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A woman’s boot, visible beneath the rather fancily ruffled hems of her skirts and petticoats. The boot, obviously, is somewhat incongruous when compared to the fabulous gown that Sabre is wearing.

The boot is landing – we’re in a full sprint here – on the industrial, rivets-and-rust gantry-way, but of course, we’re in pretty close, so we don’t know the where as yet.

1. GUARD/off: STOP!
2. GUARD/off/linked: Stop HER!

Tight angle, railing of the gantry-way, as SABRE passes – maybe we’re getting a bit of her chest from the side, an elbow, an arm pumping. Maybe hair as her petite and somewhat precious top-hat comes loose and falls. Her hair has come loose, and I’m imagining she has quite the impressive mane.

A SLUG IMPACT on the railing – someone’s shooting at her from behind, and missing.

4. SFX: spak

Long shot, wide horizontal, as I envision this. Reveal of the gantry-way, the length of the run. This is the central walkway in this compartment, maybe the upper chamber, but that may not make a terrible amount of sense.

The idea here is to give a sense of enclosed, though very large, space, with lots of darkness and shadow filling in the details surrounding the walkway. I’m imagining moisture in here, too, but again, that may not make a lot of sense.

Approaching panel right is SABRE, in the DRESS but steadily shedding what pieces she can as she runs. She’s carrying a narrow tube in one hand – a map case.

On panel left, there’s a group of FIVE SCHRADE GUARDS, including the CAPTAIN OF THE GUARD (HANS), all chasing after her. Several have stopped to take aim, and HANS is knocking their weapons down, furious.

I’m envisioning something pseudo-Prussian about their garb, but with face-masks, like gas-masks but more sinister. The Captain of the Guard is the only one unmasked.

6. HANS: Drop your weapons!