Vampires & Werewolves - Issue One

Page 1 [layout: 1-2-2]

Frame [huge]

High-viewpoint night-time view of a deserted street. The street is lined with terraced houses. On the right the doors open onto the street. On the left, two pairs of terraces - separated by a side-street - run perpendicular to the street. Each terrace is separated from its pair by a garden area. Gardens are demarcated by wooden fences. The end gardens are separated from the road by brick walls, but have stout wooden gates.

Streetlights are sparse and shed little light. There are tatty telegraph poles, cheap cars, the occasional wheely bin. The area is not exactly run-down, but certainly low-budget, and eerily quiet.

The street is fairly short - no more than half a dozen houses. At each end is a t-junction.

See page 5 for more details for street layouts.

A lone figure runs down the street towards us. She casts a long shadow in the direction she is running (purely for dramatic effect).

Credits panel along the bottom.

Frame

Less-high viewpoint, and closer shot. The figure is a woman (Marcionette), early thirties, smartly dressed, obviously quite anxious.

Frame

Slightly higher than eye-level view of Marcionette stopped at the second of the gates on the left that lead into the garden area. The gate is set in an eight foot brick wall which prevents us seeing into the garden. There are no lights from the house or the garden.

Frame

She has opened the gate and is passing through.

Frame

Same view (more or less), but without Marcionette in the way we can see down the street. To the side, the gate is just closing. At the t-junction at the end of the street, the shadow of a large wolf can be seen emerging from the left.

Page 2 [layout: 1-2-2]

Frame [huge]

High overhead view, as in frame 1.1 with wolf stalking slowly down the street. Again, it casts a quite unnecessarily long shadow ahead of itself, purely in the name of drama.

Frame

Lower view, as in frame 1.2. Wolf is further down the street, level with the first gate. It is looking towards the gate, as if checking it out.

Frame

Closer viewpoint, as in frame 1.3. It has stopped in front of the gate where Marcionette has hidden. It is examining it intently.

Frame

Identical view. Wolf is in same position, but is tensed and ready to spring. It has also changing shape - instead of being just a wolf, it is now bigger and more monstrous. Claws, jaws, teeth are all bigger and nastier, eyes become more ferocious, there is definite salivation going on. It is now apparent that this is a werewolf.

Frame

Same viewpoint. Werewolf jumps, and clears the gate without touching it, all teeth and claws.

Page 3 [layout: 1-2-2-1]

Frame [large]

In an explosion of bricks, claws and flailing limbs, the werewolf and Marcionette crash through the brick wall into the street.

FX: CRASH

Frame

They have landed in the middle of the road. The werewolf is kneeling on top of Marcionette in a disturbingly human pose and taking a swipe with one massive hand, taking out most of Marcionette's face and ripping a huge gash across her throat. Blood and shreds of flesh shower across the road

FX: SPLURTCH

Frame

Wolf swipes again with the other hand, gouging another gash out of Marcionette's face

FX: SPLIRTCH

Frame

Werewolf rips out Marcionette's throat with its jaws, taking a huge chunk of throat and shoulder and flinging it to one side in a fountain of blood

FX: SPLIRTCH

Frame

Wolf roars and raises both hands above its head for a double-fist smash (like Jack-2 in Tekken)

FX: ROUAARRGH

Frame [large]

As wolf brings down both fists, Marcionette opens her eyes, suddenly alert, and catches them in one hand

Page 4 [1-2-1]

Frame [large]

With her free hand, Marcionette has palm-heeled the wolf square in the chest to send it flying backwards across the road. It crashes into the remnants of the brick wall

FX: BOSH

FX: CRASH

Frame

Wolf has landed in a reasonably controlled fashion. It is prepared to immediately spring back into the fray. Marcionette has rolled over and got her feet under her, also preparing to spring, but away from the wolf (she is going to flee)

Frame

The wolf leaps clear across the road, but Marcionette has leapt straight up onto the roof of the terrace.

Frame [large]

Marcionette flees away from us along the terrace, as the wolf bounds up onto the roof in pursuit

Page 5 [special]

Frame Set [5 frames, whole page]

Frames are arranged in a fan shape, pivoting around the bottom-left corner, so the sequence of events runs in a clockwise arc. Descriptions will refer to directions assuming north is the top of the page, away from us (which need not be true).

High overhead view of the rooftops. We can see the pair of terraces they have just jumped onto, including the garden area. We can see a portion of a longer terrace pair running east-west. South of this pair is a market place. Stalls are erected but empty. Around the square are dotted telegraph poles. Phone lines stretch from the poles to the houses. There is a pole in the centre of the square with wires stretching to it from poles along the bordering streets. There are a few cars scattered about.

Marcionette and the werewolf race across the rooftops. With every frame, the wolf is catching up.

Frame [1 of 5]

Covers the street where we began, the terrace they've jumped on, much of the garden area, and the northernmost end of its paired terrace. Marcionette has run north to the end of the first terrace and is leaping across the garden to the other one. Wolf chases along the first terrace.

Frame [2 of 5]

Covers some garden, the rest of the second terrace, the next street and the westernmost end of the next terrace-pair (which runs east-west) including the garden area. Marcionette has leapt across the next street, and is landing on the southern terrace (the one bordering the market square). That's a south-east direction, and a substantial distance. Wolf is at the southern end of the previous terrace, about to leap off.

Frame [3 of 5]

Covers most of the east-west terrace pair, plus some of the north-west corner of the market square. Marcionette has run along the southern terrace and leapt onto a telegraph pole. Wolf is running along the ground and is only a few meters from the base of the pole.

Frame [4 of 5]

Mostly covers just the market square. Marcionette runs along telegraph wire across the market square (so the wire must be running south or south-east). Wolf is running along beneath, and is almost directly below her.

Frame [5 of 5]

Covers the centre of the market square. Marcionette has reached the pole at the centre of the square, and is just starting east along the next wire. Wolf has climbed a few feet up this pole and is launching itself directly at her.

Page 6 [2-3-3]

Frame

A mid-air collision as the wolf strikes Marcionette square in the small of the back with a crash.

FX: CRUNCH

Frame

They crash into an empty market stall. Poles, crates and canvas fly in all directions.

FX: CRASH

Frame

Amidst the debris, Marcionette is on all fours with the werewolf on her back, but manages an elbow strike to its face. There is a crunch and a shower of blood

Frame

Marcionette twists back round the other way and hammer-strikes with her other hand. Wolf is knocked hard enough for its grip to be loosened

Frame

Marcionette, now she has room, has twisted so her shoulders are on the ground. She kicks the wolf in the abdomen, sending it flying forwards over her head and off frame.

Frame

Marcionette has righted herself and is on her feet, although still in a crouched ready-for-action stance. Wolf has vanished amongst the market stalls.

Frame [small]

Very close shot of Marcionette's hand reaching into her jacket.

Frame

Marcionette produces an enormous handgun.

Page 7 [3-3-1]

Frame

Horror-film style shot from the werewolf's POV (or from just behind its ear or something), low down behind a market stall, watching Marcionette. For good measure she's ripped out a six foot tent pole from a neighbouring stall with her free hand (the stall promptly collapses).

Frame

Marcionette creeping through the market. Our position remains the same as the werewolf stays put and watches her.

Frame

Marcionette still creeping through the market. Our position has moved along with her.

Frame

View moves out from behind stall as Marcionette nears the edge of the square. There is a small car to her right.

Frame

View is now directly behind her, but still a good ten meters away.

Frame

View is now from close behind Marcionette. She has just slightly turned her head to the left to look towards us.

Frame [large]

Pan back so we can see the wolf has leapt at Marcionette, who has spun around to the left (i.e. anti-clockwise). She is surprised and terrified, but has raised the pole high in her left hand.

Page 8 [1-2-1-2]

Frame

Marcionette clouts the wolf back-handed with the six-foot pole, and knocks it against the small car.

Frame

Marcionette shoots wolf three times. Bullets tear big holes, but it seems unconcerned, instead bracing to leap.

Frame

Wolf leaps at Marcionette and bites her hand off at the wrist.

Frame [small]

Close-up of hand and gun falling to the floor.

Frame

Wolf transforms into a more humanoid form, and snatches the pole from Marcionette's remaining hand. Marcionette is still standing, but appears kinda stunned.

Frame

Wolf cudgels Marcionette across her face with the pole.

Page 9 [4-4-5-1]

Frame [small]

Wolf drives pole into Marcionette's stomach. She doubles over.

Frame [small]

Wolf uppercuts with the pole

Frame [small]

Wolf strikes across her face with the pole

Frame [small]

Wolf strikes across her face in the opposite direction

Frame [small]

Wolf spins pole around its head

Frame [small]

Wolf strikes Marcionette on top of head. Marcionette goes down on all fours.

Frame [small]

Wolf skewers Marcionette between shoulder blades.

Frame [small]

Marcionette slumps to one side, werewolf wanders out of shot.

Frame [tiny]

Close-up on Marcionette as she grasps feebly at the pole.

Frame [tiny]

Marcionette gets a grip on the pole and tugs.

Frame [tiny]

Marcionette begins to draw out the pole.

Frame [tiny]

Marcionette drags out the pole some more.

Frame [tiny]

Marcionette pulls out pole. A huge shadow looms over her.

Frame [large]

Marcionette has turned to look behind her at the source of the shadow (which we cannot see), and looks horrified.

Page 10 [splash]

Frame [full page]

Werewolf slams the small car down roof first on top of Marcionette

FX [very large]: KEERRRAAASSHHH!!!

Page 11 [1-1-3-1]

Frame

Werewolf stands by the wreckage of the car and transforms into a girl in her early twenties (Rebecca Bear)

Frame [small]

Close-up on a pool of petrol spilling out from under the car

Frame

Rebecca looks to one side

Frame [small]

Close up of Marcionette's severed hand, still clutching the gun, and Rebecca's hand reaching to pick it up.

Frame

Rebecca casually tosses the hand to one side as she aims the gun at the car

Frame [large]

Distant (150 meters) silhouette view of Rebecca pointing the gun. In the immediate foreground, there is the silhouette of a man. This is The Verimorpher.

Verimorpher: No, this won't do at all

Page 12 [2-3]

Frame

Close-up of underside of car. Marcionette's hand punches through. We are facing towards Rebecca, so may be able to see her in the background.

Frame

View from behind car, towards Rebecca who is looking stunned. Marcionette's arm, shoulder and head have cleared the car. She is bracing to pull herself out. Marcionette has reverted to demonic-vampire form.

Frame

As above. Marcionette has pushed up, and is clear to the waste. She dodges back and to the side in a Matrix stylee as Rebecca fires the gun at her. A bullet flies past, a few inches from her face.

Frame

Marcionette has pulled herself almost clear. She has one leg clear and braced to leap. She ducks as Rebecca fires a second shot, which flies inches above he head.

Frame

Marcionette leaps, as a third bullet flies underneath her.

Page 13 [2-5-3-4]

Frame

Marcionette strikes Rebecca and knocks her onto her back.

Frame

Marcionette is astride Rebecca, her arm - the one without a hand - is raised to strike.

Frame [tiny]

Close up on Marcionette's stump.

Frame [tiny]

Stump begins to reform into a hand.

Frame [tiny]

Stump continues to regenerate.

Frame [tiny]

Stump continues to regenerate.

Frame [tiny]

Stump has completely reformed into a hand (although we're still in demonic form - so it's a demonic hand, with claws and stuff).

Frame

Back to view of Marcionette astride Rebecca. Marcionette has struck, plunging her arm up to the elbow into Rebecca's chest.

Frame

Marcionette, her fangs bared in a terrifying snarl, rips back, gripping a chunk of spine and pulling away a fountain of blood and gore.

Frame

Marcionette bites down on Rebecca's throat.

Frame [small]

Close-up on Rebecca's face as Marcionette starts to drain her of blood.

Frame [small]

Rebecca is growing paler. She knows she is about to die - we can see the panic in her eyes.

Frame [small]

Rebecca is very pale, and her eyes are losing focus.

Frame [small]

Rebecca is dead.

Page 14 [2-2-1-1]

Frame

Marcionette tosses her head back and howls. There is blood all across her face and running down her neck to stain her nice suit.

Frame

She sits there for a moment panting and recovering.

Frame

Marcionette fades back into human form.

Frame

There is a bird call in the distance. Marcionette looks suddenly alert again.

FX: chrrp, chrrp, twitter, tweet

Frame

Low-and-wide view across the rooftops. There is the first hint of dawn on the horizon.

Frame [huge]

High, overhead view of Marcionette running along the street where we came in. Same view as frame 1.1, but of course she's running in the opposite direction.

Page 15 [1-2-2-1]

Frame [large]

We are in a basement, cramped and dark. There are five women scattered about, all apparently aged around 30, strong and assertive looking, physically lithe and athletic. They are all werewolves, but in completely human form. Two of them (Stephanie Lee and Anna de Farlane) are arguing heatedly. One of them (Arisia) is conspicuously not paying them any attention - rather she is sitting alone to one side (the right), apparently lost in her thoughts.

Anna: I can't believe you want to do this.

Frame

Closer view of Anna and Stephanie raging at each other. Anna is on the left, gesticulating wildly and spitting madly as she speaks. Stephanie is also livid, but rather more composed. At least one other werewolf is at least partly in shot, preferably to the left to imply she's siding with Anna.

Anna: When was the last time a vampire killed a werewolf in single combat? Late 60's? Early 70's?

Werewolf1: 1872

Anna: 1872! It just shouldn't happen. If Marcionette realises what it means, it will change everything.

Frame

Same view.

Stephanie: It changes nothing. We kill them, they kill us

Anna: This is different

Frame

Same view. Anna is on the verge of bursting something.

Stephanie: It's only different because it was Rebecca. If Marcionette had killed me, you'd be writing a peace treaty

Anna [loud]: LIAR!

Frame

Same view. Anna is now so furious she starts transforming into werewolf form.

Stephanie: You want to go to war with the vampires because you didn't get laid.

Anna [loud]: You BITCH!

Frame [large]

Stephanie (not Anna) has transformed her fist and arm into werewolf form and slammed a punch into Anna's face. Anna (now transformed) flies backwards to crash into the opposite wall, knocking chunks out of the plaster.

FX: BASH

FX: CRUNCH

Page 16 [2-2-2-1]

Frame

Anna is crouched by the wall, ready to spring, Stephanie, now also transforming into werewolf form, is also poised to leap. Both look ready to start shedding lots of blood. The two misc werewolves can optionally be seen in the background getting ready to rumble.

Arisia [loud, off]: ENOUGH!

Frame

View of Arisia, facing away from the action and hence, from this viewpoint, we cannot see her face. She is sitting quietly, not really watching the argument/fight.

Arisia [quiet]: I'll do it

Frame

Change view to look at Arisia face-on, with the combatants (transforming back into human form) in shot behind her. She looks sullen, but resolved. She also looks dangerously angry - although this is not directed towards anyone present.

Arisia: I want Marcionette dead

Arisia: I want her works destroyed, and her progeny burnt.

Arisia: I want everything she's ever said or done or built or accomplished, to be erased. If we go to war, we might lose.

Frame

Close-up on Arisia, looking disturbingly intense.

Arisia: She might survive.

Frame

Panned out and to the side a bit, so we can see Anna and random werewolf no. 2.

Anna: And you're willing to ignore all your instincts, and live with a man who might be the antichrist himself for all we know.

Werewolf2: He's probably just a mortal with money.

Frame

Anna has turned slightly to answer Werewolf 2. Arisia still hasn't moved.

Anna: We know nothing, apart from he is the key to her plans

Arisia: So we have to find out.

Frame [large]

Full-length frontal view of Arisia, now standing with a newspaper tucked under her arm. She looks resolved and dangerous.

Arisia: Wish me luck

Page 17 [1-2-1]

Frame [large]

Full-length frontal view of Arisia, matching frame 16.7, but now looking smiley and charming. She is standing in a front doorway, dressed in a casual, yet revealing manner. Chequered shirt tied around the midriff, white shorts, that kind of thing.

Arisia: I've come about the room

Frame

Shot of Axiom, who has answered the door. He is admiring her body, but not too obviously.

Axiom: Come in

Frame

Axiom and Arisia in the hallway. Front door is to the left, lounge to the right. Stairs are behind us leading up to the right. Ahead on the left is a closed door to the downstairs toilet. Ahead and to the right is a half-open door to the kitchen. If there's artwork on the walls, it would be abstract expressionist.

Axiom is closing the front door, discretely checking out Arisia's butt.

Axiom: What's your name?

Arisia: Arisia

Axiom: Nice name. I'm Axiom.

Frame [large]

Overhead shot of the house, with the front door closing. The house is part of a middle-class suburb. Trees line the streets. Everything is clean. Lawns are neat. It is a detached house. There is a single garage, but two cars in the drive - a TVR (Kara's) and a sporty Jaguar (Axiom's) - one behind the other.

Page 18 [2-2-3-1]

Frame [small]

Reasonably close-up. Axiom and Arisia are entering the lounge (Arisia first) from the hallway.

Axiom: This is the lounge

Frame [large]

The lounge. Spacious, modern and tasteful. To the right is a black dining table pushed up against the wall. Next to it is a well stocked drinks cabinet with lots of glassware. Furniture is cosmopolitan black leather, along with expensive (but not ostentatious) TV and hi-fi. Carpet is white and immaculate.

We are looking from within the lounge towards to front door. More or less centre, an open-arch doorway leads to the hall. Ahead and to the right, a bead-curtain doorway leads to the kitchen. Behind us (out of shot obviously) patio doors lead out to the garden.

Axiom and Arisia in the lounge, looking towards the patio doors.

Arisia: What do you do Axiom?

Axiom: I work the stock markets

Arisia: Buy low, sell high, champagne for breakfast?

Axiom: Something like that.

Axiom: That's the garden. We have a man who does the lawn.

Frame

View through the patio doors to the garden, which is neat but minimalist and about big enough for a badminton court, plus a patio small area right by the house. Kara-Lysette is sunbathing on this patio area in a sun-lounger. She is wearing a bikini, a sort of translucent short-sleeve calf-length robe, and wide-brimmed 1920's hat, all in white, plus a pair of movie-star shades.

Axiom [off]: That's Kara-Lysette. She lives here too.

Arisia [off]: Are you two involved?

Frame

Axiom and Arisia in the kitchen. Spotlessly clean - obviously never been used for cooking, although there is evidence of wine glasses. Lots of chrome. All the mod-cons.

Axiom: Used to be - long time ago. This is the kitchen.

Axiom: Freezer, dishwasher, washer/dryer, the usual.

Frame [small]

Close up of Axiom, with a wry smile.

Axiom: Champagne's in the fridge.

Frame

Axiom and Arisia in the kitchen. Axiom has opened the fridge and is handing a bottle of beer to Arisia. They are both a bit more relaxed now. The ice has broken a little.

Axiom: What about you?

Axiom: Beer?

Arisia: Thanks. I'm a student. Studying sociology. Specialising in politics and religion.

Axiom: Is there much money in that?

Arisia: Not really, no. But I've never been short of money

Axiom: Rich family?

Frame [small]

Close-up on Arisia, lifting the beer to take a drink. Now it is her turn to be smiling wryly.

Arisia: Something like that.

Frame [large]

Another shot of Kara-Lysette. She has not changed position at all. The speech is all from off-frame.

Arisia [off]: What's the story with Kara-Lysette then? How do you know her?

Axiom [off]: From college. I was an ace student who fell in with the wrong crowd. She was the crowd.

Arisia [off]: Really? Should I be careful around her?

Axiom [off]: That was ten years ago. We're both respectable 21st Century yuppies now.

Page 19 [2-2-2-2]

Frame

Looking down the stairs. Can just see the front door in the background. Axiom and Arisia walking upstairs, Axiom first. Arisia looks shocked.

Axiom: But she can still kill a man at twenty paces with a look.

Frame

Axiom has stopped to look back at Arisia. He looks surprised. She is not meeting his eye, instead making to push past him.

Axiom: Joke?

Arisia: Sorry.

Frame

View from within a bedroom. Very sparse. Bed, wardrobe, almost nothing else. Through the doorway we my be able to see the top of the stairs, leading down to the right.

Arisia and Axiom looking in.

Axiom: This would be your room.

Frame

Axiom has turned to walk away to the right. Arisia, still in the doorway, looking suspicious, as if she knows something.

Axiom: Our last tenant vanished before paying any rent.

Axiom: This is the bathroom

Frame

Axiom and Arisia by the front door. Axiom has opened the door and is showing Arisia out.

Caption: Later

Axiom: So, I'll get a contract done up, and you should be able to move in within a few days.

Arisia: I'll see you in a few days then.

Frame

Axiom is looking out of the door. Arisia has gone and is not in shot.

Axiom: Nice arse.

Frame

Axiom walking through lounge towards patio, picking up a beer from off the table.

Axiom: Kara, it's all sorted. She's moving in next week.

Frame

Kara on the patio. She hasn't moved at all, and is showing no interest.

Axiom [off]: And she's happy to pay in advance.

Kara: Perfect.

Page 20 [2-2-2-2]

Frame

Kara-Lysette at work. City office type. All light wood panelling and pastel blue carpets. Filing cabinets and pine bookshelves. Kara is looking immaculate in slate grey. On the desk is a PowerMac laptop. Behind her is a wall with charts and motivational slogan posters (not hers). There is the occasional potted-plant, but no obvious windows. Many other people are floating about, all in typical office gear. From this shot, we can't see them though.

Kara is slamming down a phone with lots of buttons.

Kara [irate]: Perfect!

Frame

Pan to the side so we can see more of the environment. There are a decent number of people nearby, giving her varying amounts of attention. It is an open-plan office. Kara is separate from the others, but not separated physically. She is senior, but not senior enough to have an office.

Kara is throwing a tantrum.

Kara: Bloody men! They're all the same. You just can't tell them anything. I've said to that man at least a dozen times. But no! I think his golf handicap is more important than his business. Either that or he gets off on being scolded.

Frame

Same view. A fellow worker - a woman carrying files - has wandered into shot to muck about with a filing cabinet. Kara is fuming more quietly.

Worker: Is that Smith-Peterson?

Kara: Yes.

Worker: The man's a twat. You know that.

Kara: I know, I know. It's just that... Oh, sod him. Sod them all.

Frame

Same view. Worker is still mucking about with a filing cabinet, talking backwards over her shoulder. We can see a at least one male worker at a desk in the background within heckling distance.

Worker: You said it. Anyway, I have good news. Lesley wants to see you.

Kara: Christ. Who let her out of her coffin?

Worker2: And in daylight as well.

Worker: Yeah, well, she said it was urgent.

Frame

Kara knocking on an impressive manager's door, labelled "Lesley Marsh". There is glass to the side, but we can't see much through it. Just office stuff.

Lesley [within]: Enter.

Frame

In the office, looking towards the door. Kara has entered. We can see the back of a big executive chair that's facing Kara, but not who is in it.

Kara: You wanted to see me?

Lesley [from chair]: Yes, Ms. Maven.

Page 21 [splash]

Frame [full size]

Face-on view of Marcionette (aka Lesley Marsh) sitting in the big black chair, now facing away from Kara, so we can see Kara behind her in the background.

Lesley: Let's talk about your future.