Panel 1 1/9 page

She's in the background. He's in the foreground, already in the living room, tucking the gun into his waistband.

Fitz: I have to go. Make a few arrangements... lay some false trails. I'll be back in two weeks, three at the outside.

Remember, you can't trust anyone. Don't leave this house for any reason.

Panel 2 1/9 page

Profile Donna. She hasn't moved, she's still looking forward, stunned. He's in the distance. He's putting his trenchcoat on, not looking at her. Little bit of a profile of him, turning his head so his voice carries, but not turning fully toward her.

Fitz: Put a shade up in the back room and the boy from the house down the hill will bring you groceries. He's slow -- retarded -- but he's dependable. He won't ask any questions, and no one's likely to question him.

Panel 3 1/19 page

Bust shot. He's cracking a curtain and peering out the living room window.

Fitz: There's no phone here. If you absolutely have to get a message to me, if it's a real emergency, say these words to the boy: critical mass. He'll call a number I gave him and hang up. One of my contacts will let me know and I'll get in touch with you.

Panel 4 1/9 page

He's standing at the door, ready to open it and go out. Full figure, looking down.

Fitz: I'm sorry about this. When I get back, I'll take you away someplace safe where they'll never find you. I'll make it up to you...I'II make a good life for you...

Panel 5 1/9 page

He's in the foreground. Shoot from outside the door. He's turned and is looking at her. She's in the background, looking at him. Imply a scared resignation in her look; this shot echoes the bathroom shot.

Fitz: ...for us. You'll see.

Panel 6 1/9 page

Car pulling out of the driveway, coming towards the reader. Focus on the driver's side, light coming out of the window of the house and reflecting on the ground.

Panel 7 1/3 page

3/4 overhead of the kitchen. She hasn't moved out of the chair, lots of the empty house around her. She's all alone in the world.

Page 10 3/30

Panel 1 2/9 page

Diagrammatic shot. Donna is sitting up in bed, leaning back on her arms. The bedroom is very simple - no decorations on the walls. Donna is wearing a man's T -shirt. The blankets are scrunched around her legs so we can see a small patch of thigh. The shade on the window is down. Silent.

Caption: December 29, 1970. 9.37 AM.

Panel 2 1/9 page

Full figure shot. Donna is in the kitchen, wearing baggy sweatshirt, rolled up men's pants, socks, men's slippers that don't nearly fit. She's up on her tiptoes, looking in cabinets. They're empty, several are open. There's a wastebasket in the foreground; in which we can see are several empty tin cans.... i.e., she's run out of food.

Panel 3 1/9 page

Bust shot. She's standing at the doorway of the bedroom. She's in the foreground, looking thoughtfully at the shade, which is down.

Panel 4 1/9 page

Shot from outside. We can see the whole window frame, 45° angle. Her hand on the shade, letting it up. (This exact shot will be echoed through the story every time she lifts the shade to summon Donny... the differences will be reflected in light and seasonal changes.) This is December, in the morning, so the lighting should be as if an overcast, bleary day.

Panel 5 1/9 page

She's sitting at the kitchen table, writing on a scratch pad.

Panel 6 1/9 page

Close up of her hand and the pad so we can see enough of what she's written, in girlish round handwriting (circles as dots over the i's). A number of pages have been folded back.

Diary: December 29, 1971

This is the eighth day since it happened. I've decided to write everything down that I remember about it in case something happens to me. Maybe somebody will find this.

Panel 7 1/9 page

Bust shot. Her in the foreground, looking up. In the background, we can see the front door. She's still writing, and stops to look up at the door.

Caption: 11:30AM.

SFX: Nok nok nok

Panel 8 1/9 page

Diagrammatical medium shot of her, stepping out one step of the door. There are grocery bags on the porch. The retarded boy, Donny, is some distance away, just turning the corner of the driveway. She would have arrived at the door in time to catch a glance at him, no more. He's thin, about 14, dressed in farm boy clothes - plaid jacket, jeans, boots, cap with ear patches. Some patchy snow on the ground. She's looking not at the groceries, but towards him. He's not looking at her, just shuffling away.

Page 11 3/31

Panel 1 1/9 page

Donna is peering out the kitchen window, waiting for Fitz' car. It's getting dark out. She's pulling the curtain a little, leaning against the wall, in the kitchen corner.

Caption: January 14, 1972
5:02 PM.

Panel 2 1/9 page

Shot where we can see the whole window frame, 45° angle. There's her hand on the shade, pulling it up. This is a not-quite-matching shot of the previous: there's no snow on the sill, we can see a bit of her sleeve, the light is brighter since it's noon, etc.

Caption: January 28, 1972.
12:01 PM.

Panel 3 1/9 page

Full figure of Donny, walking forward near the road curve. Past him we can see her in the kitchen window, pulling the curtain back a bit, looking at him.

Caption: 1 :32 PM.

Panel 4 1/9 page

Shoot from behind Donna. The kid is kneeling on the front step, putting the groceries down, and is looking up in surprise.

Donna: Hi! Can--can I talk to you for a minute?

Donny: Whuh-

Panel 5 1/9 page

180° from the last shot. He's stood up and is backing off a bit. She's framed by the doorway, reaching out a bit to him.

Donna: Sorry if I scared you -- my name is Donna! What's your name?

Donny: Brot'cher gro'shries.

Panel 6 1/9 page

Her face is on the right side of the panel. Shoot over her shoulder, at Donny, backing away.

Donna: Have you heard from Mister Fitzgerald? Do you know what's going on?

Donny: Any speshul gro'shries you want? I'll get 'em, yes'm.

Panel 7 1/9 page

Close up of Donna, pleading with Donny.

Donna: Please, can't you tell me anything?

Donny (op): y'want s'more gro'shries?

Panel 8 1/9 page

Upshot at Donna from past the groceries. She's slumped slightly. looking dejected and resigned. Silent.

Panel 9 1/9 page

Long medium shot. She's stepped out onto the porch. She's still looking down at the groceries, resigned to her fate. He's walking down the road

Donna: Yeah...uh, next time...could you bring me some magazines?