Panel 1 1/3 page horizontal

Medium shot, full figures, establish the whole kitchen. She's sitting at the kitchen table. A cup of tea is sitting there; so is an open toolbox. He's' kneeling in front of her, having sawed three of her manacles off and is working on the last one on her ankle. She is wearing a one of his sweatshirts, very baggy on her, and a pair of his jeans, one sock on (the unshackled foot), the other sock draped over a knee. She has a towel wrapped around her head in a turban. He's focused on sawing the manacle, not looking at her.

Caption: 1 :02 AM.

Fitz: Donna, I'm going to have to leave soon.

Panel 2 1/9 page

Pull in close, cropping Fitz and Donna, so we can clearly see the sawing of the manacle.

Fitz: Listen carefully. The people who are after us control or influence almost everything: the government, the police, even the church....

Donna: Who are they?

Panel 3 1/9 page

Medium shot, full figure, from 3/4 overhead. The manacle is off and on the floor. He's kneeling in front of her, in a submissive position, rubbing her bruised ankle. He's looking at her ankle. She's looking down at him.

Fitz: An exclusive little club... some of the most powerful people in the world.

Donna: Like you?

Panel 4 1/9 page

Close up of Fitz's hands on her slim, girlish ankle.

Fitz: Yes. I was a member. During the last couple of years, though ... well, let's just say I haven't seen eye to eye with the others.

This isn't the kind of club you can just quit... so I started making contingency plans.

Panel 5 1/9 page

Longish medium shot. We can see the whole house, the whole car, and a little environment. Balloons to the house.

Fitz: I have houses like this allover the country... nondescript cars under fake names kept ready and waiting for me in hundreds of towns... caches of gold, diamonds, currency... and weapons. And a few people I can trust.

Panel 6 1/9 page

Long medium shot, through the window. He's kneeling in front of her, putting the sock on her foot. She's sitting woodenly in the chair.

Fitz: Even so, we were very lucky to get away.

Donna: Why did they... do that to me?

Panel 7 1/9 page

Bust shot, close on her, starting to cry again. She's clutching her shirt, fist clenched. He's standing; she's framed by the side of his body and his arm. He's got the manacle in his hand.

Fitz: Every year there's a meeting in a private chateau near Aspen. They hold a little ceremony. A young girl is brought in... and you know some of what happens to her.

Donna: Why me?

Page 8

Panel 1 1/6 page

Close medium shot, cropped to Fitz' waist. Shoot at Fitz, who's turned away from Donna, walking toward the camera. He's putting the manacle in his jacket pocket. Donna swings around to look at him, an unbelieving look on her face.

Fitz: Choosing you as the sacrifice was their way of punishing me.

Donna: Just 'cause you were my mother's friend?

Panel 2 1/6 page

Close up of Fitz, looking down, his back to Donna.

Fitz: Years before you were born, long before she married your father, I was in love with your mother. I lost her because I was busy building an empire... but I couldn't forget her.

Panel 3 1/6 page

Longish medium shot. He's standing at the kitchen table, putting the tools away.

Fitz: I stayed in touch, I helped out as much as she'd let me. I even got myself on the board of the college where your dad taught -- he got his tenure because of me.

Panel 4 1/6 page

Close medium shot, diagrammatical. He's turned to her. She's looking down, he's looking at her.

Fitz: I was devastated when she died. You were ten then, right?

Donna: Uh-huh.

Panel 5 1/6 page

Close medium shot. He's turned toward her; his crotch is at about her head level. He's lifting her chin, gently. She's looking up at him, stunned.

Fitz: You... are the spitting image of your mother. Do you know that?

Panel 6 1/6 page

Straight on close up of Donna, her chin raised at the angle his hand left it. lips slightly parted, very wide-eyed. Her expression is as if a light bulb has turned on over her head. Silent.