core's corpfall issue1 script and abstract

8/19/2019 Core's Corpfall Issue1 Script and Abstract

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CORE’s CORPFALL! Issue 1.

BACKGROUND & ABSTRACT

In the future, many of the world’s governments have crumbled under their own weight, leaving

only a few megacorporations to pick up the slack - providing jobs, money, and infrastructure to

their territories, slowly but surely they began to fall. One after another, the weak or unprepared

megacorps began losing territory, proprietary technology, or majority shares to the others, until

present day, when only 4 corporations remain. The CORE Corporation, Hastings Inc., Faust &

Rein & Yule Technologies, and First Forge Industries are the only four corporations left, along

with some minor factions living on the outskirts of society.

While some of the megacorps have good intentions, there is no way for them to exert absolute

power - corruption exists at all levels of the corporations, and there are billions of people still

living in city slums throughout the world. Still, the technologies and ideals that these corps bring

to the general masses has helped the majority of people on earth to have a happier, healthier

fulfilling life. The worst thing that can happen to any of these companies is CORPFALL.

CORPFALL is a blanket term for when a megacorp is dissolved, usually leading to extreme

poverty in its controlled region, loss of life, jobs, and complete anarchy as people scramble to

retain their quality of life in the new order. Usually these dissolved corps are bought up and the

land is divided by market share to the other megacorps, but there has not been a major

CORPFALL for 40+ years, not since the big 12 became the big 4.

The story takes place at a close perspective of two people who are assisting in executing a

CORPFALL on Hastings, Inc. The two protagonists are PHARAOH, a professional thief and

infiltrator who couldn’t care less who’s paying his bills (he’s just very proud of his work), and

RENNA, a security expert who is propositioned to become his partner in a moment of need.

They work well together as she helps him escape, but a relentless security chief named DAME

PRIMA is hot on their tail, causing extreme complications in their second and final jobs together.

At the end of their second job, they realize they are committing predestined CORPFALL, a

crime worthy of life in jail or even death, but are convinced by their mysterious handler,

MADAME CHROMA that this is what is best for everyone in the absolute slum that is Hastings,

Inc (It’s really not a friendly place for anyone who isn’t a direct worker in the company). Well,that and the money.

They decide to finish their job, but there is a problem - another squad has fallen during this

multi-raid plan to destroy Hastings Inc.’s infrastructure, and their job was the most important of

all - deleting the permissions on the personnel so that the executive board would be unable to

stop CORE’s acquisition of the company. PHARAOH and RENNA agree to finish this job,


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despite their inability to plan ahead for any eventuality, and execute the infiltration. There are

many complications, including RENNA having to leave her secure area and hack the system in

person and a final showdown with DAME PRIMA, but after the CORPFALL is initiated, DAME

PRIMA leaves them inches of death, saying that she no longer has anyone to work for and there

are no more rules to follow. The comic arc ends with them escaping the security building and

looking upon their works - CORPFALL has begun.

CORE’s CORPFALL issue 1

Written by D. L. Loutzenhiser

PAGE 1.

Panel 1: A far-away shot of the roof of a building - Hastings Inc.’s tower of Computer

Information and Security. It is so far up that dark clouds are circling the edges, blocking theground from view. It’s night. Various lightning rods and large pipes dot the landscape of the

roof. The pipes are similar to smokestacks, but very little smog is actually being expelled from

them. The image is shown through a satellite feed, with various zoom ratios and qr codes on

display marking the satellite name and number.

BACKGROUND: It’s here that all of Hastings Inc.’s security software is developed and

integrated into their systems. A crown jewel for the company, they pride themselves on

foolproof security for their operating system, and as such have been creating a monopoly for all

other companies’ software. It’s from this monopoly that they have grown into one of the four

controlling SuperCorps in the CORE Universe.

Panel 2: The satellite zooms in closer to the top of the building, cutting off the edges and

showing more detail of the roof. There is a small amount of static forming around the edges.

Panel 3: Same as the last panel, more zoom and more static enclosing on the screen, a small

alert blinking in the corner:

1. ALERT: SIGNAL FADING.

Panel 4: Suddenly, the satellite feed breaks into static.

1. ALERT: SIGNAL LOST.

2. ALERT: RECALIBRATING.

Panel 5: Close-up of one of the smoke-stacks, and if someone would look closely, they might

see a small glitch or strange outline of a shape against the steel pipe. This is where PHARAOH

is hiding (behind a blanket that mimics the wall behind the user), though he cannot be seen yet.


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Panel 6: Suddenly, there’s a burst of motion as PHARAOH shoves the chameleon blanket

aside, sending its steel color into a burst of color as it tries to re-calibrate.

DESCRIPTION; PHARAOH: An athletic man in his late 20’s or early 30’s, likely of egyptian

descent, with a shaved head and dark skin. He has two simple, white tattoos, one on either arm- one is a Sa

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peg ) and the other is an Ankh

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dark pants with lots of pockets, as well as a sling backpack. Most of the time he has a small

smile or grimace, but his expression doesn’t change much while he’s focused. Like 99% of

society, he has a small port, about the size and shape of a usb port, implanted behind and

underneath his ear.

1. NARRATION (PHARAOH): 90 seconds of interference. More than enough time.

PAGE 2.

Panel 1: Long shot of PHARAOH charging towards the steel, horizontally sliding trapdoor that

is the entrance. Next to it is a standard keypad with a light, green glow.

Panel 2: PHARAOH is reaching into a backpack pocket, fishing for his cracker drive.

1. NARRATION (PHARAOH): My security guy swore this thing would be able to crack the

passcode in 30 seconds or less.

Panel 3: A close-up of the cracker drive, a tiny square about the size of the tip of a finger. One

side is matte black, and the other has a glossy sheen (magnetized to latch onto electronics). It

also has two small lights on it - green and red. Neither of them are lit up now.

1. NARRATION (PHARAOH): He’s usually pretty trustworthy.

2. NARRATION (PHARAOH): Usually .

Panel 4: He puts the cracker drive onto the keypad magnetic-side down, and the red light starts

blinking.

Panel 5: Shot of PHARAOH looking agitated, glancing up at the sky towards the satellite.

1. NARRATION (PHARAOH): 30 seconds left. I’m not looking forward to what comes next

if this doesn’t work.

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PAGE 3.

Panel 1: Small panel of the cracker drive turning a happy green.

Panel 2: PHARAOH , looking pleased, quickly slides the trapdoor open.

1. NARRATION (PHARAOH): Well, I guess I’ll leave Markinson on the whitelist for another

day.

Panel 3: Interior of the roof-top passage, a light grey, small, and clean room with an open

passageway towards a closed door. PHARAOH gracefully drops through the trapdoor in the

roof.

Panel 4: PHARAOH has moved to the door and put his hand on the knob, the door open a

crack so he can peer through. Probably want a dramatic low angle on this one.

1. NARRATION (PHARAOH): Lucky. Hopefully the rest of the building is this abandoned.

Panel 5: PHARAOH opens the door only enough to let himself get through. This hallway is just

as barren and clean as the last room, with a single LCD sign stating “TO ROOF” next to the

door. There are also several more doors at regular intervals down the hallways, with numbers

next to them - It’s clear we’re on the 218th floor (numbers being 21801, 21802, etc.). The

numbers are also in LCD and all have the words “Unoccupied” scrolling next to the room

number.

PAGE 4.

Panel 1: PHARAOH begins to swiftly, but quietly crouch-walk down the hallway, towards a large

set of stainless steel elevator doors. PHARAOH is reaching into his backpack as he moves to

the elevator door, pulling out a medium-sized set of clamps - intending to put them into the

elevator and pry it open.

Panel 2: Close-up of the seam in between the elevator doors as PHARAOH plunges the

clamps into the seam.

1. SFX: clunk

Panel 3: View from inside the elevator as its doors are slowly pried open by PHARAOH .

There’s a lot of simplicity within it, with little machinery besides the main cables that pull the

elevator.

1. SFX: creeeek


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Panel 4: Same view inside the elevator as PHARAOH places a small device onto a nearby

cable. It is a sort of mechanized zipline runner, with two handholds and a latch that allows it to

be put on any sort of cable. It can also run up and down, carrying a surprising amount of weight

with it.

Panel 5: View changes looking down as PHARAOH speedily zips down the wire with the ziplinedevice.

1. SFX: ziiiii

Panel 6: PHARAOH swings and leaps from the line, unlatching the zipline device as he does

so. He is leaping towards a closed elevator door with a slight ledge that he can land on.

1. SFX: fwip!

PAGE 5.

Panel 1: We have moved from the elevator shaft to the 200th floor, an area similar to the floor

we have already seen. The only difference is several brightly colored lines painted onto the

walls with occasional arrows indicating the direction to the labeled room. One is RED and

labeled “SECURITY”, one is GREEN and labeled “CORE”, and the third is YELLOW and labeled

“LAB”. PHARAOH is looking at the red one, and giving a small smirk.

1. NARRATION (PHARAOH): Well that’s lucky. Guess it’s easy to get lost up here.

Panel 2: Close-up of PHARAOH’ s face as he looks off to the side, thinking.

1. NARRATION (PHARAOH): 90 seconds to get to and disable security. 60 seconds to

download the package. 15 to blow the wall and exit.

2. NARRATION (PHARAOH): Easy breezy. This job is roses.

Panel 3: Interior of the security room. This area is filled with data servers and a few status

monitors, blinking with words like “Online” and various lines of code. It’s very blue, with green

and red flashing lights all over the place. You can tell it’s very cold here. The panel is centered

on the door, a similar sliding entrance to all other doors in this place. It has a slight red line

around its border.

Panel 4: The door slides open with a sound, with PHARAOH standing in front of it looking

somewhat shocked at what he is seeing on the other side.

1. SFX: swoosh!

2. NARRATION (PHARAOH): Well of course I nux myself on that one.


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Panel 5: View from just behind PHARAOH . We can see that he’s looking at in the room; a

squad of about 6 soldiers all with their guns trained on the door, and Pharaoh himself. (Guard

description: These guys are hardcore - wearing black, shiny armor with red and yellow accents,

with the Hastings Inc. logo printed on their right shoulders. Each has a kinetic rifle - specially

made for Hastings’s security forces. These things are silver and black, with smooth lines but

hard edges. A few might be wearing balaclavas, but all have a helmet with a tinted visorlowered over their eyes so that only their mouths and chins can be seen. There is also a small

headset microphone attached to the helmet that causes their voice to become louder,

somewhat robotic and intimidating. All are clean-cut, and there’s a mix of genders.)

PAGE 6.

Panel 1: PHARAOH puts his hands up, smiling bashfully. He is palming something in one of

his hands (A small black device similar to the cracker drive, but with a button on it and a small,

round, blue sticker. This is an emp charge that is small and very localized)

1. PHARAOH: “Uh, is this not the janitor’s closet?”

Panel 2: Close-up on one of the guards as they take a step forward, holding up a hand.

1. GUARD (Semi-robotic): “Drop it! ”

Panel 3: Close-up on PHARAOH ’s thumb as he presses the switch on the device.

1. GUARD (Semi-robotic): “Drop the device! ”

2. PHARAOH: “Yeah, yeah.”

Panel 4: Low shot of PHARAOH as he drops the device towards his feet.

1. PHARAOH: “It’s dropped .”

PAGE 7.

Panel 1: Long shot as PHARAOH suddenly kicks the device at the guard who is standing

nearest to him.

1. PHARAOH: “Catch! ”

Panel 2: PHARAOH Dives from the doorway and in the direction of the yellow line (That read

“CORE” earlier) as the device strikes one of the guards in the face, throwing him off-balance.

The rest have begun firing, big bursts of energy that fire heavily destructive matter out from their

rifles.


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1. SFX: Brrr! Brrr! Brr!

Panel 3: Close-up of the device that Pharaoh had thrown on the floor. The guards ignore it and

continue firing. The device is rapidly blinking red.

Panel 4: Further away shot as the device detonates, sending waves of blue emp energy acrossthe servers, causing electricity and sparks to fly across the electronics.

1. SFX: ZZZzzz!

Panel 5: PHARAOH running down the hall, continuing to follow the yellow line towards the core.

He is grimacing with something like embarrassment.

1. NARRATION (PHARAOH): Well, not as subtle as I would like, but the security system’s

down.

2. NARRATION (PHARAOH): Hopefully they won’t have time to reinforce the walls on thisfloor until after I get the package.

PAGE 8.

Panel 1: Long shot of PHARAOH running to a large, black, reinforced door with a keypad next

to it. Two yellow lines from either side merge into the door, with a small, yellow label next to the

door that reads “CORE”.

Panel 2: PHARAOH is reaching into his bag to pull out another small remote explosive, similar

to the emp but with a small red sticker attached to it.

1. NARRATION (PHARAOH): No sense in keeping quiet now.

Panel 3: The inside of the core room, focus primarily on the door so we cannot see the area

around it. The black, thick door has a small explosion going off in the center.

1. SFX: Bang!

Panel 4: PHARAOH crawling through the still-smoking hole in the door, with only a little room to

spare as he squeezes through.

1. PHARAOH: “oof.”

Panel 5: Close-up on PHARAOH ’s face as he takes in the room, looking surprised and

shocked.

1. PHARAOH: “Woah.”


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PAGE 9.

Splash!: We see a big view of the central core for Hasting’s central security processing. A

large, round, curvaceous room that is lined with various monitors, keyboards, and long LED

indicator lights on all sides. The room itself is clean and has a light yellow tint on all the walls.In the center of the room lies the computation source for the entire building - what essentially

looks like a bright, yellow light, trapped inside a steel and glass container (something like a

dodecahedron, or a construct with many flat sides that is attempting to be spherical). Two giant

pillars sit above and below the core, Which curve become bigger at the base as they move

away from the sphere. Dozens of flexible steel tubes are connected to both the top and bottom

of the core, going inside the pillars and feeding information to the rest of the complex. These

tubes are all different colors, striped red, green, yellow, blue, etc. About six monitors and

keyboards specifically line the pillar beneath the core, and six more monitors are on the pillar

above the core displaying statuses, percentages, and other random numbers going too fast to

really read. It’s also worth noting that this room is tall - much taller than the other rooms orhallways outside, it almost seems to take up 2 or 3 floors by itself, with the walls being clear past

a few feet, leaving only the gargantuan pillar in the center of the room taking up the space in the

upper two “floors”.

PAGE 10.

Panel 1: PHARAOH sprints to the center of the room, another cracker drive in his hand, his

moment of wonder over.

1. NARRATION (PHARAOH): I’ll admit, this thing’s a lot bigger than I thought it would be.

Panel 2: PHARAOH reaches the central core and leans over to start sifting through the various

cords.

1. NARRATION (PHARAOH): Doesn’t change anything.

Panel 3: Close-up on PHARAOH ’s hands as he places the cracker drive (with a blinking red

light) onto a single red and black striped cable.

Panel 4: Suddenly, an alarm starts going off and the core turns from yellow to red. PHARAOH

turns rapidly to look at the smoking hole behind him.

1. PHARAOH: “Shit! ”

Panel 5: Close-up of the wires again, where the cracker drive has turned from red to a solid

green. Off-screen, we can hear a shutter closing with a loud bang.


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1. SFX (off-screen): Bang!

PAGE 11.

Panel 1: PHARAOH grabs the cracker drive from the cables, looking worried, and we can see

behind him that a light-grey metal shutter has closed in front of the smoking hole in the door.

Panel 2: PHARAOH turns and swiftly runs to the door, looking panicked.

1. NARRATION (PHARAOH): Well, at least they didn’t lock down before I got the data,

but…

Panel 3: Small panel as Pharaoh touches his hand to the metal shutter, feeling it’s durability.

1. NARRATION (PHARAOH): Shit.

Panel 4: Big, wide panel with a close-up on PHARAOH ’s face - the first true, deep concern he

has had throughout this entire ordeal.

1. PHARAOH: “I’m trapped .”

PAGE 12.

Panel 1: We shift locations radically to a pulled-back shot of a somewhat grassy field on the

outskirts of the city. Tall skyscrapers and high-rises pierce through the clouds in the distance,

with the buildings growing shorter the closer they get to the edge of the city. The day isovercast and cloudy, but the field still feels bright and alive - the only patch of grass left in the

territory. Sitting right in the middle is a small building - shack-sized, but bright and modern. On

the field we can see a girl ( RENNA ) flanked on either side by men dressed in black suits with

sunglasses.

DESCRIPTION; RENNA: Renna is a young-looking girl in her mid-20s, and a very stereotypical

nerd - frail and thin from long fasting sessions, pale skin and eyes that have extreme bags

under them. Her hair is shoulder-length and tied back into a terrible ponytail, and has special

pigment implants that very slowly cycle colors - from red to green to blue, hitting each color once

every two hours. She wears plain, unwashed clothes, like a grey ratty hoodie with a bulge for

her pocket laptop and tee-shirt with some semi-ironic statement on it. She wears round,

clear-frame glasses that allow her to see augmented reality, a watch with a blank, rectangular

black screen on the bottom of her wrist (which, among other things, can project a small virtual

keyboard that is connected to her glasses) and small, silver rings on all 10 of her fingers (these

are connected to her nerves and stimulate her fingers to give kinetic feedback when she

interacts with, such as the virtual keyboard). She also has a set of big, over-ear headphones


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hanging around her neck. Like Pharaoh, she has a port behind her ear, but it is mostly

obscured by hair.

Panel 2: Close-up on a side shot with RENNA taking center-frame and the two men in black

behind her. She looks grim, not liking her current predicament.

1. NARRATION (RENNA): Great .

Panel 3: They have arrived at the door and one of the men in black has opened the door to the

shack. The inside is completely dark, and we can see the back of RENNA as she slowly walks

towards the open door.

1. NARRATION (RENNA): I hate you, Vince Hastings.

PAGE 13.

Panel 1: Small, The interior of the shack, dark with the only light coming from the door. It spills

out onto the grey floor, revealing a small hatch. The man in black is still holding the door open

as RENNA steps into the doorway.

1. NARRATION (RENNA): I haven’t been here ten seconds and this place is already

creeping me out.

Panel 2: Small, The hatch slowly pulls back as the door is closing, sending florescent light in a

small cone to illuminate RENNA’s face.

1. NARRATION (RENNA): Oh, good. It goes lower. As if I wasn’t enough of a captive.

2. SFX: whrrrr

Panel 3: Small, RENNA slowly starts walking down the metallic stairs of the hatch, looking

disconcerted.

1. NARRATION (RENNA): I wish I had money. I wish I had power. I wish I wasn’t stuck

doing bitch work for Vince fucking pretty-boy Hastings.

Panel 4: RENNA is walking through a low-ceilinged and narrow hallway, with the occasional

thin door - only just wide enough for someone to fit through. The numbers are slowly going up

from 001, a number next to each door. One of the men in black is behind her.

1. MAN IN BLACK: “...We will lock you in and come get you at the end of your shift. You

will have a small bathroo”

2. NARRATION BOX (RENNA, cutting off): I went to college for 7 freaking years to get a

doctorate in com.Sec., and this is what I get?


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Panel 5: A door has slid open with RENNA looking inside. We can see a small room about the

size of a closet, with a cheap swivel chair and a computer tower inside with a projector on the

wall to push out the augmented reality. There’s also a door out to the side which has a small

toilet symbol on it to signify that it’s the small bathroom.

1. MAN IN BLACK: “...Internet access will be entirely nonexistent, and the computers can

only be use”

2. NARRATION BOX (RENNA, Cutting off): An email that says “Involuntary participation in

Hastings Inc’s security development program.”

Panel 6: RENNA plops herself down onto the swivel chair, visibly sighing. The man in black is

glowering in the door, finishing his speech.

1. MAN IN BLACK: “...And I will see you in 10 hours. Good luck.”

2. RENNA (quiet): “Sighhhh…”

PAGE 14.

Panel 1: Same location as the last panel, but the door slams shut, making RENNA wince at the

noise.

1. SFX: Bang!

Panel 2: RENNA looks dejected in the chair.

1. NARRATION BOX (RENNA): “Vincent Hastings thanks you for your service.”

Panel 3: Close-up of RENNA’s hand as it smacks the power button on the computer violently,

clearly very angry.

1. SFX: wap!

Panel 4: RENNA gingerly moves her headphones from her neck to her head, as the lights start

to twirl out and project the Hastings Inc. logo over the desk area.

1. VOICE (From headphones): Generations OS 10b♪!

Panel 5: Suddenly, a popup with an envelope icon and a red “1” appears, signifying that there is

new mail on the os! RENNA jumps and looks surprised - obviously there’s not supposed to be

any internet down here.

1. SFX: ping!


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PAGE 15.

Panel 1, Small: Looking confused, RENNA raises a finger to click on the mail icon.

Panel 2, Small: RENNA’s finger pauses and shys away from the icon for a moment, unsure ifshe wants to touch it.

Panel 3, Small: With renewed vigor, RENNA punches the icon hard with her finger.

1. SFX: beep!

Panel 4: A small rectangle pops up containing a video file, labeled “OFFER.mp4”. The video

contains a glitchy, stylized shadow of a head, not necessarily clearly feminine, but something

that could be called androgynous. Blue and black are the main colors that glitch throughout the

video. RENNA reels a little bit in surprise.

1. RENNA: “Woah!”

Panel 5: The video starts speaking - an extremely distorted voice that speaks in an intangible

rhythm. RENNA looks forward, somewhat interested.

1. CHROMA: “Hello, Renna . My name is Madame Chroma, and I have a proposition for

you.”

Panel 6: Continued footage as MADAME CHROMA talks to the intrigued RENNA through thevideo.

1. CHROMA: “My benefactors have been keeping an eye on you for some time, and we are

well aware of your… displeasure with your current situation.”

2. CHROMA: “We do not like Hastings any more than you do, and we believe that your

talents are being wasted making simple security software.”

Panel 7: Dramatic pullback of the whole situation, CHROMA and RENNA both in the same

shot, Renna looking happier by the moment.

1. CHROMA: “How would you like to make some real money?”

2. CHROMA: “Actually challenged and engaged in your job…”

3. CHROMA: “And annoy Hastings in the process?”

PAGE 16.

Panel 1: RENNA’s smile has grown wider - she’s clearly into it.


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1. CHROMA: “One of our agents is currently infiltrating Hastings’ tower of Computer

Information and security, but he’s in trouble.”

2. CHROMA: “Now, fortunately, the computer you have is both wired to the internet and

has downloaded Hastings’ schematics and security protocols.”

Panel 2: Small windows pop up on the video file screen showing passwords and a few variousschematics regarding Hasting’s security. CHROMA continues her speech.

1. CHROMA: “If you help him out of this jam, we will have money and more work for you.

Take some time to consider our offer. But you should hurry, because he’s not gonna be

around forever.”

Panel 3: While we cannot necessarily see her facial expressions, it becomes clear that

CHROMA is smiling. A file icon with an exclamation point on it pops up next to the video.

1. CHROMA: “Feel free to open this file if you accept. All of the information you need will

be inside, along with a transfer of 500,000 C-Bits.”2. CHROMA: “We look forward to your decision.”

Panel 4: The screen blinks out of existence, leaving trails of blue behind. RENNA is left behind,

smiling. She’s not really thinking about anything other than “sticking it to hastings”.

1. SFX: blip!

Panel 5: Close-up on the file icon as RENNA jams her finger on it, turning it white as it is

selected.

1. SFX: bleep!

2. RENNA: “Easiest decision I ever made.”

PAGE 17.

Panel 1, Big: A view of the entire desk and the back of RENNA’s head as suddenly, windows

pop up all around the desk area (lighting up her face and sending shadows all over her the rest

of the room), 4 of which are views inside the Core room which we saw earlier - minus the

smoking hole in the door. 2 more are floor schematics, two filled with security code and

processes, and a telephone app file with a number in it and a name next to it: “Pharaoh”.

Panel 2: A close-up on one of the screens looking at the door to the core room as it explodes,

sending digital static across the screen.

1. RENNA: “Woah.”


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Panel 3: A shimmer runs through the hole and the overlap between two camera’s visions.

RENNA peers closer and raises a finger to track it.

1. RENNA: “And who are you?”

Panel 4: RENNA jumps a bit in surprise as the shutter slams shut in front of the hole in thedoor, making a glitchy banging sound.

1. SFX (digital): Bang !

2. RENNA: “Shit…”

3. RENNA: “He’s trapped.”

PAGE 18.

Panel 1: RENNA slams her palm against the “Call” button on the phone app, simultaneously

bringing up the red, digital keyboard from her wrist.

1. RENNA: “This guy is in desperate need of my services.”

Panel 2, Small: We are back in the core room where we left PHARAOH , who is looking

extremely confused as something in one of his many pockets starts vibrating.

1. SFX (pocket): brr.

2. NARRATION (PHARAOH): What?

Panel 3, Small: PHARAOH reaches into his pocket and pulls out two small, vibrating devices: atiny earpiece, and what looks like a circular band-aid/patch with a raised square in the middle.

1. SFX (device): brr.

2. NARRATION (PHARAOH): How did…

Panel 4, Small: PHARAOH gingerly places the patch on his neck, just under his chin, while

simultaneously placing the earpiece in his ear.

Panel 5: RENNA’s voice comes flooding out of the earpiece, surprising PHARAOH . The way

the patch works is by the user making very small vibrations with his neck and mouth, producing

little audible sound but coming in clear to whoever is on the other side of the communicator

device. As such, it basically looks like PHARAOH is barely speaking whenever he is using this

device, which I will clarify in the speech when it comes up.

1. RENNA (from earpiece): “Hello, Mr. Blurry.”

2. PHARAOH (from patch): “Who the hell are you?”


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Panel 6: Close-up on RENNA’s grinning face, illuminated by the holographic projectors, as she

replies.

1. RENNA: “I’m the girl that’s gonna save your life.”

PAGE 19.

Panel 1: PHARAOH looks incredibly concerned, and glances at the door where muffled voices

are coming from.

1. PHARAOH (from patch): “And how do I know I can trust you, here?”

2. RENNA (from earpiece): “Well, from this footage, here…”

3. VOICES (muffled, from door, small): “Stack up!”

Panel 2: We can see RENNA looking at some footage of just outside the core door (a shutter

has NOT closed in front of this side, so we can see the hole still), as a dozen guards are runningin. We can also see the boots of someone else, DAME PRIMA, who clearly has a different look

even from just seeing her feet - enormous, steel things that almost look like medieval greaves,

and the very bottom of her extremely dramatic and intimidating red cape can be seen.

1. RENNA: “If you don’t trust me, “Pharaoh”, I’d say you don’t have much time left .”

Panel 3: Switch back to PHARAOH as he looks concerned.

1. PHARAOH (from patch): “Fine. What do I have to do.”

2. RENNA (from earpiece): “Well, you seem like a guy with explosives, considering thatdoor trick earlier.”

3. PHARAOH (from patch): “Yeah, but that shutter is way too thick to-”

Panel 4: Cut back to RENNA interrupting him as she looks closely at a round schematic of the

core room, zooming in on a specific wall that appears to have a large space between it and the

next wall.

1. RENNA (cutting off): “Yeah, but you’re not going through the shutter. See that wall over

there with the computer?”

2. PHARAOH (from headphones): “There are a lot of computers, here.”

3. RENNA: “The Hastings 8x 21 with the Ryanz monitor, dude.”

Panel 5: PHARAOH is looking confused, staring around at the many computers in the room.

1. PHARAOH: “...”

2. RENNA (from earpiece): “Red and black tower, silver monitor.”

3. PHARAOH: “Oh!”


16/19

Panel 6: PHARAOH dashes over to the wall.

1. RENNA: “Good job, kiddo.”

2. PHARAOH: “Shut up.”

PAGE 20.

Panel 1: PHARAOH begins to crouch down by the wall.

1. PHARAOH (from patch): “So what’s behind this thing?”

2. RENNA (from earpiece): “It looks like when they were making this cool, curved room,

they left a bunch of insulation space behind this wall.”

3. RENNA (from earpiece): “If you make a hole you can slide right down to the ceiling of

floor 199.”

Panel 2: PHARAOH pulls another black explosive from his pack.

1. PHARAOH (from patch): “Huh, didn’t see that in my preliminary scans of this place.”

2. RENNA (from earpiece): “Well you don’t have the blueprints sitting in front of you, do

you?”

Panel 3: Cut back to RENNA as she is pulling up another security camera through the folder

system. We can see the wall blow in front of the Pharaoh blur in one of the original camera

views.

1. RENNA: “The room you’re gonna come to is an office - pretty small, but it should lead to

a high-speed elevator.”

2. RENNA: “That floor isn’t locked down yet so you should be able to get to the ground

floor.”

Panel 4: We see PHARAOH sliding down the space between the walls - there’s a few soft,

cottony/fiberglassy materials of insulations that he is avoiding touching, but for the most part it is

smooth metal.

1. PHARAOH (from patch): “No worries.”

2. PHARAOH (from patch): “I have my own way out. Just get me out of the office.”

Panel 5, Small: Close-up of RENNA’s hands typing on her virtual keyboard.

1. RENNA: “Done, and…”

Panel 6, Small: RENNA’s finger smashes the “enter” button violently.


17/19

1. RENNA: “Done.”

PAGE 21.

Panel 1, Small: Security footage of the office room. It’s small, not quite as small as Renna’soffice but still only containing a desk, a chair, and a monitor. The door shoots open.

1. SFX (digital): schwiff!

2. PHARAOH (from patch): “So what’s your callsign, anyway?”

3. RENNA (off-screen): “Renna.”

Panel 2, Small: Same security footage as PHARAOH bursts through the ceiling (landing

crouched) and sends soft, papery bits and dust all over the office.

1. SFX (digital): Pwiff!2. PHARAOH (from patch): “Renna? Did you just give me your real name?”

3. RENNA (off-screen): “Uh.”

4. RENNA (off-screen): “No.”

Panel 3, Small: PHARAOH sprints from his crouched position to the door.

1. PHARAOH (from patch): “We’re gonna have to get you a call-sign.”

2. RENNA (off-screen): “I like “Overwatch”!”

Panel 4: We are in the hallway of the 199th floor, which appears much the same as the last(although without the colored labels that guide people around). PHARAOH is running down it to

one of the sharp corners on the edge of the building.

1. PHARAOH (from patch): “That’s really bad.”

2. RENNA (from earpiece): “Well, I like it! This from the guy who refuses to use an elevator

to get out.”

3. PHARAOH (from patch): “Trust me, I have my ways.”

Panel 5: We can see the side of the building, just underneath cloud cover. There are very few

windows on this monolith, and it is shiny and clean (somehow). The side of it is exploding,

sending pieces of the wall falling out into the air, and smoke and fire belching from the

newly-formed hole.

Panel 6: Similar shot, but PHARAOH is jumping from the smoking hole wearing a wingsuit that

has attached over his normal clothes. He’s smiling in victory.

1. RENNA (from earpiece): “So, what, you were always planning on doing this?”


18/19

2. PHARAOH (from patch): “Well, I was originally gonna go to the roof but this was the

basic idea.

3. RENNA (from earpiece): “Glad it worked out for you.”

Panel 7: RENNA is looking at security footage of soldiers rushing to the door, while she’s

leaning back in triumph.

1. PHARAOH (from patch): “Renna?”

2. PHARAOH (from patch): “Thanks.”

3. RENNA: “Happy to help. And to make a bunch of money, too, obviously.”

PAGE 22.

Panel 1: We can see on the security camera footage that DAME PRIMA has fully entered the

room, though we can only see her back as she shouts to her troops - she is watching Pharaoh

fly away.

1. PRIMA: “...And how the hell could he get past all of you? I trained you to be the best

goddamned troops and you are humiliated by one goddamned thief !”

DESCRIPTION; DAME PRIMA: A tall and intimidating woman, Dame Prima is defined by her

muscular stature, hidden beneath layers of power armor, similar to the lower-ranked guards of

Hastings Inc., but with many more red accents and much sharper edges. She has cropped,

almost spiky (mostly due to a lack of care), and light hair. She does not often wear a helmet,

but when she does it is leaner and more circular than her troops. She carries a small SMG-style

kinetic weapon, but the most defining features about her are her cape and her sword. Her capeis long and comes down to about the start of her boots, flowing and red as blood (it functions as

extra protection from fire and chemical attacks as well as looking badass). Her sword is also

red and black, and is nearly 5 feet long and pulsing, with a diamond-shaped hilt and an

L-shaped handle that is big enough for her to grab with 2 or more hands.

Panel 2: Zoom in on DAME PRIMA as she turns around, showing her glaring into the hallway at

her men.

1. PRIMA: “I want him found , and I want to find out what he stole, and I want him dead .

He’s going to regret stealing from Hastings Incorporated .”

Panel 2: We see a much different environment: a darkened room with only two people in it, lit

by a downward-facing lamp on the WOMAN ’s desk that keeps them primarily in silhouette. One

of them is the silhouette of MADAME CHROMA. The other is her handler, a WOMAN with long

hair.


19/19

1. CHROMA: “It appears the experiment was a success. The two work well together. I

think they could be incredibly useful.”

2. WOMAN: “And they are… trustworthy?”

3. CHROMA: “One is a professional, the other could not have any more contempt for

Hastings. I’d say so.”

4. WOMAN: “Well, then...”

Panel 3: Close-up of the desk and we can see the WOMAN ’s hand writing down “Renna”

beneath the name “Pharaoh”, both of which are under the heading “Team T”.

1. WOMAN: “I’ll add them to the list.”

Panel 4: We switch views again to focus on MADAME CHROMA’s silhouette. She is clearly

smiling.

1. CHROMA: Very well. That means we have enough teams. In two months...2. CHROMA: I will initiate Operation Corpfall .

core's corpfall issue1 script and abstract

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