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JLA/PLANETARY: TERRA OCCULTA An Elseworlds Story ... Written
by WARREN
ELLIS
48 pages THIS IS A SCRIPT SAMPLE, containing the script for the first nine pages of art, supplied directly to this store by Warren Ellis. DIAMOND
ORDER CODE: All
material herein � and � DC COMICS INC,
2002. This
material supplied for review only.
*
http://www.warrenellis.com
*
PAGE
ONE
Pic
1;
We�ll
do the titles and credits on the inside front cover, and get straight into
it.
Full
page panel:
DIANA
PRINCE, in a black business suit and a gold top underneath the jacket,
sits on a bench in parkland, writing in a black-wrapped journal.�
The sun is setting � lots of REDS dripped over the scene.
A
few other people are visible moving around out here; kids, a family,
people walking home from work � because we�re in Central Park, NYC.�
It�s just bigger than we know it.
LETTERER:
Captions denoted as JOURNAL CAPTION are handwritten sentence case,
Diana�s handwritten entries in her little book.
She�s
writing them as letters to her mother.�
But her mother is dead.
JOURNAL
CAPTION;������������
Mother,
There�s
an eerie whistling in the background as I write this; a Flash passing by
on a courier route.
Men
and women move across this country like Hermes now, in pursuit of
commerce.� This is a fast
world I live in now.
Fast
and dark; a vicious undertow.
I
want to go home.
PAGE
TWO
Pic
1;
She
stands up, slipping the journal into the purse by her side.
JOURNAL CAPTION;������������
But I can�t, of course.� You
know that as well as I do.� Better
than I do.
Pic
2;
Takes
the path from her bench � we see she�s wearing high heels � starts
to walk out of the park.
JOURNAL CAPTION;������������
I am trapped here in Man�s World, a civilisation I learned of
through viewscreens.� Nothing
prepared me for the way this place feels.
Pic
3;
Walking
through park gates out onto street
JOURNAL CAPTION;������������
The voices.� This is a city of voices, of constant chatter.�
There is no song here, Mother.�
Only the tinny riot of untrained voices from their radios, and the
clatter of their talk.
Pic
4;
�and
a wheelless, floating Yellow Cab pulls up by her.�
In fact, all the traffic down this street is wheelless; all the
cars look like cars, with a Fifties feel to them, but are
hovercraft.� She leans down to
talk to the driver:
JOURNAL
CAPTION;������������
I find myself longing for the days when their cars made noise.
DIANA;����������������������������������
GRAND CENTRAL STATION, PLEASE.
PAGE
THREE
Pic
1;
Big
pic, half the page, whacked out to bleed at top, left and right; the
interior of Grand Central Station, seen from a point up in the rafters.�
But it�s not train platforms that people are streaming towards�
it�s DOORS, the teleportation portals from THE AUTHORITY.
(no
dialogue)
Pic
2;
Zoom
down, to find Diana handing a ticket over to a GUARD (who looks at it as
he accepts it) at an airport-style gate about ten feet away from one of
the big Doors�
DIANA;����������������������������������
I HAVE A FIRST-CLASS TICKET TO GOTHAM, I WAS TOLD TO COME STRAIGHT
THROUGH�?
GUARD:���������������������������������
THAT�S RIGHT, THIS IS THE FIRST-CLASS DOOR TO GOTHAM CITY.
GUARD;���������������������������������
JUST WALK STRAIGHT ON THROUGH INTO THE LIGHT, MS PRINCE, AND THANKS
FOR TRAVELLING WITH PLANETARY DOORS.
Pic
3;
A
little reluctant, she steps through the Door, vanishing where she touches
its rippling gold glow�
FROM ABOVE (JAGGED);
YOU ARE NOW LEAVING NEW YORK CITY.�
THANK YOU FOR TRAVELLING WITH
Pic
4;
�emerging
on the other side in a far darker space.�
She looks up --
FROM ABOVE (JAGGED);
PLANETARY PORTALS.� YOU ARE NOW IN GOTHAM CITY.
PAGE
FOUR
Pic
1;
--
at a doomy, dark station in the mode of Grand Central, but made out of
black iron, all angles and alcoves, industrial and forbidding.�
We know we�re in Gotham City now because it looks like Hell�
which isn�t helped by the fact that the COLOUR of the DOORS here is
RED�
Doomed,
beaten-looking people stream out from the Doors�
FROM
ABOVE (JAGGED);�����������
WELCOME TO GOTHAM CITY.
Pic
2;
She
joins the stream.� Against one
wall of the great hall, people lurk in the shadow� the homeless�
criminals waiting for a hook-up or a potential victim to follow�
(no
dialogue)
Pic
3;
�and
one thin guy, his eyes little points of light in a shadow-covered face�
it�s THE DRUMMER, but we probably won�t get it�
(no
dialogue)
Pic
4;
�until
we pan down to see his hand, two drumsticks held in it and being tapped
against the wall�
(no
dialogue)
PAGE
FIVE
Pic
1;
Big
pic, again probably half the page.� A
business party.� Everyone in
black and white (again, I�m thinking Fifties stylings, but I�m
definite in that everyone here is wearing black suits and white shirts, or
black dresses with white trim, or� you get the idea.�
Diana will stand out because of the gold, and Bruce Wayne, whom
we�re going to meet momentarily, will stand out because he wears a black
suit and a black shirt, no tie.� Keep
highlights on the clothes to a minimum � I like the idea of them as a
black mass).
The
glass roof in this penthouse area shows a night sky through it.�
The mural on the wall is a huge WAYNE INDUSTRIES LOGO.
(no
dialogue)
Pic
2;
Cut
to; DR JULIUS ERDEL, an old scientist in a threadbare suit, runs a shaky
hand through his Einstein hair, trying to explain something really
terribly important to a bored young woman abandoned by her date and
looking around for him.
ERDEL;����������������������������������
NO NO NO.� YOU SEE, THE
ORIGINAL TIMETRACK THEORY HAD IT THAT THE LOOP BEGINS AT THE POINT OF
ACTIVATION AND PROCEEDS INTO THE FUTURE.
ERDEL;����������������������������������
HOWEVER, I AM CONVINCED THAT THERE MUST BE A GHOST LOOP
BACKTRACKING FROM THE ACTIVATION POINT, AND --
WOMAN;�������������������������������
-- AND BRUCE WAYNE PAYS FOR THIS?�
GOD, HE�S MORE STUPID THAN I THOUGHT.
Pic
3;
CUT
TO; Diana, being doted on by a group of attentive middle-aged men who are
trying not to get caught looking at her cleavage.
DIANA;����������������������������������
I DON�T FEEL COMFORTABLE WITH �INVENTOR�.�
I PREFER �TECHNOLOGIST�.� IT
FITS BETTER WITH WONDERDOME FUTURES� BACKGROUND AND GOALS.
DIANA;���������������������������������� NO, COLLIMATING STRUCTURE AND TESSERACT TECHNOLOGY ARE THINGS MY FAMILY HAD BEEN WORKING ON IN THEORY SINCE THE 1950�S.� THANKFULLY, MR WAYNE�S MONEY -- Pic
4;
BRUCE
WAYNE appears to one side of Diana, smiling quietly, a champagne glass in
his hand.� She gives him a
dazzling smile.� The guys
around her look down, mutter, begin to move away.
BRUCE;����������������������������������
-- IS NEVER BETTER SPENT THAN ON DIANA PRINCE, AND HER WONDERS TO
PERFORM.
DIANA;����������������������������������
MR WAYNE!
ONE
OF THE GUYS:������������
Bruce
ANOTHER;����������������������������
Hello Bruce
AND
ANOTHER;����������������
here comes Bruce to sink his claws in
AND
YET ANOTHER;����������������
drunk too
PAGE
SIX
Pic
1;
He
sips his champagne, smiling, eyes on her.�
Her smile becomes broader, more knowing.
DIANA;����������������������������������
MR WAYNE?� YOU LOOK
LIKE YOU�RE WONDERING ABOUT SOMETHING.
BRUCE;����������������������������������
MM.
BRUCE;����������������������������������
I WAS WONDERING WHAT IT�D BE LIKE TO�
Pic
2;
He
puts his glass down on a passing waitress� salver, not breaking eye
contact with Diana; the waitress hears what he says, and stares wide-eyed
at him.
BRUCE;����������������������������������
NO.� LET ME PUT IT THIS
WAY.
BRUCE;����������������������������������
I WAS WONDERING IF I COULD TAKE YOU HOME.
Pic
3;
Diana
smiles a dirty smile back at Bruce.
DIANA;����������������������������������
I�VE ALWAYS WANTED TO SEE STATELY WAYNE MANOR.
Pic
4;
CUT
TO; A big black car sweeping down a highway away from us, headed towards
the brooding WAYNE MANSION rising from its hillside setting in the
mid-distance�� bats clattering through the air in a right-to-left stream in
between us and the car�
(no
dialogue)
PAGE
SEVEN
Pic
1;
CUT
TO; At the front doors of Wayne Manor, Wayne gallantly and showily ushers
Diana through the open doors ahead of him, where light streams through�
BRUCE;����������������������������������
AFTER YOU, MS PRINCE, PLEASE.
DIANA;����������������������������������
CHIVALRY IS NOT DEAD.
BRUCE;����������������������������������
NO, JUST LAYING DOWN FOR A WHILE.�
WHICH, YOU MUST ADMIT, IS AN EXCELLENT IDEA.
Pic
2;
In
the great Wayne Manor hallway: ALFRED awaits as Wayne shuts the doors
behind him.
BRUCE;����������������������������������
ALFRED.� STATUS?
ALFRED;��������������������������������
ALL SECURITY SYSTEMS ON; NOTHING INSIDE THE GROUNDS CAN BE SEEN OR
HEARD FROM ABOVE, SIR.
BRUCE;����������������������������������
GOOD.� HOW DID YOU GET
HERE, DIANA?
Pic
3;
He�s
all business now, is Bruce Wayne, as he shrugs off his jacket for Alfred
to take.� Completely different
man.� Intense.
DIANA;����������������������������������
I TOOK A DOOR FROM NEW YORK.
BRUCE;����������������������������������
DIANA, YOU SHOULDN�T USE THE DOORS.�
THEY MONITOR THEM.� IF
THEY�D CAUGHT YOU USING THEM THEY COULD�VE TELEPORTED YOU FIVE MILES
DOWN.
DIANA;����������������������������������
BRUCE, WE�RE ALL WELL AWARE BY NOW THAT THEY KEEP ME ALIVE
BECAUSE IT AMUSES THEM TO DO SO.
Pic
4;
Jacket
draped over one arm, Alfred consults a pocketwatch with his other hand.
BRUCE;����������������������������������
STILL.� YOU SHOULD TAKE MORE CARE.�
IF I COULD FIND YOU, THEY COULD FIND YOU.
DIANA;����������������������������������
WHAT ABOUT CLARK?
ALFRED��������������������������������
THEIR SURVEILLANCE SATELLITES WILL BE IN THE PREDICTED CONJUNCTION
IN ABOUT THREE MINUTES, MASTER BRUCE.
Pic
5;
Bruce
indicates that they walk across the hall, unsmiling.
DIANA;����������������������������������
CONJUNCTION?
BRUCE;����������������������������������
I PLANNED THE PARTY TO TAKE ADVANTAGE OF IT.�
EVERY FEW DAYS THE SATELLITES� ORBITS ACCIDENTALLY CREATE A
CORRIDOR OF UNMONITORED AIRSPACE BETWEEN HERE AND METROPOLIS.
BRUCE;����������������������������������
IT LASTS ABOUT SIX MINUTES.� I
THINK THAT�LL MAKE AN INTERESTING POWERS TEST FOR MR KENT.
BRUCE;����������������������������������
COFFEE?
PAGE
EIGHT
Pic
1;
CUT
TO: Bruce and Diana walking through french doors into the dark rear
grounds of the manor, holding steaming cups of coffee.
BRUCE;����������������������������������
THE CORRIDOR OPENED UP A LITTLE OVER THREE MINUTES AGO.
BRUCE;����������������������������������
LET�S SEE.
Pic
2;
Bruce
narrows his eyes, points up into the sky � Diana follows his gesture.
BRUCE;����������������������������������
AHA!
Pic
3;
Against
the full moon � a human figure, silhouetted.�
It�s wearing a suit, and the jacket snaps out against the wind,
making a shape a little like a cape.
(no
dialogue)
Pic
4;
Wayne
looks at his watch.
BRUCE;����������������������������������
EXCELLENT.�� NEARLY
THERE, MR KENT, NEARLY THERE�
Pic
5;
Through
the trees in the grounds, a dark figure drifts down, in an upright
standing position but a good twenty feet off the ground�
(no
dialogue)
PAGE
NINE
Pic
1;
�drifts
down until he�s only a few feet off the ground, and close enough to
us/Wayne that the cold light from inside the mansion falls on him�
�Clark
Kent, in a black suit, white shirt and red tie, night winds pulling at the
jacket and tie�
Let�s
give this a full page panel.� Make
him look slightly spooky.� We
should not be reassured by this dark figure drifting down from these
nighted trees�
KENT:������������������������������������
EVENING, BRUCE.� MS
PRINCE.
-- end script sample -- |
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