Our War - Issue 1

Our War

Issue #1

Link to script

Link to finished comic

Script by Luke Henderson


Page 1

Splash Page

A splash page of an empty city street at sunrise (Brooklyn, New York).

Buildings slightly decayed, graffiti everywhere, rubbish and trash littering the streets.

Everything looks completely deserted.

Everything is yellowed by the rising sun.

“Notions of chivalry are out of place in warfare…” is written in a scroll in the lower left corner.


Page 2

Five Panels not filling total page, black background

1st panel - A close up picture of army boots marching.

2nd Panel – Old man slumped over on the curb holding a sign that reads “Will work for ANYTHING”

In between the top two panels: “…any type of warfare.” Written in a scroll the top left corner.

3rd Panel – People waiting in line outside of a weathered brick building with a sign that reads “Food Bank” overhead. At the back of the line is a women in a tattered jacket clutching a bag and a man holding a young girl. (shown from behind).

4th Panel & 5th Panel – A man in a cap snatching the women’s bag as she screams “Stop!” as he runs mb

At the bottom of the page: “Such talk is merely propaganda for imbeciles.” Written in a scroll.


Page 3

Seven Panels

1st Panel: Thief running down the street, looking behind him as the women screams “Stop him!”

2nd Panel: A gloved hand reaching and grabbing the bag

3rd Panel: The man reeling back and falling because of gloved hand that grabbed the bag wrapped around his arm.

4th Panel: a close up of the thieves face, which shows absolute terror and panic

“Criminality and murder…” Written in a scroll along the bottom of the fourth panel

5th Panel: A soldier with a pistol in one hand and the purse in another points his gun towards the ground (at the fallen thief). The soldier is smiling sinisterly.

6th Panel: The soldier shoots the thief in the head (shown in silhouettes).

7th Panel: The soldier empty the purse on the ground as the women runs up in the background.


Page 4

Six Panels

1st Panel: The soldier picking up money and jewelry from purse’s contents as the women screams “Hey, what the fuck are you…”

2nd Panel: The soldier swings the pistol around and points it at the women’s face.

“…become heroism.” Written in scroll below the second panel.

3rd Panel: “You got somethin’ to say besides ‘Thank you’?” The soldier says with a smile/sneer.

4th Panel: “That’s everything I’ve got! Please!” The women pleads, tears in her eyes.

“…The truth goes untold.” Written in a scroll below the fourth panel.

5th Panel: The soldier strikes the women to the ground. Smashing in her cheek with the butt end of his gun. “Kkkrack!” or some such nonsense written as he strikes her.

6th Panel: “Haven’t you heard? No one’s got anything anymore. Ha ha ha” The soldier says as he walks away.

“…What nobility is there in all of that?” Written in scroll in the bottom right hand corner of the page.


Page 5

Splash page

A full page of the women lying in the streets, sprawled out, bleeding from the face. Blood streams away from her like a river, the contents of her purse strewn around her.

“Better, I reckon, to speak a cruel truth than peddle falsehoods.” Written in a scroll about three-quarters down the page in the center.


 Page Six

7 Panels

Panel 1: All black

Panel 2: Mostly black with a fuzzy horizontal line of white light. (eyes opening)

Panel 3: More white with black fuzzy edges (Eyes opening wider). “Hey, wake up”

Panel 4: A fuzzy black outline of a person surrounded by white. “Hey, c’mon, get up already

Panel 5: The girl on the ground, rubbing her eyes. Her: “Whaa…” Voice: “I’m serious, you have to get up, they’ll be back”

 Panel 6: Shows a man, late twenties, wearing a green military hat, a black jacket, ripped jeans, and a white shirt with the Career Suicide logo on it. His hand is extended down to the women. “Ya ya, you’re bleeding, I know. If you plan on not making it a repeat performance I suggest you get up. Now.”

Panel 8: She takes his hand and starts to get up. Her: “…but my stuff….” Him: “Leave it, they took everything worth taking already.”


Page 7

8 Panels

Panel 1: Her: “Not everything” She says bending down and picking up a small black book of some sort.

Panel 2: Man leading girl by the hand off the street. Her: “Who are you? Where are we going?”

Panel 3: He lifts up a board of an alley-way door and leads her inside. Him: “We are getting out of the way. Your friends will be back.”

Panel 4: They enter a boarded-up store front.

Panel 5: The man peers through slats covering the store’s windows that face the street

Panel 6: Women sitting on floor, holding her head: “Why would he do that to me?”

Panel 7: Man looks at girl: “I take it you’re not from around here?”

Panel 8: Girl: “No, but I wasn’t doing anyth..” Guy: “Of course you were. You stood out. Here you always have to blend.”


Page 8

8 Panels

Panel 1: Girl: “But they said New York was different. They said there were jobs in New York. That it wasn’t as bad as everywhere else.”

Panel 2: Guy looking at her inquisitively: “Who told you that?”

Panel 3: Girl: “Everyone. Every where. That’s why I left Texas in the first place.”

Panel 4: Guy, laughing: “Ha! You came all the way from Texas?! “

Panel 5: Guy, laughing and wiping a tear from his eye: “All the way from Texas to find work here in New York?! Well I’ll be damned. Am I really in the presence of a modern day Okie?”

Panel 6: Girl, visibly angry: “Why the fuck is that so funny to you? And what the fuck is an Okie?”

Panel 7: Guy peering through the slats, looking at the street: “Shh. They are coming.”

Panel 8: Girl walking towards guy: “no, I’m serious, why is that so hilarious…” Guy: “Hey, I’m serious, shut up! Your friends are back.”


Page 9

5 Panels

Panel 1 (Inset, top left corner): Guy and girl peering out of boarded up window: Guy: “They don’t look too happy you’re gone.”

Panel 2 (large, taking up top half of page: 4 men in uniform standing at the spot where the girl had fallen. Kicking her discarded possessions and looking down at the blood-stained street.

Solider 1: “Where the fuck did she get off to?”

Soldier 2: “She couldn’t have made it too far.”

Solider 3: “You promised us some fun tonight, Ramsay.”

Soldier 4: “I told you this would be a waste of time.”

Panel 3: Girl and guy still watching from storefront: Girl: “But they already took everything they could’ve wanted…”

Panel 4: Guy looking girl up and down: “Not everything”

Panel 5: Girl, covering her chest and looking down: Girl: “Jesus Christ…”


Page 10

8 Panels

Panel 1: Girl turning to Guy: Girl: “Shouldn’t we get outta here?” Guy: “Not unless you feel like gettin’ caught up with them again. Just stay put. And keep your voice down.”

Panel 2: Shows the 4 men in uniform beginning to question people on the street, in the line for the food bank, etc. Solider 1 to homeless man sitting on the street: “Where did she go, old man?”

Panel 3: Soldier 3 holding man by the collar of his shirt: “I’m not going to ask you again, where the fuck is she?”

Panel 4: Soldier 2 to women in food bank line: “What do you mean you didn’t see her? She was just lying on the street.”

Panel 5: Guy to Girl: “Don’t worry, none of them will talk.”

Panel 6: Girl: “Are you sure?”

Panel 7: Guy: “Nope. I’m just hoping they hate these jackals as much as I do.”

Panel 8: Soldier 4 has a gun pulled on a man in a suit standing in the food bank line: Man in suit (Pointing towards the row of buildings that the Guy/Girl are hiding in): “They went over there! In those buildings.”


Page 11

8 Panels

Panel 1: Guy closes his eyes and lowers his head a little: “Fuck.” Girl: “So much for faith in your fellow man.”

Panel 2: Girl: “What are we going to do?”

Panel 3: Guy: “We are going to keep waiting here. There is no way we can take all four. They’ve got four guns, we’ve got one.”

Panel 4: Guy pulls out gun from the back of his pants/waistline and cocks it. (Derrah you can obviously choose all the weapons for this. Ahahah)

Panel 5: Girl looking surprised: “You have a gun?”

Panel 6: Guy: “You’re from Texas, stop acting so shocked. I’m actually surprised you don’t have one.”

Panel 7: Girl: “Not everyone from Texas carries a gun.”

Panel 8: There is a “Thud Thud” at the door where the guy/girl entered. Girl: “What was…” Guy: “Shh!”


Page 12

8 Panels

Panel 1: Soldier 4’s hand reaches in through the opening of the door and begins to slowly push the door aside.

Panel 2: The guy puts his finger to his lips to tell the girl to be quiet and not to move.

Panel 3: The guy reaches down and picks up a large chunk of wood off the floor.

Panel 4: The guy approaches the door way as Soldier 4 struggles to get the door unstuck. Soldier 4: “C’mon you cocksucker, open up!”

Panel 5: Soldier 4 begins to squeeze through the doorway, with his back to the guy/girl. Soldier 4: “Almost there…”

Panel 6: Guy swings the wood over his head. Girl “Don’t!”

Panel 7: Soldier 4 turns around after hearing the girl, but sees the guy with the the gun raised over his shoulder. He has a look of terror in his eyes. Soldier 4: “No!”

Panel 8: The guy pistol-whips Soldier 4’s head: “KRACK!”


Page 13

8 Panels

Panel 1: Soldier 4 lying on the ground, his head bleeding.

Panel 2: Guy dragging Soldier 4 fully into the room. Guy: “Gimme a hand here.”

Panel 3: Girl, helping him drag Soldier 4: “You could’ve killed him! “

Panel 4: Guy: “He’s nowhere near dead yet. But thank you for shouting and almost getting us both killed.”

Panel 5: Girl: “Well just leave him, he’s out cold now.” Soldier 4 begins to stir and mumble incoherently. Soldier 4: “……..You’re a dead man……You….You’re dead…..ha ha ha.”

Scroll along the bottom of Panel 5: “A murderer is regarded by the conventional world as something almost monstrous,”

Panel 6: Guy picks up a large chunk of wood and holds it above his head. Guy: “This isn’t like in the movies. You can’t just conk someone on the head and knock them out cold. Things aren’t that clean.” Girl: “What are you doing.”

Scroll along the bottom of Panel 6: “but a murderer to himself is only an ordinary man.”

Panel 7: Guy swings the chunk of wood down, crushing Soldier 4’s skull.

Scroll along the bottom of Panel 7: “It is only if the murderer is a good man”

Panel 8: Guy with a slightly blood splattered shirt and face. Guy: “Trying to stay alive.”

Scroll along the bottom of Panel 8: “that he can be regarded as monstrous.”


Page 14

1 Full page panel & 3 Inset panels

Panel 1 (Takes up whole page and will have 3 panels over top of it): Girl looking at the murder scene horrified. This is a close up of her torso/head. Look of absolute shock and horror in her eyes, which are filled with tears. Her hand covering her open mouth.

Panel 2: Guy: “Don’t freeze up on me now. We don’t have time for this!” Looking at her sternly.

Panel 3: Guy: “We’ve gotta get out of here. C’mon, we need to leave now.” Guy holding out his hand.

Panel 4: Guy: “Listen, there will be plenty of time to hate my guts for that later, but if we don’t leave now we are both fucking dead!”


Page 15

4 Panels

Panel 1: Guy grabbing the girl’s arm. Guy: “Let’s go. Now!”

Panel 2: Girl pulling her arm away. Girl: “Let go of me! Look at what you did! You fucking murdered him!”

Panel 3: Guy stepping back with his hands up, showing he’s not going to grab her again. Guy: “Look, right now I don’t particularly care what you think of me. But consider this, there are still three very angry, very well-armed fascist thugs looking to kill us…or worse, and that’s even before they seen what we’ve done to their friend here.”

Panel 4: Girl looking at him with disgust: Girl: “What we’ve done? I didn’t anything!” Guy: “Fine, whatever. But do you really think this is the time to be splitting hairs?”


Page 16

7 Panels

Panel 1: The guy’s face shows panic and terror as he hears a voice from outside of the building, near the storefront windows: “He went in one of these buildings. Hey Jenkins, quit fucking around and get out here already.”

Panel 2: Guy turning to girl and pointing towards the storefront windows: “Last chance, are you coming with me or staying to explain what happened to them?”

Panel 3: Girl looking upset but no longer in shock. Girl: “Fine, you got us in this, let’s see you get us out.”

Panel 4: Guy over by the door they came in, opening it slowly: “Good, now stay close and don’t make a sound.”

Panel 5: The guy peeks his eyes out the door and sees the three soldiers at the end of the alley with their backs to the alley. Guy: “Fuck…”

Panel 6: Guy turns back in and looks at the girl. Guy: “Ok, they are out there, but we may be able to sneak away down this alley. Be quick, be quiet, and get to the edge of this building and around the corner as quickly as you can. And if they see you, for god’s sake don’t ever stop running. Got it?”

Panel 7: Girl nods, looking nervous. Girl: “Ok.”


Page 17

4 Panels

Panel 1: Shows the guy and girl sneaking out of the doorway and down the alley away from the soldiers.

Panel 2: Ramsey (Soldier 1) turns to soldiers 2 and 3 while the guy and girl are visibly making their way down the alley behind the soldiers, behind their backs. Ramsey: “Where the fuck is Jenkins? Can anyone get him on the radio?”

Panel 3: As the soldiers keep talking the guy and girl can be seen slipping around the back of the building they were in. Soldier 2: “No. But he’s an idiot, he’s probably lost in one of these buildings, or is taking a nap or something.”

Panel 4: Ramsey: “Just find him. Spread out.”


Page 18

5 Panels

Panel 1: The guy and girl are flattened against the wall around the corner from the alley that the 3 remaining soldiers are now searching. Girl: “Did they see us?” Guy: “Shhh.”

Panel 2: Shows the guy peeking around the corner as the soldier kick in doors, including the building they were in.

Panel 3: Guy still peeking around the corner. Guy: “Oh shit….”. Girl: “What…did they find him?”

Panel 4: A shot of the alley way. Ramsey’s voice coming from inside the building: “Mother Fucker!”

Panel 5: 2 other soldiers come running. Soldier 2: “What’s the matter?” Soldier 3: “Was he sleep…Oh my God…”


Page 19

Splash Page

Panel: Ramsey standing in the alleyway, just outside the door, with Jenkins in his arms. A very graphic representation of Jenkins injuries….head busted open, blood covering Ramsey’s chest and dripping onto the ground, etc. Ramsey (yelling): “Track them down and fucking gut them! Then bash their fucking brains into the pavement! NOW!”


Page 20

5 Panels

Panel 1: Guy peeking around the corner and watching Ramsey carry Jenkins out of the building. Guy: “Alright, it’s definitely time to go.”

Panel 2: Girl: “But where? I don’t know anyone here and don’t have a place yet.”

Panel 3: Guy passing by the girl and heading in the opposite direction of the alley. Guy: “Don’t worry, I’ve got somewhere we can hide out for a while.”

Panel 4: Girl following guy down the back alley. Girl: “What about your place? You do have an apartment, right?”

Panel 5: Guy turning as the hurry down alleys and side streets. Guy: “Yes, I have an apartment, I’m not the okie, remember? But I’m not exactly well loved by some people in this neighbourhood, so if anyone saw us together I doubt it will be hard for those psychos to put two and two together and then find out where I live.”


Page 21

5 Panels

Panel 1: Guy lifting up a chain link fence of what looks like an abandoned factory. Guy: “Through here. It’s just a bit further.”

Panel 2: Girl climbing under the chain link fence. Girl: “Where exactly are you taking me anyways…”

Panel 3: Guy climbing through the fence after her. Guy: “To a friend’s house. It’ll be safe there, at least for the time being .”

Panel 4: Guy and girl walking across the parking lot towards the abandoned building.

Panel 5: The guy and girl approach the building. Guy: “Ok, just remember, my friend is a bit odd, so just keep to yourself and let me do the talking.”


Page 22

3 Panels across the top and 1 Panel spanning the bottom half of the page.

Panel 1: Guy pressing buzzer of the building’s door. Guy: “Sheppard! C’mon, open up! “

Panel 2: Girl looking up at the security cameras and barbed wire-topped fences surrounding the building and along the roof ledges. Girl: “Your friend….he’s a little security conscience?” Guy: “Huh? Ya, but trust me, he has reason to be.”

Panel 3: Guy: “Sheppard, it’s about time.“ The door creaks open slightly.

Panel 4 (Panel spanning the bottom half of the page): Shows the slightly opened doorway and a dark pair of eyes peering through the darkness. The eyes are bloodshot and appear to have grey hair coming down and covering them slightly. Below the eyes are two barrels of a shot gun jutting out from inside towards the guy/girl. Guy: “Oh shit…”


War Bats - Issue 1 Script


War Bats

Issue #1

Script by Luke Henderson

Link to file


Page 1


3 Panels - Equal in size, on top of one another, dividing the page into 1/3rds


Panel 1: No text. Just a far shot of a blue sky over tree tops. The sun is shining, there are a few clouds in the sky, etc.

There should be a small speck of something in the sky, with a barely visible trail behind it. It’s a ship on fire, but it’s barely visible in this pulled-back frame.


Panel 2: The same shot as the previous panel, but zoomed in significantly. It should be from a medium-range distance where it’s visible that something is going wrong with a ship, and there is smoke behind it, but it’s still not a full close up of the ship.


Panel 3: A close up of the ship, with some sky in the background. It’s obviously damaged, with a huge hole in the rear section, with smoke and even some flames clearly visible.

FROM INSIDE THE SHIP: Uh Captain...I think we have a problem.



Page 2


5 Panels - The final panel should be a horizontal rectangle, stretching across the whole page, taking up the bottom 1/4 of the page, roughly.


Panel 1: A close up of the main war bat (ORE), sitting in the captain’s chair, steering the aircraft. Sensors are going off around him, as the ship careens towards the ground.

 ORE: Only one?


 Panel 2: The smallest of the war bats (COYO), in front of a large panel of instruments for the ship. The panel shows many areas lit up, flashing, showing warnings, stating that things are critical, etc.

 COYO: No, but the most pressing one is that if we can’t get our rear engines back online in the next 30 seconds I doubt we will have corporeal integrity to worry about any of the others.


Panel 3: The largest of the three war bats (RED), and the only girl, in front of a gunnery station. The gun she is manning should be something like a futuristic laser 50 cal machine gun.

 RED: “corporeal integrity”? What the hell are you talking about, Coyo?


Panel 4: The final member of the crew, and the only non-war bat, a Wolverine (BRUTUS). This character should be slightly bigger than the biggest war bat, Red, and appear to be mean (but will end up being the most gentle, pacifistic of all). He is in front of an instrument panel, repairing wiring.

 BRUTUS: He means we’ve got less than half a minute before this thing hits the ground and we’re nothing more than distant memory.


Panel 5: The view pulls out, to outside the ship, which is now even more engulfed in smoke and flames. The ship, at this point is barely above the tree tops.

 RED (bubble coming from inside the ship): Ya...that’s what I was afraid he said.



Page 3


5 Panels


Panel 1: Brutus, now in an even bigger tangle of wires, looking back and shouting towards the captain.

 BRUTUS: Captain, please tell me you’ve figure out a way to land this thing.


Panel 2: A shot of the captain, furiously maneuvering the ship’s steering column and pressing buttons.

 ORE: It’s not going to be pretty, but if I can get us through these trees I think I can put us down in the pasture up ahead.


Panel 3: A shot of Coyo, with a large digital map on the display in front of him, showing their ship going over a tree line, headed towards a pasture, with a large cliff and city below just beyond the pasture.

 COYO: Uh, Captain. By my calculations, it’s highly unlikely that you will be able to carry out the plan you’re proposing. We simply don’t have the space needed to safely bring the ship to a complete stop.



Panel 4: A shot of Ore, piloting the ship from behind. In the wind-shield in front of him it’s clearly visible that they are going through the top 1/3 of the trees at this point, and still descending.

 ORE: Well then, I suggest everyone buckle up and hold tight.



Panel 5: Brutus, pulling on a safety belt over his shoulders, in a seat in front of the wiring panel he was working on.

 BRUTUS: I hope you know what you’re doing!



Page 4


4 panels


Panel 1: The plane descending through the trees, one large tree crashing into the closest wing to the reader’s view, damaging it, causing it to burst into flames. Ore visible in the pilot’s seat inside the ship.

 ORE (Bubble coming from inside the ship, but clearly visible that it’s Ore talking): Of course...


Panel 2: A shot of the ship bursting through the tree line violently, knocking trees over, the ship on fire. The emerge over a large green field.

ORE (Bubble coming from inside the ship): ...I know...


Panel 3: The ship crashes into the dirt, nose first.

 ORE (Bubble coming from inside the ship): ...what I’m...


 Panel 4: The ship comes to a rest, somewhat on its side, with a large trail of destruction cut into the pasture behind it. This should be a pulled-back shot, showing the destruction caused by the ship, but still only show the pasture and the tree line that they came from.

 ORE (Bubble coming from inside the ship): ...doing.




Page 5


1 Panel (Splash page)


Panel 1: This should be a full pull-back/reveal shot. It pulls back further than the final shot on the last page, and shows the true location of where they landed. The pasture that they landed in was on the edge of a cliff, that they ended up crashing mere feet from the edge of, with a large city below the cliff’s edge. The point is to show that they pretty much crash landed in the most visible place possible from the vantage point of the city below. The smoke pouring out of their ship at this point should be even bigger than the last panel.

The shot needs to be close enough to the ship that it’s visible that the crew is climbing out of it. Coyo and Brutus should already be out, and Red should be helping Captain Ore out of a hatch on the top of the ship.


Ore: I told you I’d get us on the ground safely.

 Brutus: That’s true. But I guess this isn’t much of a covert mission any more, is it?



Page 6


4 Panels


Panel 1: Ore sitting on the the top of the ship, talking to the rest of his crew. He should have a large metal panel on one of his forearms, as part of his uniform. It’s a comms system (needed for future panels/pages).

 ORE: It wasn’t the most graceful of landings, but at least we are where we need to be.


 Panel 2: The crew, sitting/standing opposite of Ore, on top of the ship.

RED: True, but those fowl bastards are going to see us coming a mile away.

 COYO: 1.63 miles, to be exact.

 RED: Shut up, Coyo.

 COYO: Sorry.


 Panel 3: A closer shot of Ore

 ORE: Just because they know we’re here doesn’t mean that they can stop us from getting what we came for.


 Panel 4: A shot of Ore, with a voice coming from the panel on his forearm.

 VOICE OVER RADIO (should be in a jagged speech bubble, or something to indicate it’s coming over a radio.): Ore! Ore! Answer me, goddammit. What the hell happened?



Page 7


6 panels


Panel 1: A close up of the communications system on Ore’s forearm panel. It can be as complex/symplistic as you want, but it should have a video screen. A cat general is visible on the screen (GENERAL BAST).

 GENERAL BAST: Ore, what the hell happened? Our systems show you going off course and now we aren’t picking up your ship at all.


Panel 2: Ore, looking down and speaking to the General in the communications device on his arm.

 ORE: General Bast, I was just about to call you. We ran into some perimeter fire while entering the Anuvian territory. They clipped us pretty good, but I was able to get us down safely.


 Panel 3: Back to General Bast, who is even angrier now.

 GENERAL BAST: They’ve detected you already? This was supposed to be a covert operation! It looks like this is what we get for sending in a bunch of bloodsuckers.


 Panel 4: Ore, now getting visibly angry.

 ORE: We’re down, but we’re not out. We will still be able to infiltrate the Milantium mines, retrieve what you’ve requested, and get back by sundown tomorrow, as promised.


 Panel 5: General Bast, pointing and yelling.

 GENERAL BAST: You had better! Remember, your payment depends on the successful completion of this mission. That not only means that you obtain the Milantium that we need, but that you also do so without leaving a goddamn fiery trail that leads right back to our doorstep! Is that understood?


 Panel 6: A wide shot of the war bat crew.

 ORE: General, you’ll get what you were promised.

 GENERAL BAST: I’d better!

 COMPUTER VOICE (coming from the comms system): Transmission ended.



Page 8


5 panels


Panel 1: A shot of Red loading a gun while sitting on the top of the ship.

 RED: Hey Coyo, remind me again why we agreed to work for that asshole?


 Panel 2: Brutus standing above Coyo

 COYO: Because we’re getting paid 500,000 credits, Red.

 BRUTUS: Each.


 Panel 3: Ore, standing up from his previously seated position.

 ORE: That about sums it up, Brutus. If you prefer, we could be taking on more long-haul transport security jobs. They don’t even pay a quarter of what this pays, and they always promise the distinct possibility that you will get blown to pieces by a shield-cutter or quantum cannon like Miya and Commo did.


Panel 4: Brutus, still standing in front of Coyo

RED: True, but this one isn’t turning out to be such a walk in the park either.


Panel 5: Ore, pointing his finger at Brutus

ORE: Of course not! We’re mercenaries for god’s sake. This is what we’re paid to do. If it were easy those cats would’ve gotten off of their furry asses and done it themselves.



Page 9


4 panels


Panel 1: Ore, getting back in the hatch and descending into the ship

 ORE: Now let’s get our gear and start walking. It won’t be long before this place is crawling with birds.


 Panel 2: Coyo, looking at a map, pointing to a specific spot. The map is of the territory they are in, including the city and the mine. Red is standing behind him.

 COYO: According to these coordinates we will be able to reach the Milantium mines by nightfall. We will have to avoid the perimeter of the city to avoid detection, and enter the mining area through this section.

 RED: Are we sure that it’s as vulnerable as this says?

 COYO: This section of fence has been under repair for the last 3 weeks. There was a landslide that knocked out a patrol tower and cut electricity to the entire area. Our intel says that security has been short staffed, so it shouldn’t be too hard to get by the guards either.


 Panel 3: Ore, opening a box of ammunition.

 ORE: Let’s just hope their recon about the mine is better than it was about those perimeter defences.


 Panel 4: Brutus, poking his head down into the ship from the hatch at the top.

 BRUTUS: We’ve got incoming!



Page 10


5 Panels


Panel 1: Ore, emerging from the hatch, with Brutus standing next to the hatch.

 ORE: Brutus, how many?


Panel 2: A shot from the floor of the top of the ship, showing Brutus and Ore, and the sky above them, with 6 winged figures flying high above, barely visible.

 BRUTUS: Six, by my count.


 Panel 3: A pull out shot, with Brutus and Ore standing near the hatch, and Red emerging out of it.

RED: How long until they are within firing range?

 BRUTUS: A minute, tops.


 Panel 4: Coyo coming out of the hole, with a large backpack full of gear. He’s pointing off in the distance as Red helps him out.

 COYO: I’ve got everything we need. We’ve gotta head west, down that ridge over there.


 Panel 5: The group of 4, talking.

ORE: We’ll need cover fire. Brutus and Red, keep these birds occupied until Coyo and I are in position.

 RED: Got it. C’mon, let’s get hunting.



Page 11


5 panels


Panel 1: Brutus and Red aiming their guns at the sky, while laser bullets reign down around them.

 BRUTUS: Incoming!!!

 RED: Watch your back! Make sure they don’t outflank us.


Panel 2: Two birds flying, with guns, in military uniforms. The first bird is being riddled with laser holes, while the second one is being hit with a laser blast, but it isn’t going through his body.


 Panel 3: Red, still firing, turns towards Brutus and yells at him. She’s furious.

 RED: Are you using stun bursts? What the hell’s wrong with you?


 Panel 4: A close up of Brutus, firing, yelling back at Red.

 Brutus: Just focus on that bastard coming up behind you!


 Panel 5: Brutus fires at the bird that was coming up behind Red, hitting it square in the face, knocking it out as it falls off course towards the ground.



Page 12


6 panels


Panel 1: Ore and Coyo, now behind the ridge, setting up guns while Brutus and Red fight the remaining 3 birds in the distance. The gun that Ore is behind should be a large weapon that is on a tripod, with a large scope on top. Coyo is trying to extra fuel cells or energy packs, or whatever loads a laser gun.

ORE: You almost got this thing set up?

 COYO: Give me one more second, this energy pack won’t load.


 Panel 2: A closer shot of Ore and Coyo.

 ORE: We’ve gotta hurry, I don’t think they’ll be able to hold them off for much longer.

 COYO: There we go. I’ve got it! You’re good to go!


 Panel 3: A close up of Ore, sighting the gun, getting ready to fire.

 ORE: Let’s see how they like Ol’ Misty.


 Panel 4: A close up of one of the bird soldier in Ore’s sight.


Panel 5: A shot of the bird soldier that was in Ore’s sight, but now his head is in the process of being blown clean off his head.


Panel 6: Brutus and Red, looking back, as the headless bird soldier lands behind them.

 RED: I’d say that’s our cue to go. C’mon!



Page 13


5 panels


Panel 1: Brutus and Red running towards Coyo and Ore, who are in the foreground and firing constantly, while two winged bird soldiers persue Brutus and Red.

 ORE: Don’t let up, Coyo!


 Panel 2: A close up of Brutus and Red Running, Brutus getting hit on the fleshie part of his arm with a laser blast.



 Panel 3: Brutus, now holding his wound, and Red have reached Ore and Coyo at the ridge.

 COYO: Keep going! We can hold them off. We’ll meet you at the bottom!



Panel 4: Ore and Coyo, with the birds in the sky turning to make another swooping pass.

 ORE: You go too. I’ll follow after this next pass.


 Panel 5: Coyo, in the background, descending the ridge with his equipment, with Ore in the foreground, aiming his gun to the skies and firing.

 ORE: Let’s see what you’ve got, you feathered bastards!



Page 14


6 panels


Panel 1: Coyo coming down the hill, while Red is taping a bandage over Brutus’ wound.

 RED: Where’s Ore?

 COYO: He’s right behind me, don’t worry. Just get ready to run. We’re going to need the cover of those trees back there if we want to lose those those last two.


 Panel 2: Ore, sliding down the steep, large hill with his gun in hand.

 ORE: Let’s get a move on!


Panel 3: All 4 are running towards a group of trees that are a short distance away.

 ORE: They aren’t far behind.


 Panel 4: All 4 have reached the tree line, and Red turns around to face the incoming two soldiers, flying towards them.

 RED: So you want some more, huh?


 Panel 5: Red opens fire, hitting one of the soldiers in the wing, while the other diverts away.

 RED: Well come and get it!!


 Panel 6: Ore grabs Red by the shoulder and pulls her away.

 ORE: That’s enough, soldier. We’ve gotta lose them in here while we can.

 RED: Hmph.


Page 15


3 panels - The first panel should take up most of the page (2/3rds?), and be a wide shot, showing the group, but also the forest surronding them in a fair amount of detail.


Panel 1: The group of 4, walking through the forest in a line.

 ORE: Needless to say, that didn’t exactly go as planned, but it looks like we’ve lost them for the time being.

 RED: This does mean that security will be stepped up everywhere though.

 COYO: That is likely.

ORE: So let’s not give them any more time to prepare than we already have. How long until we reach the mine?


Panel 2: Coyo..either a) with a helmet on, reading a map that is all around him (ala tony stark in Iron Man), or b) with an electronic map that comes out of the computer he’s wearing on his arm, or c) on a good old fashioned paper map....your call....doing some calculations (all of this can either be on a paper map, or an electronic screen, it doesn’t matter to me).

 COYO: At our current pace we should reach the perimeter in just under two hours.


Panel 3: A shot of the group marching, with Ore in the lead.

 ORE: Ok, good. We’ll approach as soon as it gets dark.



Page 16


7 panels


Panel 1: A shot focused on Red, as the group marches up a large hill.

 RED: Hey Captain, quick question.

 ORE: What is it, Red?


Panel 2: A medium close-up shot of Red’s angry face.

RED: What made you think it was a good idea to hire a goddamn pacifist as a mercenary?


Panel 3: Ore, turning back and talking to Red as they continue to climb the hill. Red is pointing at Brutus, who is walking behind Red.

 ORE: What are you talking about?

 RED: This one over here. All he’s got loaded in that thing are those worthless coward’s rounds.


Panel 4: Ore, stopping and turning fully towards Red, with Brutus behind her.

 ORE: I know what he’s firing. It’s the deal he made walking in. He was part of the team that first studied Milantium during the war, he can fix just about anything, and he’s a great shot. He just won’t kill anyone.

 BRUTUS: That’s about the long and short of it.


Panel 5: Red, with a look of disbelief.

 RED: But you’re a mercenary!?!


 Panel 6: Close up of Brutus, semi-smiling.

 BRUTUS: I’m a mercenary, not a murderer.


 Panel 7: Red, throwing her hands in the air.

 RED: Ok, fine! If you want to split hairs!


Page 17


7 panels


Panel 1: Ore, crouching, with his finger to his lip.

 ORE: Everyone shut the hell up! There is someone up ahead.


Panel 2: A pull-back shot, of a shadowy figure up ahead, walking towards the group. Ore, motioning for the group to take cover, which they’ve already started to do.

 ORE: Hide! The last thing we need is another fire fight.


 Panel 3: A bird soldier (AMUR) walking on the path.

 VOICE COMING BACK OVER THE HEADSET: What’s your status, Pvt. Amur?

 AMUR (speaking into a headset microphone): Nothing along the Western track so far, but I’ve still got another mile or so to go. I’ll report back if I find something.



Panel 4: Amur, walking, with his gun raised.

 AMUR: Come out, come out, wherever you are...you repulsive little beasts.


 Panel 5: Brutus silently coming out from behind a tree, behind Amur, with a knife drawn.


Panel 6: A close up of the knife press against the bird’s throat.


Panel 7: A wide shot, showing Brutus behind Amur, with a blade against his neck and Ore standing in front of both of them.

 ORE: Well, since you asked so nicely.



Page 18


5 panels


Panel 1: A close up of Amur’s angry face, with the knife pressed against it.

 AMUR: I’m not telling you anything! You’re going to hang for this!


Panel 2: Ore, standing with his hands on his hips and Red and Coyo behind him.

 ORE: I must say, I’m impressed. Not many people show this kind of courage when a wolverine has a knife to their throat.


 Panel 3: Amur trying to turn his head to see the creature that is holding the knife to his throat.

 AMUR: ....wolverine....


 Panel 4: Similar shot of Ore, Red, and Coyo.

 ORE: That’s right. And he’s a particularly nasty one.

 RED: I once saw him rip a dog’s head clean off.

 COYO: I’ve watched him pluck a bird clean before boiling him alive.


 Panel 5: A close up of Brutus, bearing his teeth, leaning down and speaking softly into Amur’s ear.

 BRUTUS: I suggest you choose your next words very carefully. Tell us what you know.



Page 19


4 panels. The first panel will have to be pretty big, comparitively speaking.


Panel 1: A wide shot of the group continuing down the path as they were before, with them in the background. In the foreground is Amur, tied up to a try, gagged, and knocked out. Red is turned towards Brutus.

 RED: Ya, ya. We’re fine. I still can’t believe you won’t kill anyone though.

 COYO: It doesn’t look like he has to!


Panel 2: A closer up shot of the group, focused on Ore.

 ORE: Ok, he said that they’ve doubled security patrols at the mine, but since they don’t know why we’re here they’ve had to spread out their troops fairly across the whole city.

 RED: Still, I don’t like this. We’re going in blind.



Panel 3: Ore speaking to the group (from a different angle, I guess). Brutus pointing off panel.

 ORE: I know, but if we wait any longer we’re just giving them more time to fortify their defences. It’s now or never.

 BRUTUS: There’s the mine, up ahead.


 Panel 4: Ore, crouched down, drawing in the dirt while the others huddle around him.

 ORE: Ok, so Red and I will neutralize the guards near the construction area. Brutus and Coyo, you two circle behind us and watch our backs. We have no idea where those extra patrols will be coming from, so keep a sharp eye.

 BRUTUS: Got it.



Page 20


5 panels


Panel 1: Red and Ore sneaking up along a fence with large missing sections, all of which are under construction. There are two guards, one on top of a raised platform, and the other one walking nearby below. Ore is pointing towards the guards.

 RED: I see them.

 ORE: I’ll go high, you go low. Make sure your silencers on. We need this quick, quiet, and clean.


Panel 2: An action panel of the two guards being shot. Each is a headshot.


Panel 3: A close up of Red, with a smoking gun in hand.

 RED: Is there any other way?


 Panel 4: Ore coming up beside Red

 ORE: Don’t get cocky just yet. I don’t see any signs of other patrols, so let’s head in before anyone finds our handy work.


 Panel 5: A shot of Red and Ore entering the mine through the missing/under construction section to get inside the mine.



Page 21


5 panels


Panel 1: Ore and Red crouched, inside the mine. There are things and lights in the distance, but around them seems pretty quiet and dark.

 RED: I don’t see any other guards.

 ORE: It looks like they haven’t had a chance to get their reinforcements all the way out here yet.


 Panel 2: Another shot of the two of them.

 RED: Any sign of Coyo and Brutus? We’re going to need them in here soon if we’re going to pull this off.

 ORE: Nothing yet, but they’ll be here.


Panel 3: A panel of Red, shielding her eyes from a sudden bright light that is shining directly at her.

 RED: Well they’d better hurry...Arghh!


Panel 4: A large bank of flood lights turning on with a loud sound...“Cachunk!” or something like that.


Panel 5: A pulled back shot of Ore and Red, flooded in light, both shielding their eyes.

 RED: ...my eyes!

 ORE: What the...


Page 22


1 panel (splash page)


Panel 1: This page should be an epic reveal of the bats walking right into a trap. The section of the mine they entered should have large banks of flood lights shining down on them. There should be countless soldiers, both along the top of the fence and in watchtowers as well as on the ground, all pointing their guns at the bats.

 Brutus and Coyo should also be visible in the shot, to the side or in the background. Captured and tied, with a group of soldiers all pointing guns at them.

 There should be a bird military officer who is obviously in charge and adorned with medals (CAPTAIN LEVANT), standing proudly.

 Red and Ore should still have their hands shielding their eyes or just generally be looking confused and angry.

 CAPTAIN LEVANT: Captian Ore, I presume. We’ve been waiting for you.