THE WRITING CHALLENGE

THE WRITING CHALLENGE

Danny Nolan

Two violent prisoners think they have escaped punishment when they sign up for an educational program only to find themselves victims of an evil experiment.

 ART by Ken Best

Published FutureQuake (UK) December 2020

PAGE ONE:

 

6 panels on this page

Panel 1:

Establishing shot. This panel takes up the full width of the page. Exterior view of a penitentiary: a large imposing cement structure, blocky in appearance, with high walls, many security cameras and barbed wire to complete the picture. A sign is prominent.

HAXENDALE HIGH-SECURITY PRISON COMPLEX

 

Underneath

 

KEEPING OUR COMMUNITIES SAFER.

 

Underneath that:

 

A DIVISION OF KHEMLANI ENTERPRISES.

 

Panels 2 – 4 equal size running underneath the first panel

 

Panel 2: 

The exterior of one of the prison wings. Once again a large block-shaped slab of cement with few windows and many cameras. Another sign is visible on the wall near the entrance. The sign has the prison’s logo and the words: REHABILITATION AND DEVELOPMENT.

 

Panel 3:

 

Looking down a corridor at a heavily fortified door. A loosely attached sign says: TRAINING ROOM.

 

Panel 4

Same shot but the sign falls to the floor to reveal a more permanent sign saying :

 ISOLATION CHAMBER. OBSERVE ALL WARNING SIGNALS AND SIGNS.

 

Panel 5:

 

A black and white photograph, a thumb is visible indicating it is held by someone. The picture shows a moonlit night. There is a silhouetted figure standing on a bridge shrouded in mist. Any real detail is vague.

 

NICK: (off)

WHAT ARE WE SUPPOSED TO DO AGAIN?

 

Panel 6:

Two in their men mid-twenties are seated opposite each other at a table in a bare room. Each has a blank piece of paper and a pencil in front of them.

Nick, who is holding the picture, is broad-shouldered with a large face and has a nose that looks like it has been broken many times. Mark, the other inmate, has a scar under one eye that runs down his cheek; he could be considered handsome to Nick’s roughness. Both have crew cuts and a few days stubble. Both look physically fit and strong.

For future reference: Both are wearing boiler suits with the letters ‘HP’ and the Khemlani logo embroidered on the back.

Both are staring at the photo in confusion.

MARK :

WW HAVE TO WRITE A STORY ABOUT THIS STUPID PICTURE.

 

 

PAGE TWO

6 panels on this page

 

 

Panel 1:

 

Both men seated and facing each other. Nick is now absent-mindedly scratching his ear with the blunt end of a pencil.

 

NICK:

HUH?

 

MARK:

YEAH, I KNOW. IT’S SUPPOSED TO BE SOME LEARNING CHALLENGE THING. IT’S WHAT GOT US OUT OF DOING SOLITARY.

 

 

 

Panel 2:  

 

CU - Nick holds the picture up to have a closer look. There is writing on the back of it - at this stage it is legible but faded, Mark has leant forward and is reading off the back of the picture

NICK:

A PERSON ON A BRIDGE, WHOOPEE.

 

MARK (reading):

WRITE A STORY ABOUT ANYTHING USING THE PICTURE AS INSPIRATION.

 

Panel 3:

 

Nick smiles because he thinks he’s made a funny comment. He is now holding the pencil between his thumb and forefinger. He has absentmindedly snaps off the lead point and it falls to the table. Mark has now taken hold of the picture .

 

 

NICK:

HOW ABOUT USING THE PHOTO TO WIPE MY ARSE (BUTT), ‘CAUSE THIS IS ALREADY GIVING ME THE SHITS. (RUNS)

 

Panel 4:

 

Mark turns the picture towards Nick if he’s discovered something. Nick looks, forgetting that his funny line has gone unnoticed.

MARK :

HEY MAN, LOOK, DOES THE PERSON IN THE PHOTO LOOK FAMILIAR?

 

 

 

NICK:

WHO?

MARK:

LOOK CLOSER.

Panel 5:

 

As Nick lowers his face to about six inches from the photo, Mark grabs the back of Nick’s head and slams it into the table.

SFX: SLAM!

 

NICK:

OOOFFFF!

 

Panel 6:

 

Nick rebounds off the table and is now on his feet, his nose hopelessly broken and bleeding profusely. His eyes are watering as he tries to focus on Mark who looks rather innocent.

 

NICK (yelling):

WHAT WAS THAT FOR?

MARK:

YOU BROKE MY PENCIL.

PAGE THREE:

 

7 panels on this page to highlight speed and confusion.

 

Panel 1:

 

Nick circles the table to get to Mark who keeps moving to counter his strides. Mark is taunting him.

MARK:

NYAH ,NYAH, CAN’T GET ME.

 

Panel 2:

 

Nick is faster than Mark and has a longer reach. He lunges for the pencil on the table.

No dialogue

 

Panel 3:

 

Mark moves to stop him but Nick scoops up the pencil and drives it through Mark’s hand.

 

SFX:  SPLUURT!

 

Panel 4:

 

Mark rears up holding his hand in pain. Nick moves around.

 

Mark:

AGGHHH!

 

Panel 5:

 

Nick picks up the second pencil and drives it into Mark’s right eye.

No dialogue.

 

 

Panel 6:

 

Mark let out an ear piercing scream. He rears up and hits the wall behind him.

 

MARK SFK::

AGGGHHHH!

 

Panel 7:

Nick assesses his damaged nose.

PAGE FOUR

6 panels on this page.

 

Panel 1:

 

A wider shot as Nick doesn’t see Mark as he desperately slams into him.

 

No dialogue

Panel 2:

 

Mark slams Nick’s head into the wall, causing his skull to crack with the impact. Blood flies everywhere. Mark pushes the pencil further into his brain when tackles Nick.

 

Panel 3:

 

Both of the convicts slide to the floor dead; Nick with a crushed skull, Mark with the small piece of pencil poking out of his eye.

 

 

Panel 4:

 

Pull out to reveal the room is a mess, even with so little furniture. Blood is sprayed everywhere from the men’s injuries. The two men lie sprawled out where they fell. Above on the ceiling two exhaust fans can be seen.

 

 

Panel 5:

 

Pull in closer to highlight the exhaust fans.

 

 

Panel 6:

 

Close up of the fans starting up at full bore.

 

SFX: WHIRRR!

 

PAGE FIVE

5 panels on this page.

 

Panel 1:

 

Wide shot, just to left of the carnage caused by the two inmates.

A line appears in one of the walls to reveal a hidden room.

 

SFX: High pressure hissing noise and sliding sounds.

 

Panel 2:

 

The rear wall opens to reveal a console room and a row of theatre-style chairs occupied by top military brass. The room that Nick and Mark had just battled to death in was actually a test room that was fully isolated and vacuum sealed.

 

VOICE SFX OFF: AREA CLEAR OF TOXINS

Panel 3:

 

PHILLIPS a skinny middle-aged man with dark hair and dressed in a white lab coat. He stands to address the assembled military men as they look around the room. The military brass all nod and agree with mumbles and sighs as they get up to leave except for one who goes over to the table to inspect the photo.

 

 

PHILLIPS:

 

WELL, GENTLEMEN. I THINK THAT SHOULD BE PROOF POSITIVE OF THE ACTIVE KILLING AGENT IN PRODUCT NG011.

 

LINK

THE ENEMY WILL NEVER GET TO ENGAGE WITH OUR TROOPS AS THEY WILL BE TOO BUSY KILLING EACH OTHER.

Panel 4:

 

The general holds up the photo to one of his peers and makes an off-the-cuff comment as if he were at the office water cooler.

GENERAL:

 

JUST LIKE MY KIDS,

 

Link

DO ANYTHING TO GET OUT OF HOMEWORK.

 

PAGE FIVE (CONT.)

 

Panel 5:

 

The group of military men are walking away, nodding in agreement.

 

No dialogue

FIN

ART SAMPLE

THE RETRIEVAL

THE RETRIEVAL

Danny Nolan

PAGE ONE

No dialogue this page.

Panel 1

A dark figure is crouching on top of a high wall where long tendrils of vine are crawling up it, below is the heavy foliage of a jungle. The POV is from the foliage looking up so the perspective emphasises height.

Panel 2

Close up of the figures eyes. They are open wide, aware and alert.

Panel 3

Pull back to show the figure is wearing a leather balaclava, all that is visible is their mouth and eyes; the figure is looking to the right of panel.

Panel 4

The figure is now diving off the wall into the foliage. We have a better idea of what they are wearing now, a tight leather suit with heavy boots and a large utility belt around the waist. By the shape of the figure we can now deduce that it is a male.

Panel 5

As the figure enters the foliage he holds out his hands towards a branch that is conveniently sticking out.

Panel 6

He now uses the branch to swing 270 degrees upward, as this happens a large plant similar to a Venus fly trap snaps at his heels missing by inches.

SFX: SNAP!

PAGE TWO

No dialogue this page.

Panel 1

He now moves through the air feet first hands to his side through large serrated leaves one just nicking his arm causing a tear.

Panel 2

He lands on a large rock sticking out of the foliage in the crouching position looking around.

Panel 3

He turns his upper body sharply to the left as a spike barely misses his chest as it shoots passed him.

SFX: FFFFT!

Panel 4

POV from figure staring at another large plant, this one is like a big tulip it has three flowers two empty the third with a large spike still inserted ready to fire.

Panel 5

A wide shot as He jumps back as the flower shoots with a spitting motion, the figure has ducked backwards as we see the flight of the spike hit a wall behind him. Next to that spike is the missing third spike which has impaled a massive butterfly with serrated wings and claws.

SFX: FFFFT!

SFX: BOP!

PAGE THREE

No dialogue this page.

Panel 1

The figure is confused, the rock he is on is shaking.

Panel 2

He is suddenly lifted up. He is more stable now and looking down.

Panel 3

Pull back now to reveal that he has been standing on the top of the head of a triceratops like creature. One with three horns and a large shield like protuberance running up from the back of the skull. This area is where the spikes have hit.

Panel 4

Pull back to see that it is not the spikes that have upset it but a large Sloth like creature has entered its territory and it is getting ready to fight.

Panel5

Looking down the figure sees a bright disc resting in the crook of a branch.

Panel 6

The figure leaps for the disc as the two creatures attack each other.

SFX MONSTER: HISSS!

PAGE FOUR

Panel 1

The figure is now holding the disc, satisfied.

Panel 2

Lots of monkey type creatures- this time slightly smaller than the figure- drop drown from above by their tails. The monkey things look mean and are holding sharpened sticks. The figure looks surprised.

Panel 3

The figure presses the middle of the disc and light radiates from it startling the Monkey things.

Panel 4

A vortex opens and we see the figure pass through it.

Panel 5

The figure appears out of the vortex while pulling off the balaclava, to reveal he is a humanoid type creature but with no hair, slits for a nose and a weak jaw. He is met by two younger smaller versions dressed much like the youth of today. Both have a look of happy expectation on their faces.

Panel 6

The creature, who one can assume is their dad is now holding out the disc and scolding the two smaller ones. They are looking quite guilty.

TEXT: LARGER CREATURE:

NEXT TIME YOU PLAY WITH THE DIMENSIONAL SHIFTER TOO CLOSE TO MISTER WILSON’S FENCE, YOU CAN GO KNOCK ON THE DOOR AND ASK HIM TO GET IT FOR YOU.

FIN.

Futurequake March 2020

Futurequake Press

ART SAMPLE  

THE NIGHT BEFORE CHRISTMAS (2000AD DRAFT)

THE NIGHT BEFORE CHRISTMAS (2000AD DRAFT)

THE NIGHT BEFORE CHRISTMAS

© 2016 DANNY NOLAN

A short tale about two young aliens visiting our solar system for their version of Schoolies after a hard year of study.

NOTES: Both characters look and sound like your typical western teenager except they have four arms.

The spaceship interior is a very modern affair with lots of shiny chrome, monitors and lights, only it has been trashed as only teenagers on holiday can trash a living space.

 

 

PAGE ONE

5 panels this page 5 x1

Panel 1:

INT. Looks like your average modern apartment. POV from back of room. We do not yet realize we are on a spacecraft. We are looking at the rear of a couch, the back of two heads are visible. One head has a ponytail draped over the back. An arm is resting on the armrest. A pair of feet wearing thongs hangs over the other armrest. Partially visible in front of the couch is what appears to be a big screen TV. There is some evidence of empty bottles and chip packets scattered on the armrest.

No dialogue

Panel 2:

Same POV but lifting above the couch to reveal that the couch is actually a dual chair that sits in front of a console. The screen is the wide viewing screen of a space ship. There is more mess in the way of empty bottles, chips, socks and shirts scattered over the console.

CAPTION: The TROLL System. Orbiting FART. The third planet from the Solar centre.

Panel 3:

EXT. Earth from space looking down on the North Pole. A large spacecraft is hovering far above in orbit. There are a few dings evident in the hull.

PAGE ONE (Cont.)

Panel 4: 

POV from screen - facing two normal looking teenagers: One male, one pony-tailed female in relaxation mode. It is only now we realize they have FOUR arms.

Duane:

Do you think we should start cleaning up? We have to go pretty soon.

Sharon:

We could wait until we get back.

Duane:

We wouldn’t have to, if you didn’t dare the service unit to neck a bottle of acid.

Panel 5:

CU of both teenagers still in relaxation mode, remembering fun times.

Sharon:

Still it was a great few partalls*.

CAPTION * weeks

  

PAGE TWO

5 Panels this page 5x1

Panel 1:

Cut to EXT. An outback road at night. Nothing but spinifex and tumbleweeds. A car with a couple of rednecks/white trash driving along are suddenly swooped upon by a flying saucer. The car’s occupants are holding up their hands to shield themselves from the bright lights.

Note: in the back seat is a collection of presents wrapped in Christmas paper

Duane (OFF) :

I love this place, the locals are so excitable!

Sharon(OFF):

Hit ‘em again with the high beam, Duane.

Panel 2:

Cut to - shot of a wheat field at night where a big full moon is blazing in the night sky. The field could be in any country you could imagine (they all look the same). The same craft that buzzed the couple in the desert is seen speeding in.

SFX:

Weeee!

Sharon (OFF):

Keep it on full lock, hahahaha!

Duane(OFF):

Watch me do a hand brake turn, Shaz!

Panel 3:

Cut to - the craft disappears into the night sky to reveal intricate crop circles.

Duane (OFF) :

 

That’ll keep ‘em guessing!

PAGE TWO (Cont.)

Panel 4:

Cut to Duane at the controls of the smaler craft. Behind him, facing the other way, is Sharon. She is seated behind what could only be described as a large laser cannon.

Duane:

Let ‘er rip, Sis!

Panel 5:

EXT - The ship is firing at large sections of sheet ice and making large chunks break away.

SFX:

Spalash!

PAGE THREE

5 panels 1x3, 2x1

Panel 1:

Cut to - a row of three monitors. Each one presents a broadcast of the mischief the two young aliens have been up to. They display the following:

First monitor:  A typical male newscaster at his desk in the top right hand corner is graphic: Climate out of control. Running along the bottom of the screen runs a news banner ticker announcing other news: Christmas spending lower this year.

VOX :

…..And these large sections of ice are further proof of accelerated global warming due to man-made climate change.

Second Monitor: A lady in a coat doing a live cross to a run down house. One of the occupants of the car in PAGE TWO Panel 3 is standing besides her smiling like an idiot.

VOX:

The local Coober Pedy residents revealed it wasn’t the first time this had happened…

Third Monitor: Another live cross, this time it is a male reporter and he is standing in front of a General Store with a few children waving  in the background. A Christmas tree is visible over the reporters shoulder.

VOX:

…as for the origin of these so called ‘crop circles’. Local authorities are baffled.

Panel 2:

Sharon and Duane are laughing uncontrollably, giving each other a high five.

Panel 3:

Back to scene from PAGE ONE Panel 5:  The two have decided it’s time they moved on and their holiday is at an end.

Duane:

OK time to move, we have college registration in less than a Pertell*.

Sharon:

Meh!

CAPTION: * Fortnight

PAGE THREE  (Cont.)

Panel 4:

POV looking out of the spacecraft front viewing screen it looks down on the white vastness of the North Pole. The kids are now strapped in at the console ready to depart, they even look like they know what they are doing.

Duane:

OK let’s take her down over the Pole to hide the blast signature.

Sharon:

Roger that, Cap’n.

SFX: wwwHHHIIIRRRR!

Panel5:

INT The kids are jostled about at the console because the spacecraft has sucked something into the engines, causing a sudden jolt and malfunction. Bits of rubbish are thrown around the ship. They look at each other, worried.

Sharon:

What the…?

SFX: CRUUUNCH!  clunkclunkclunk

PAGE FOUR

6 panels this page.

1x2,2x1,1x2

Panel 1:

Sharon looks down at the dialsand starts to unbucle her safety belt while Duane checks some gauges.

Sharon.:

Sounds like something got sucked in to the drive, probably one of those old satellites not on the chart.

Duane:

Let’s have a look-see.

 

 Note: Panel 3 is a larger canvas to show that they have just sucked Santa Claus and his Reindeer in the engine.

Panel 2:

Both Darren and Sharron approach the engine compartment. It is a cleaner area that has lots of tubes and panels. Duane goes to lift up a panel with a clearly visible handle.

There is writing on the panel but it is indecipherable because it is in an alien script.

No dialogue

Panel 3:

POV of Duane as he opens the panel. The vacuum drive is clogged with fur, antlers and twisted metal. Traces of toys and red cloth are everywhere. Intermingled within  all this mess are traces of meat and blood.

Sharon (OFF):

Gross!

Panel 4: 

CU of Duane. Some of the carnage is still splattered over the inside panel. He is talking to Sharon.

Duane:

Oh tits, you know what this means, don’t you?

PAGE FOUR (Cont.)

Panel 5:

Pull back to show Sharon looking inside panel. She looks rather annoyed.

Sharon:

Yep, Dad is going to be so pissed. I’m going to have to use his IBA* card and get a tow. That’s going to cost a bit.

CAPTION:                    * Interstellar Breakdown Assistance 

Panel 6:

Duane slams the panel and they both make to walk away. Sharron looks very unimpressed

Duane:

Oh well. You make the call. I’m going to carve my initials in that lump of ice the locals call Greenland.

FIN

  SAMPLE ART

PARADISO V

PARADISO V

(c) 2016 Danny Nolan

PAGE ONE

Panel 1: Planet hangs in space.

CAPTION:
PARADISO 5

CAPTION:
PLEASURE PLANET

Panel 2.

Establishing shot. Lovely facilities, oceans, tasteful décor. No people.

Panel 3.

A sign to the left of the panel. Beyond the sign in the back ground is the silhouette of a roller coaster and palm trees. In the foreground is a modern looking excavator – drilling rig, with two men standing around it, overseeing its work.

SIGN:

PARIDISO 5 - DREAM AMONG THE STARS.
MAJOR RENOVATION AND UPGRADE
INCORPORATING EXCITING NEW RIDES RESTAURANTS AND THEMES
UNVEILING Q3 THIS YEAR 
BROUGHT TO YOU BY ALLSTARS CONGLOMERATE

Panel 4.

There is a young man, TRAVIS, in the cabin dressed in coveralls and a hard hat. Outside is an older man with a beard, CHANG, dressed similarly. Both have company logo and the names on their coveralls. Dirt and boulders are scattered around. Chang is talking to Travis.

CHANG:

I’ll bet this beats travelling around the outer rim prospecting chunks of rock, eh, Mr. Travis?

PAGE TWO

Panel 1. 

Travis is holding a jar, looking at the odd rock sample contained within.

TRAVIS:

Sure is, Mr. Chang.  I never thought I’d see so much of this in one place... and it’s so pure, too.

Panel 2

TRAVIS:
Should I show it to...?

CHANG:
No. Tell no one about this.

Panel 3

CHANG:
If we play our cards right...

Panel 4

CHANG:
This could be our ticket to the good life.

PAGE THREE

Panel 1. 

The Senate’s orbital station.

CAPTION:

EARTH: RESIDENCE OF SENATE CHANCELLOR STANLEY MYRES

PERSON (OP):

Where are you heading for the holiday season?

Panel 2

A group of twelve people are sitting around a dinner table in a large spacious room. Everyone present is well dressed men in dinner suits women in dazzling dresses and fine jewellery. At the head of the table LHS is Chancellor Myres distinguishable by his bald pate.  Most of the plates are half eaten and conversation is in full swing.  Everyone is quite happy, except Myres who is stoney faced watching. NOTE: MAN 3 & MAN 4 will reappear in in the final scene on page seven.

SEATING REFERENCE FOR CONVERSATION.

 

WOMAN 3:
We’re thinking Paradiso 5.

MAN 2:
Very nice. Have you seen the new prospectus?

Panel 3.

WOMAN 3:
No, not yet. My husband says it’s going to have an all-new ocean simulation...

Panel  4

Myres interrupts the conversation between  W2 +3 and M2. He addresses Woman 3 directly. His face is still emotionless. Hers is one of shock when she replies.

MYRES:

I have some unfortunate news.

The Paradiso 5 renovation has been delayed indefinitely. I read the report this afternoon.

 Hush on that though.

PAGE FOUR

Panel 1

WOMAN 3:
Surely not, Chancellor!

You mean it’s just going to be the same place it was last year? I can’t be seen there!

Panel 2

Myres picks up his wine glass and everyone is looking in his direction. A half knowing mile has crept onto his face

MYRES:

It’s my understanding that Allstars’ contract on Paradiso five has been cancelled, and that they’re working to have the New Hamptons ready for the new season. More hush on that.

Panel 3. 

The table breaks back into different conversations as Myres leans back again with his stony expression  as he holds his wine glass and listens to the table.

CONVERSATION:

Oh, I’ve seen the prospectus for this one. It’s solid, and the innovation is just amazing.

Well, looks like a change of plans is called for.

Paradiso is clearly not the place to be seen anymore.

Panel 4. 

Myres looking very pleased with himself.

CONVERSATION (OP)

Delays! In this day and age!

Unforgiveable! It’s as if they don’t even care about keeping up! Paradiso has lost my business this year...

PAGE FIVE

Panel 1

CAPTION: THE STARSHIP INTREPID. ON MISSION OUTER RIM.

A massive and majestic interstellar battleship back dropped by a million stars.

Panel 2

The Interior of the vessel.  High on the bridge. The commodore a stern looking older man in uniform is looking out towards the vastness of space. Talking to his back is a middle aged officer - Ensign TAGGART.

COMMODORE:

Our live-fire exercise begins at 2215 hours. Bridge officers, ensure your crews are ready to proceed on my order.

Panel 3.

TAGGART:
Sir... do you have a moment?

Panel  4

The commodore turns and faces Taggart. His face is unreadable.

COMMODORE:

What is it, Ensign Taggert?

PAGE SIX

Panel 1.

TAGGERT:
Sir, I’m reading life signs on the planet. Are you sure we’re...

Panel 2.

COMMODORE:

Your first ship-to-surface live-fire exercise, isn’t it, ensign?

It’s all part of the simulation. Merely data for tactical to consider and evaluate.

Don’t give it another thought.

Panel 3.

TAGGERT:
Uh, yes, sir. Sorry, sir.

Panel 4. 

The Commodore has returned to his place on the bridge, looking out onto the planet before them.

COMMODORE:
Ladies and gentlemen, I make it 2215 hours.

You may begin acquiring targets.

PAGE SEVEN

Panel  1

CAPTION:  PARADISO 5 INNER CORE

Another external shot of Paradiso 5. The sky is dark; it’s evening now.

Panel 2.

A modern office overlooks the place .  The resort’s manager, PAUL ELLIS, is a suited bespectacled man in his late 30s. Looking side on at him he has a worried look on his face. He is staring out the tinted glass looking down on the crowds enjoying themselves.

ELLIS:

These figures aren’t good. I know bookings usually go down during the annual construction phase, but...

Panel 3.

ELLIS (cntd):

Damn Allstars pulling out and leaving us three months behind! Almost all of our high rollers and regulars have all deferred their bookings.

Panel 4

Ellis has turned to address the other person in the room, his 2IC MARGARET WONG. A pretty lady also well dressed and in her 30s.

ELLIS:

Even with the discounted fares and package deals, we’re way down on last year. If this continues, we’re going to have to look at staff reduction and service cuts.

PAGE EIGHT

Panel 1.

MARGARET:

Calm down, Paul. We’re only into the first quarter. Things always pick up.

ELLIS:

I hope you’re right.

Panel 2

Down on the ground with the crowds. Everyone’s attention is drawn to the night sky as lights streak into the atmosphere.

Children look up in wonder. Couples embrace as they point out which is their special wishing star.

Panel 3.

ELLIS:

I don’t recall a light show on tonight’s schedule...

Panel  4

Margaret has caught on, and her face is terrified as she joins him looking out the window.

MARGARET:

There wasn’t one.

           

PAGE NINE

Panel 1. Senate’s orbital station.

CAPTION: EARTH - THE GALACTIC  SENATE.

Panel 2.

Chancellor Myres is addressing the press; to his left in the foreground a screen with his image can be seen. It is part of a media pack reporting his address. Across the base and top of the screen are banners reading:

LIVE FROM THE SENATE. CHANCELLOR STANLEY MYRES. REPORTS OF TRAGEDY.

NOTE: Reference SENATE CHAMBER –PEACEFUL TOMORROWS Vol. 1 –PAGE 47 -53

Myres is holding a tablet but not reading from it.

MYRES:

The Senate has received some distressing news. The resort planet Paradiso 5 has been hit by an asteroid of - as yet - indeterminate size.

Panel 3.

MYRES:
The Senate mounted an immediate and vigorous rescue effort, but it appears there were no survivors.

Panel 4

Same scene. Maybe a different angle, possibly from behind the chancellor looking out towards the senate and the media pack.

MYRES:

The Senate will be liaising with the Paradiso corporate headquarters to ensure that the families of registered visitors and workers receive appropriate compensation for the loss of their loved ones.

PAGE TEN

Panel 1

This shot is focused on Myres, this time looking directly up at him from the position of those in the senate.

MYRES:

The disaster has rendered Paradiso 5 desolate and inhospitable. It has been struck off the register as a Class M planet.

Panel 2.

Myres continues his speech. This time it is a close up on his stony faced visage.

MYRES:

This of course means that access to the planet, in both  commercial and commemorative terms, is restricted indefinitely.

Panel 3.

MYRES:
My heartfelt sympathy goes out to the victims of this tragedy, as well as to their loved ones. The Senate is committed to getting us all through this dark time.

Panel 4.

MYRES:

Thank you.

PAGE ELEVEN

Panel 1. A lush world, with plush office buildings.

CAPTION: ALLSTAR CORPORATE OFFICES.

Panel 2.

Inside the offices of a corporate building. Sitting around a large boardroom table are suited business men including two  of the male faces from the dinner table in scene 2.

 POV from a far corner that captures the board members , a screen on the wall and a wall of glass revealing a wonderful high view of the city.

Another of the men is holding a remote control and is pointing towards the screen what is on the screen isn’t clearly visible.

MAN HOLDING REMOTE:

…..And massive deposits of perobauxite  have been discovered on a planet in the inner core.

Panel 3.

MAN HOLDING REMOTE:

This planet has recently been declassified and rezoned. This means all previous regulations regarding environmental integrity and mining restrictions no longer apply.

Panel 4.

POV from the end of the boardroom table facing the screen. On the screen is a picture of a non disrupt rock. This of course is Perobauxite. The man has put down his remote and addressing the other members seated around the table.

MAN HOLDING REMOTE:

We have already received approval from the Senate to survey the land in greater detail and determine the best sites to situate mining operations.

PAGE TWELVE

Panel 1.

MAN HOLDING REMOTE:

With this find I can say without hyperbole that this quarter and the next few to follow are going to be some of the company’s best in decades. We expect share prices and dividends to increase substantially as soon as we make the official announcement.

Panel 2.

MAN HOLDING REMOTE:

Now, before I introduce our newly-promoted principal geologist, Mark Travis, I’d like to share with you that we’ve just met our final construction deadline for the New Hamptons.

Those of us with reservations for the opening night gala can breathe a sigh of relief.

Panel 3

MAN HOLDING REMOTE:

We here at Allstars have a particular talent for getting in on the ground floor. Now not only do we get great cheap holidays, but we get to enjoy some of that mining money while we do it.

 Panel 4.

MAN HOLDING REMOTE

It’s a great time to be alive.

FIN

 ART SAMPLES