Panel 4. WOLF conspicuously doesn't take the hand.
WOLF:
Pleasure.
Panel 5. DEVEN doesn't take any outward offence to having his social nicety rebuffed, choosing to wipe his hand on the side of his shirt.
DEVEN:
Well, then…I'm guessing ya'll ain't from around here.
Page Twenty-One (five panels)
Panel 1. A frame of the three units, standing amongst the broken furnishings and patrons. They are dirty, their clothes are torn and, after having their second fight of the day, they look tired.
DEVEN:
Look a mite down on yer luck, too.
Panel 2. WOLF looks suspiciously at DEVEN, the man's calm and seeming friendliness unsettling to him after a strange and hard day.
WOLF:
What are you getting at?
Panel 3. RABBIT has stepped up from her chair and stands behind WOLF to his side.
RABBIT:
He is preparing to offer us work.
Panel 4. DEVEN looks at RABBIT with a touch of concern that she can read him so plainly. He seems unfazed, though, by her mask or her demeanor.
DEVEN:
Well, she's damn insightful.
DEVEN:
That I am.
Panel 5. DEVEN addresses all three as he speaks.
DEVEN:
If you could use some cash, a place to stay or such things --
Page Twenty-Two (one panel)
Panel 1. A frame of one of the large, old mission style buildings mentioned on Page One. However, this building is surrounded with armed men. While they are guarding the building, these men aren't professional soldiers, but criminals, outlaws and mercenaries. Every entrance and bell tower has at least two men in it, looking out.
DEVEN (CAP):
We got us a job you could do. |
