Shadowgirls

Hello readers!

Below you will find five stories (in no particular order). Please read them over and then vote for your favorite. Voting ends on February first and obviously only forum members can vote. Give a big hand to our finalists and enjoy!

An Offer

Page One
PANEL 1
Paul walks into his apartment, still in work clothes. He’s carrying a box under his arm.
1 PAUL: Ah, the joys of an empty apartment.
2 PAUL: Oh, wait, there aren’t any.

PANEL 2
The cat runs between Paul’s legs as he walks. He stumbles only slightly.
3 PAUL: Just take a shower and – Whoa!

PANEL 3
Paul sets box down on table, and then steps back.
4 PAUL: Stupid cat almost spilled that report. I’ll have to mail it out in the morning.
5 PAUL: It should give Sawyer enough to get McKay out of trouble.
6 PAUL: I hope. Charles really has a bug up about something.

PANEL 4
Paul walks over and sits down on the couch. He turns on TV.
7 PAUL: The politics in this town are crazy enough as it is.
8 TELEVISION: *Bzzt* – still investigating these horrific murders. A prime suspect is in custody, but details are sketchy.


Page Two
PANEL 1
Paul is still sitting in front of the TV, now changing channels. The cat is jumping on to the couch next to him.
1 TELEVISION: *click* - also on today’s episode, can you cause an explosion using-
2 TELEVISION: *click* - with a record breaking run, they’ve taken - *bzzt*

PANEL 2
Paul has just set down remote and started getting up or is up. Cat is standing on couch behind him, looking up.
3 PAUL: Yep, nothing important on. I hope Diane is doing ok in Chicago.

PANEL 3
Paul is walking down hallway towards bathroom.
4 PAUL: I’m talking to myself. *sigh* It’s going to be a boring week.

PANEL 4
Shot of the door of bathroom or shower curtain to establish that he’s in the shower.
5 CAT: (OFF-PANEL) Merow? *krritch* Meow?
6 PAUL: Now? Jeeze, she really does hate me.

PANEL 5
Paul, dripping wet and wearing either a bathrobe or towel, comes into living room. Cat is scratching at the front door.
7 PAUL: Hang on, I’m coming as fast as I can.
8 CAT: Meow?

PANEL 6
Paul opens front door to reveal Bloodwatch, pointing his needle hand at Paul.
9 BLOODWATCH: I believe you and I have something to talk about, my good sir.


Page 3
PANEL 1
Paul has been backed up onto the couch, and is sitting warily staring at Bloodwatch, who is currently behind the camera.
1 PAUL: Who are you? What are you doing breaking into my home?
2 PAUL: And what the heck is that?

PANEL 2
Bloodwatch is standing, back to the TV, and is gesturing towards his hand, still in needle mode.
3 BLOODWATCH: My name is of no importance. As for this gadget here…
4 BLOODWATCH: It’s simply a cybernetic replacement for my former hand.
5 BLOODWATCH: Fascinating, isn’t it? What was once a weak thing of flesh and blood…
6 BLOODWATCH: Is now something beyond your imagining, something you thought safely locked inside the covers of books.

PANEL 3
Paul is convinced he is talking to a madman, and has retreated further into the couch. He’s obviously very scared, but trying to sound brave. Cat is sitting on the arm of the couch, staring at the intruder.
7 BLOODWATCH: My purpose here is to convince you to become a member of the EOD.
8 PAUL: What’s that, the local mad scientist convention? I’m not mad, sorry.
9 BLOODWATCH: (Whispered) Not yet.

PANEL 4
Scene shows Master and cultists performing ritual. Progenitors are shadows in background, hiding behind columns. Master has knife in hand, and is tracing magical patterns in the air.
10 BLOODWATCH: (Voice-Over) It is the Esoteric Order of Dagon. You have no need to know its purposes, but suffice to say that those purposes and their methods are beyond your understanding. They control this town, and membership will have its benefits. Magic has a way of rewarding those who help it.

PANEL 5
Bloodwatch is now facing the TV, gesturing with his arms.
11 BLOODWATCH: All we want is for you to change your report.
12 BLOODWATCH: Say what you wish, my dear, just make sure that Charon McKay will be convicted of those murders.
13 BLOODWATCH: So, you will be joining us. The how is up to you, my good sir.


Page 4
PANEL 1
Bloodwatch has turned around. Paul is sitting more forward, and has a look of disbelief and anger.
1 PAUL: Really? So you’re a member of some secret cult, whose purpose is unnamable, untraceable, and “magical”?
2 PAUL: And then you expect me to tamper with a murder case, just to sate your delusions?
3 BLOODWATCH: No.

PANEL 2
Close up as Bloodwatch starts prepping his needle gun to fire.
4 BLOODWATCH: I expect that you will refuse the offer, and then I will be forced to use other methods to recruit you.
5 PAUL: (Off Panel) What if I don’t want to get recruited that way either?
6 BLOODWATCH: You could kill yourself. That’ll stop me.

PANEL 3
Paul is getting angrier now. He’s still afraid, but it’s getting swallowed up in anger.
7 PAUL: Oh, and I suppose that the police will stand idly by while you put innocents in jail.
8 BLOODWATCH: Ha, that’s a laugh. Even if those that aren’t members won’t lift a finger to help Charon.
9 PAUL: Let me guess. The only reason I’m not a member is that I’m from out of town.
10 BLOODWATCH: Not quite. You certainly wouldn’t have come this far without membership if you were local.
11 BLOODWATCH: You might never have been considered for membership, and steered away from town, my dear.

PANEL 4
Paul looks down on at his watch. Bloodwatch has leaned in closer during their discussion.
11 PAUL: Why are you spending so much time talking to me? Are you waiting for something?
12 BLOODWATCH: Not at all, my good sir. I’m just helping prepare you for integration.
13 PAUL: Of course, the sparkling conversation is just a bonus, right?

PANEL 5
Paul leaps forward, tackling Bloodwatch into the TV.
14 BLOODWATCH: Certainly, my goo-*ockt*


Page 5

PANEL 1
Paul runs away towards the back door. Bloodwatch is slumped against the TV. Cat runs other way.

PANEL 2
Paul passes picture window, sees two Progenitors just outside window.
1 PAUL: Who da fakka badda?
2 PAUL: AIEEEE…

PANEL 3
Paul has stopped in front of the window, and is still screaming
SFX: *thonk*
3 PAUL: EEEEEEEEEEEEEEE-*

PANEL 4
Paul slumps to floor, needle sticking out of his shoulder.


Page 6
PANEL 1
Black out. Dialogue is fuzzy.
1 BLOODWATCH: (Off Panel) Oh, my dear, almost thought I lost you.

PANEL 2
Sliver of light, reveals Bloodwatch leaning over him.
2 BLOODWATCH: I wasn’t sure if I gave you too much. You know how hard it is to measure sedatives on the fly.

PANEL 3
Paul is strapped down to a gurney. Two IV’s, on stands, remain unattached for the moment. Bloodwatch is leaning over Paul intently. A pair of headphones are on the table next to him, along with tape and various medications.
3 PAUL: What the hell is going on?
4 BLOODWATCH: Oh, come now. You’re a smart boy, figure it out.

PANEL 4
Close up of medicines on table.
5 PAUL: (Off Panel) Phenobarbital, Adderall, Temazepam, headphones…

PANEL 5
Establishing shot of two IV’s.
6 PAUL: (Off Panel) …Amphetamines, Barbiturates, two IV’s…

PANEL 6
Bloodwatch is still leaning over Paul, is excited to see if he figures it out.
7 PAUL: …You’re going to brainwash me.


Page 7
PANEL 1
Bloodwatch is excited, almost gleeful. Rubbing his hands.
1 BLOODWATCH: Excellent. You’ll make a good recruit yet. Now, anything else? Did you leave your stove on?

PANEL 2
Paul’s face is distraught, and he’s really scared out of his mind.
2 PAUL: Those fish things, they were real, weren’t they? And they’re playing for your side in all of this.
3 BLOODWATCH: I suppose so, but that leads to a common misconception.

PANEL 3
Bloodwatch has begun placing the first IV in Paul’s arm.
4 BLOODWATCH: You see there really aren’t any sides. You either know, or you don’t. There’s no resistance of any significance.

PANEL 4
Bloodwatch is working on the other arm now.
5 BLOODWATCH: Sure, from time to time, someone figures out what we’re doing. Then they’re eliminated, and we go on.

PANEL 5
Bloodwatch has begun drawing medicine from the vials, and placing it in the IV’s.
6 BLOODWATCH: Any other questions, my dear sir?
7 PAUL: Just one, really. Can I take you up on that offer to join from earlier?


Page 8
PANEL 1
Bloodwatch appears to consider, with a smile on his face.
1 BLOODWATCH: Hmm… sure thing.

PANEL 2
Bloodwatch goes back about placing medicine in IV’s.
2 PAUL: …Aren’t you going to let me out?

PANEL 3
Bloodwatch looks over at Paul with faked surprise.
3 BLOODWATCH: And here I thought you were a smart one.
4 BLOODWATCH: Do you really think that we’d release you with nothing but your word for assurance?

PANEL 4
The drugs are starting to take effect, and Paul is starting to fade out. Bloodwatch is collecting the tape and headphones.
5 PAUL: Worth a… *yawn* shot.
6 BLOODWATCH: Of course, we could go pick up your wife to ensure your cooperation. We might just do that anyways.

PANEL 5
Paul’s POV. Bloodwatch is placing the tape over his eyes, and they are already drooping.
7 PAUL: What! You can’t, please, don’t drag her into this, you, you... monsters!

PANEL 6
Blackout.
8 BLOODWATCH: Can’t you tell? The monsters have already won. Why not join them?
9 HEADPHONES: Service to the Order is service to the Father. Service to the Father brings ha

COLD COMFORT


PAGE 1
“Memories”

PANEL 1

CAPTION: Innsmouth, Massachusetts. 2001

WP. A wide view of modern Innsmouth by night from somewhere out in the bay; the town lights twinkle distantly, the shadowy finger of the lighthouse points skywards. Surf breaks over rocks in the foreground – this is the outermost edge of the reef.

1 THE DEEP ONE (CAPTION):
Is cold.

2 THE DEEP ONE (CAPTION):
Night is cold. Water is cold.


PANEL 2

CU of the rocks, surf foaming around them in inky black water.

3 THE DEEP ONE (CAPTION):
Heart is cold.


PANEL 3

Same CU of the rocks, white bubbles surging round them in the black water, only now two golden orbs shimmer beneath the water’s surface ominously – eyes.

4 THE DEEP ONE (CAPTION):
Heart beat slow in cold water… it call to shore.


PANEL 4

CU. Out of the frothy water rises a hand; deep olive-green skin, clawed. It grips at the wet rocks.

5 THE DEEP ONE (CAPTION):
Call to hunt.


PANEL 5

Focus on a female Slaad hauling herself up onto the rocks of the reef; pose predatory, body glistening, limbs hunched and tense.

6 THE DEEP ONE (CAPTION):
Hunt. Yes. But remember time before cold. Time before lights on shore.

7 THE DEEP ONE (CAPTION):
Before men move over water.


PANEL 6

We return to the WP view of Innsmouth, though now the female Slaad is standing upright, almost majestic on the rocks; back turned to us, gazing inland at the lights.

8 THE DEEP ONE (CAPTION):
Time before Master…

9 THE DEEP ONE (CAPTION):
… time before Order…

PAGE 2
“The Hunt”

PANEL 1

CAPTION: The Islands of Polynesia. 1839.

We look from the waterline at a landscape from a tourist’s dream; blazing tropical sun, gentle turquoise sea, a crescent of blackish volcanic sand, the occasional rock, lush green tropical forest beyond it. A few tiny figures walk along the shore.

1 THE DEEP ONE (CAPTION):
Remember home… warm home. Remember hunt. Hunt in time before…


PANEL 2

Focus on a small group of islanders; three or four men, one woman, dressed in woven plant kilts/capes/headgear. The men carry spears, stone axes, clubs, etc. and are heavily tattooed. Perhaps they are an escort for the woman, a hunting party, who can say? They do look cautions, pensive.

2 THE DEEP ONE (CAPTION):
Life simple then. Some humans serve us. Worship Father.

3 BURLY ISLANDER:
Come on, it looks safe for now.

4 FEMALE ISLANDER:
The sun is still up… they never come out by day.

5 MALE ISLANDER:
Even if you cannot see the shark’s fin, he is still there, sister…


PANEL 3

A pack of Slaad surge from the water, males and females. We can just about recognise from the body markings our narrator in the back of the mob, her skin a brighter, more vivid green colour.

6 THE DEEP ONE (CAPTION):
Others… prey!

7 SLAAD MALE NUMERO UNO:
Kill!

8 SLAAD MALE NUMERO DOS:
Eat you!

8 SLAAD FEMALE NUMERO TRE:
Taste blood!


PANEL 4

WP. The battle is met, water splashing around the ankles of the combatants. The first island warrior is cut down by a slash of claws; tumbling forward into his own spilling guts and red seawater. One of the Slaad catches a spear in the chest and is impaled. One warrior struggles with a pair of Slaad pushing him to the water, but has enough thought to yell out to the horrified island girl. Emphasis on grittiness, horror, brutality – the fight is uneven, but the humans can fight to the end at least…

9 BURLY ISLANDER:
Run! RUN!


PANEL 4

… which comes soon enough. The aftermath is gruesome. Body parts litter the shore, and the Slaad feast. The focal point of the panel is our narrator-Slaad, cradling the severed head of one of the island men like a coconut and chewing on the sinews hanging out of the neck. Blood spills down her neck and chest and is spattered across her skin in places.

10 THE DEEP ONE (CAPTION):
Heart beat fast. Blood hot. Hunt good.


PANEL 5

Focus on the terrified island girl, struggling on her back in the pink-tinged foam, trying to find purchase with her feet to get up and run. One male Slaad has hold of her hair, another (Numero Uno) looms over her menacingly.

11 SLAAD MALE NUMERO UNO:
Pretty…


PANEL 6

CU on the male Slaad’s face and great red eyes, the girl’s frightened face reflected in both of them. His expression is all teeth, tongue and hunger.

12 SLAAD MALE NUMERO UNO:
Taste pretty!

SFX – THE GIRL SCREAMS


PANEL 7

SFX – THE GIRL’S SCREAMING CARRIES THROUGH THE FOLLOWING PANEL

Focus on our narrator, still munching. A nearby Slaad, holding a severed arm like an oversized drumstick, gestures out to sea. Out at sea, we see an 1800’s-era sailing ship entering the bay.


13 THE DEEP ONE (CAPTION):
Life simple. Life good.

14 SLAAD MALE NUMERO QUATTRO:
Look.

15 THE DEEP ONE (CAPTION):
Ship come. Change come. He come…



PAGE 3
“Him”

PANEL 1

WP. We see the broadside of one vessel. She looks like she has seen a hard journey at sea; the odd sail is ragged, but not so much as to cripple the vessel. A ships’ boat pulls away from the anchored ship. The seamen aboard it look tired, wary about the foreign shore, those not rowing cradling muskets and weapons. At the head of the landing craft stands Obadiah Marsh; young, charismatic, bold, unafraid… perhaps a little crazed, but barely perceptible. Costume more like that of a nobleman than his rough-looking crewmen. The tone of the frame is like one of those patriotic, somewhat idealised pictures of the tough seagoing explorers of the South Pacific (like James Cook) meets Washington Crossing the Delaware.

1 THE DEEP ONE (CAPTION):
Him. He bring men from far away. He seek gold. Seek us.

2 OLD SAILOR:
We’ve been sailing around these islands for weeks… what makes you think it’s this one?

3 OBED MARSH:
Trust me, what we’re looking for is here. I can feel it.

4 OLD SAILOR:
And you think these natives will just give it to us?

5 MEAN-LOOKING SWABBY:
Oh, we can be real persuasive, Jocko…


PANEL 2

Focus on Obed being met at the shoreline by a crowd of natives. These are dressed differently to the ones we saw before; the men wear shaggy capes of dark grass and grotesque golden masks that mimic the features of the Slaad. They also have a lot of dazzling jewellery but seem more savage than the natives we saw butchered on the beach.

6 THE DEEP ONE (CAPTION):
He follow legend. Find land near home. Our hunting ground.


PANEL 3

We see another one of the ‘cursed’ islanders, a high priest or witchdoctor, standing before a grotesque altar in their village, quilted with the rusty stains of blood sacrifices. He holds aloft a wooden stave, the head of which is carved into a curious-looking effigy; there is a bestial face, coiling tendrils… a crude replica of something else. The native’s mask is similar to that of the Master we know from the 21st century.

7 THE DEEP ONE (CAPTION):
Humans who worship us tell him of gold, of pact with us. They speak of Hydra. Speak of temple.

8 THE DEEP ONE (CAPTION):
Fools.


PANEL 4

Under cover of darkness, Obed storms the temple with his men. The temple is carved into the rock of a huge tidal cave of black volcanic rock, the water much less deep as this is low tide. The walls are craved with disturbing, coiled murals; suggestive of octopi and other squirming horrors of the deep, and an avenue of pillars, carved into the shapes of impossible mer-creatures, lead to a small stepped pyramid that rises out of the seawater; stone cracked, the pyramid slightly listing to one side as though the centuries of tidal action are slowly trying to topple it. Something distantly glints at the summit. The men wade through knee-deep water towards the pyramid. They are being assailed by the natives; hurling spears or attempting close combat. The islanders are though outmatched by the sailor’s muskets; several of them float face down in the water. Obed wades forward at the head of the group, the others follow with weapons raised, looking backwards and to the sides at the native attackers. We recognise the mean-looking sailor and the older mariner from earlier. The mean looking one seems to be having a good time taking potshots at the natives.

9 THE DEEP ONE (CAPTION):
He return in dark, take Hydra…

10 OLD SAILOR:
Damnit, they just keep coming… you’d think they’d stop after we killed so many.

11 MEAN–LOOKING SWABBY:
Ha! Suits me just fine!


PANEL 5

CU. Obed takes the Hydra from where it sits; a recess in the abdomen of a strangely human statue, albeit one with tentacles coiling out from its back. We can see the surface more clearly now; it appears to show the tangled, tenticular serpent-headed tendrils of the Hydra, coiled about a squat, fish-headed figure. As his hands meet the surface of the stone his eyes flash and crackle with ruby energy. His facial expression is one of shock, pain.

12 THE DEEP ONE (CAPTION):
Blood Hydra show things to him… whisper to him. Change him.

13 OBED MARSH (WHISPERING):
Dear God, it’s true… it’s all true… this is my destiny… this is what I must do…


PANEL 6

WP. A montage of horrors; the sailors run rampant with rifles and swords, devastating villages, massacring islanders, etc. Huts burn, the ground is stained red with masses of spilt blood; genocide begins.

14 THE DEEP ONE (CAPTION):
Men from far away give old worshipers to us. Fires burn night away. Sea runs red. Worshippers beg mercy. Tell him everything. Tell of Father. Tell of us. Tell how to call us…


PANEL 7

WP as Obed stands waist-deep in the sea during the night; he holds aloft in one hand the Blood Hydra. A particularly ancient Offspring towers over him, armour covered with spines and barnacles as testament to his advanced years. Obed shows no signs of fear as he gazes up at the monster. Slaad rise around them both in positions of veneration.

15 THE DEEP ONE (CAPTION):
He make bargain with us. We give gold. He give blood. Offspring. Wake Great Father.

16 THE DEEP ONE (CAPTION):
We accept. Accept Word.


PANEL 8

Focus on the deck of Obed’s ship during the day; the crew look jubilant; they are loading all manner of strange gold treasures into the hold from a group of native boats. Obed is there; a leather shoulder-bag with a head-sized lump in it now part of his costume; a faint glimmer of red shines from it. In the background the smoke rises in ominous black plumes from somewhere beyond the jungle treeline.

17 THE DEEP ONE (CAPTION):
They take gold. Worshippers gone, so we leave with Hydra.

18 THE DEEP ONE (CAPTION):
With Him…



PAGE 4
“Exodus”

PANEL 1

SP. What we see is like a giant cross-section of the ocean, compressed into a single image. At the very top we see Obed’s flotilla of vessels crashing through moderate, brilliant blue waves towards us; their movement majestic, purposeful, under the sun-dappled sky.

Below the waves, though, a scene from nightmares plays out. The water is a deeper-blue, beyond the sight of the men on the surface. Here, the Deep Ones have begun their exodus. The Slaad swim our way in great schools like Hammerhead sharks; ominous, threatening shapes rendered like shadows in the dim blue waters. Slaad of all sizes. Even more distantly behind them are huge shapes; gigantic unspeakable somethings big enough to tear the oblivious flotilla on the surface into matchwood. Our narrator is there, swimming along in the foreground.

The ocean grows gradually dimmer still. Along the sea floor giant black obelisks carved with mysterious runes, signs and symbols, and graven idols of mer-creatures are hauled by Offspring and Slaad alike with weedy woven ropes, like the labourers of Egypt dragging stones to the pyramids (Offspring are a distinct minority however). The largest monoliths are dragged by titanic somethings out of frame; we see their tentacles, thick as ship’s masts, and hints of their bodies, but nothing definite – they are every sea monster rolled into one. The whole scene is lit by the glow of luminescent blobs of light; glowing fish or squid. The movement kicks up lazy clouds of muddy sediment behind it, like dust behind a speeding car, though the whole scene seems in slow-motion.

1 THE DEEP ONE (CAPTION):
He return. To land far away. Return with gold, with Hydra. Return with Word.

2 THE DEEP ONE (CAPTION):
We follow.

3 THE DEEP ONE (CAPTION):
Our idols to Father follow, stones older than we. Great Ones move them through dark. We move them. Our beasts follow. All go.


PANEL 2

CU. We see human hands (Obed’s?) working at ship’s charts by candlelight. A drafting-compass, pen, inkwell, cover of a ship’s log, etc. are at the edges of our view. A long weaving line marks the journey of the flotilla of ships across the Pacific and down the coast of South America, round Cape Horn, heading north.

4 THE DEEP ONE (CAPTION):
Travel far… far away to where He come from. So far. Warm sea grow cold…


PANEL 3

WP. At sea level we look inland at the coastline of Innsmouth at dusk. The hull of a merchant ship intersects our view; Obed’s flotilla is within sight of home. We can make out the shapes of the houses, the port, even the shorter, more archaic original lighthouse. Ominously, the domed heads of the Deep Ones sit half-submerged in the still water, unseen and unnoticed, looking inland at their new domain.

5 THE DEEP ONE (CAPTION):
We go to new home. Home for Father. Home for us. To old home of Y’ha-nthlei. We become many. Offspring come. Is pact. Pact with Him.
Pact with Inns-mouth…



PAGE 5
“Promises”

PANEL 1

CAPTION: Innsmouth, Massachusetts. 1958.

WP. We see Innsmouth further along in time again, looking along the beach near the lighthouse after dark. The town is more developed though not as modern as we are used to. The lighthouse looms in the background, town lights behind it. To give some period flavour to the scene there is an old 1940’s car body sat rusting in the sand and grass of the high shoreline. Crouching behind this man-made boulder is our female Slaad, skin now a slightly darker green. Down the beach a way we see a small, distant light – a campfire. Voices come to us from it.

1 THE DEEP ONE (CAPTION):
Time pass. Heart beat in cold. We hunt. I hunt.

2 VOICE #1:
… you’re so not scaring me, Donny.

3 VOICE #2:
Sure I’m not, Francis… you’re only scared of Commies!

4 THE DEEP ONE (CAPTION):
Prey!


PANEL 2

Focus on three small boys, about ten years old, sitting around the fire toasting marshmallows and generally being boys camping out. They are dressed as per the style of the late 50’s. One – Donny - has shaggy hair, another – Francis - has neatly combed black hair and the last – Phil - has curly blonde locks. Phil is dressed a little more impressively than the others, but it’s obvious they’re not your average street kids; rich kids on an illicit jaunt after dark. One boisterous, one nerdy, one thoughtful. Fishing rods lie on the sand. Francis is pouring over an issue of Strange Tales.

5 FRANCIS:
And I’m not scared of Commies. My dad is.

6 DONNY:
I’m tellin’ you, they come down in flying saucers and they suck your brains out with little glass tubes! Only thing I’m scared of!

7 FRANCIS:
You’re afraid of Mrs. Pickman’s trig class too, Donny…

8 PHIL:
I’m scared of the sea… my grandfather drowned in it.


PANEL 3

CU of Donny talking, Phil in panel just behind him. Phil is fiddling idly with a small gold medallion around his neck.

9 DONNY:
You never go near the sea. We were lucky to get you this close!

10 PHIL:
He used to say there were things living in it. People. He gave me this before he got sick… said it would keep me safe. Sometimes I wonder, y’know?

11 FRANCIS (OP):
What? Like mermaids or something? Your grandpa must have been a hoot…


PANEL 4

Focus on the three boys sat at the fireside. In the dark cast of the reeds behind them we see two familiar, menacing, yellow eyes and a looming, predatory shape!

12 DONNY:
Well I’m tellin’ you, Phil; only thing you need to be scared of is those Saucer-Men…

13 FRANCIS:
Donny, quit rustling. It’s not scary.

14 DONNY:
I ain’t doing any…


PANEL 5

CU of the boys all looking over their shoulders – all three’s faces frozen masks of absolute terror.

15 THE DEEP ONE (CAPTION):
Little ones. Easy.

16 THE DEEP ONE (CAPTION):
But…


PANEL 6

SFX: FRANCIS AND DONNY SCREAMING.

Focus on Phil, rooted to the spot. His expression is changing; more one of awe than one of complete fear. In the background we see Donny and Francis fleeing towards the lights of the town and sanity. Our narrator touches the medallion around Phil’s neck with the tip of a claw – we see the medallion bears a grotesque face… like one of the Slaad.

17 THE DEEP ONE (CAPTION):
One not run. Gold-Hair. Not… afraid?

18 PHIL:
Grandfather was right… Gra-Grandfather was right…

19 THE DEEP ONE:
Boy-child marked. Special.


PANEL 7

We see the female Slaad embrace Phil; his head rests against her body, her claws cradle him, stroke his hair. The scene is warm, motherly almost. Her expression and his are both ones of gentle content; of kindred spirits.

20 PHIL:
You’re not a monster… I can hear your heart.

21 THE DEEP ONE (CAPTION):
Gold-hair pretty. Think me pretty.

22 THE DEEP ONE:
You warm...

23 THE DEEP ONE (CAPTION):
We same…



PAGE 6
“Rituals”

PANEL 1

CAPTION: Innsmouth, Massachusetts. 1977.

WP of a strange circular chamber with a circular pool in the centre – roughly the size of a large hottub - , somewhere within the complex the EOD command. There are stone pillars in the background, encircling the pool. Diaphanous red material hangs between them, offering some degree of privacy, though there are hints that others are close by – ill-defined figures. A small brazier glowers, sending a plume of bluish smoke roofwards. Our female Slaad leans back against the far edge of the pool, arms spread along the rim. She smiles invitingly.

1 THE DEEP ONE (CAPTION):
Time pass, I wait… wait for Gold-Hair. Watch grow into man. Man for me…


PANEL 2

CU on Philiboyd Banks; now grown into a handsome man. He wades towards our narrator, bare-chested, also smiling.

2 PHILIBOYD BANKS:
You’re just how I remember you.

3 THE DEEP ONE (CAPTION):
Master joins us. Bless us. Word bind us together. Word will bring Offspring.


PANEL 3

CU. Philiboyd and the female Slaad embrace, kissing passionately. Species is not an issue here – something bigger is. We also now know for sure who our narrator is.

4 MERRI, THE DEEP ONE (CAPTION):
But not Word make this. Love make this. Is good. Heart beat fast.


PANEL 4

CU of hands lying on top of one another – one green and clawed, the one beneath soft-pink and manicured – resting on a green belly, swollen in the later stages of pregnancy. Once again, the expression is one of affection; something we see everyday with just enough of a twist to be disturbing.

5 MERRI, THE DEEP ONE (CAPTION):
I carry Offspring. Love Offspring.

6 MERRI, THE DEEP ONE (CAPTION):
Gold-Hair love Offspring. Gold-Hair love me. Is warm.


PANEL 5

WP of the pool-chamber again. This time the marital bed has transformed into a birthing pool. Merri is in the pangs of labour. Philiboyd is in the pool with her, she clings to him. The Master and several other robed EOD cultists stand vigil, another female Slaad stands as midwife to receive the newborn.

7 MERRI, THE DEEP ONE (CAPTION):
Offspring comes. Hurts. Is good. Hurt made by love, not Word.

8 THE MASTER:
Remember this moment well, my children, for the hour we have waited so patiently for is upon us at long last. Soon the Great Father will awaken!

PANEL 6

CU of the Slaad midwife holding forward the newborn Offspring to her parents; small, six-limbed, golden-eyed like its mother, carapace smooth and unblemished with growth, crying as a human newborn does. Merri looks exhausted, as much as any other new mother would. The child that will become Christmas Banks is brought into the world.

9 THE MASTER (OFF PANEL):
Blessings of the Great Father! Behold! The Mother of our Mother is among us!

10 MERRI, THE DEEP ONE:
Behold!

11 PHILIBOYD BANKS:
Behold!


PANEL 7

We see this strange, unearthly family for a moment together; mother, father, child gathered against mother’s breast. Both parents look down at their infant with genuine affection and pride. Once again, the tone is normal, natural, pleasant; only the characters within the scene make this seem in any way grotesque or strange. If she wasn’t a fish and the baby wasn’t a lobster, they’d put this image on posters.

12 MERRI, THE DEEP ONE:
Offspring. Is… beautiful.

13 PHILIBOYD BANKS:
Yes, she is. Like her mother.


PANEL 8

CU of the Master’s face – his one eye shimmering through the aperture in his grim, golden mask.

14 MERRI, THE DEEP ONE (CAPTION):
Master commands. Word commands. Must obey Word. Word stronger than love. I obey…


PAGE 7
“An Unspoken Bond”

PANEL 1

Focus on Merri and Philiboyd Banks, at the ritual where their child is transformed into something more human. Philiboyd clutches Merri’s cut arm with the same cloth he uses to staunch the flow of blood from his own slashed palm; both bleeding red. Beyond them, the Master channels arcane power down onto their baby, altering her form, the glower of energy casting shadows around the ritual chamber.

1 MERRI, THE DEEP ONE (CAPTION):
Offspring changed. Become vessel for Mother. Is honour. We blessed by Great Father.


PANEL 2

We see Philiboyd holding baby Christmas; now to the entire world a happy, blonde human baby. Merri looks at them both; confused, conflicted. The Master stands behind Merri, his commanding presence looming over them all.

2 MERRI, THE DEEP ONE (CAPTION):
Master commands. Word commands. I must go back. Back to ocean. Back home.

3 MERRI, THE DEEP ONE (CAPTION):
Girl-child stay with Gold-Hair. Girl-child not know me.


PANEL 3

WP of Merri at the beach, alone, at sunset. She takes one last look back towards the lights on the hillside – the huge Banks house sitting regal amongst the other properties visible from the shoreline.

4 MERRI, THE DEEP ONE (CAPTION):
I return to ocean. Return home. Feel different. Is broken?

5 MERRI, THE DEEP ONE (CAPTION):
Broken… no, broken but not-broken.


PANEL 4

CU on Merri wading back into the sea she has always called home. One might assume that this is a welcome return home. It is not: Merri’s expression is one of purest heartbreak and anguish. Her hands clutch at her chest.

6 MERRI, THE DEEP ONE (CAPTION):
Is broken inside. In heart. Hurts.


PANEL 5

Focus on Philiboyd Banks, standing on the balcony of the Banks house looking out across town to the ocean, glittering in the hues of the setting sun. The (human) infant Christmas is in his arms. Philiboyd’s expression is one of a man accepting his duty grudgingly, his destiny; jaw set firm, eyes sad – this is the moment his heart begins to freeze over. The EOD doesn’t need monsters or cultists to destroy things.

7 MERRI, THE DEEP ONE (CAPTION):
Gold-Hair broken too. Stronger than I. He grow cold. He mends.

8 MERRI, THE DEEP ONE (CAPTION):
He have girl-child. Father’s girl-child. Our girl-child.

9 MERRI, THE DEEP ONE (CAPTION):
I have nothing…


PANEL 6

CAPTION: Innsmouth, Massachusetts. 2001.

CU of Merri’s claw resting on her flat stomach, memories rushing in like a tidal wave.

10 MERRI, THE DEEP ONE (CAPTION):
Cold inside. Still hurts. Never be mended.

11 MERRI, THE DEEP ONE (CAPTION):
Must go. Go… stop pain.


PANEL 7

Focus on Merri, stalking inland, towards the lights of modern Innsmouth.

12 MERRI, THE DEEP ONE:
Must hunt!


PAGE 8
“A Mother’s Love”

PANEL 1

Focus on a large, expensive modern home, lights shining out across the dark lawns and a garden shrouded by trees, throwing long eerie shadows everywhere. There are signs of a family with children within – a swung under a tree, a sandpit, a small bicycle propped against a wall. Merri stalks towards the windows. Things are taking a disturbing tone….

1 MERRI, THE DEEP ONE (CAPTION):
Heart beat faster. Here.

2 VOICE ONE (FROM INSIDE):
… will you take your hands off my eyes already? And why is she out of bed after midnight? It’s bad enough that you spent all morning…

3 VOICE TWO (FROM INSIDE):
I wanted to wait up for you, mommy!


PANEL 2

CU on Merri, claws pressed against a windowpane. Her expression is frightening; cold, calculating, that of a huntress. Amp up the tension…

4 VOICE THREE (FROM INSIDE):
I knew you’d be out late with Cindy, and…

5 VOICE TWO (FROM INSIDE):
Daddy and I made you a surprise… I thought it was a kinda dumb idea, but I guess it was fun…

SFX (FROM INSIDE) – POP!

6 MERRI, THE DEEP ONE (CAPTION):
Prey here!


PANEL 3

WP inside on a pleasant-looking kitchen / breakfast bar / domestic interior. We see a slightly younger Jackson Snow, Christmas Snow and a young Misty Snow. Misty is dressed for bed but evidently not intent on going anytime soon. Jackson and Christmas are dressed casually; Jackson’s idea of casual being a lot less showy than Chrissy’s. There’s a simple, honest cake with candles on the counter. Jackson has a champagne bottle in one hand, has two flutes carefully held in the other and is pouring. Christmas looks genuinely surprised, touched. French doors in the background.

6 MISTY & JACKSON:
Happy birthday!

7 CHRISTMAS:
I… thank you! I don’t know-

8 JACKSON:
Hey, I wanted to make up for this morning… I don’t like fighting with you, y’know?

9 JACKSON:
Besides, you know how much I’m going to hate the huge party your dad’s gonna throw tonight…

10 MISTY:
So this is a party just for us, mommy. Just for family!

11 MISTY:
Hey! I wanna glass too! Six is old enough!


PANEL 4

Focus in on Jackson and Christmas; Christmas is looking at Jackson and Misty affectionately –the morning’s apparent argument forgotten. Misty is pointing at the large French doors, maybe looking a little worried. The now familiar two golden eyes are there, low down, glittering. Jackson’s eyes seem to follow the direction Misty points in.

12 CHRISTMAS:
You’ll have milk and be happy about it, sweetheart.

13 MISTY:
Mommy, look. There’s something outside, at the window.

14 JACKSON:
Jesu- ah, damnit, it’s just Mrs Clarke’s cat, Alejandro… the lardy thing was sat out there mewing all through dinner.

15 MISTY:
I don’t think its Alejandro, daddy…


PANEL 5

CU on Jackson’s hands, opening the double-handles to the French doors

16 JACKSON:
I’ll shoo him on home.

17 JACKSON:
I know we don’t do the gardens, but I feel sorry for the guy who has to pick Don Juan’s turds out of the rose-


PANEL 6

Focus on the three of them, Christmas holding Misty, framed in the open French doors as we look in from outside. Curtains flap in a light breeze. Nothing is there.

18 JACKSON:
Whoa. He moves fast for a fat cat…

19 CHRISTMAS:
Come on, let’s go in before those candles blow out by themselves.

20 MISTY:
I guess… hey, if it’s your birthday now we can open your presents, mommy!

21 CHRISTMAS:
Well, Mr. Snow? Have you got something your wife could open now?


PANEL 7

WP of Merri, back pressed to the trunk of a tree. Beyond her we see the Snow family retreating indoors. Merri’s expression is much like that when she met the young Philiboyd Banks; a mixture of pride, affection, contentment. Bittersweet.

22 JACKSON (OP):
Oh, I think I’ve got something you’ll like…

23 MISTY (OP):
I can help you open them, mom! Come on!

24 CHRISTMAS:
Who’s birthday is this? You are so going to bed right now, madam…

25 MERRI, THE DEEP ONE (CAPTION):
Girl-child grow strong. Girl-child and Mother… beautiful. Is proud. Heart call no more. Hurt less. Go now.

26 MERRI, THE DEEP ONE (CAPTION):
Master wrong. Love not weak. Love Father. Love Mother. Love Offspring. Love girl-child. Love strong. Strong as Word.

27 MERRI, THE DEEP ONE (CAPTION):
Is warm…

DAGON

PAGE 1

PANEL 1

Dagon is seen drifting in the dark sea. Two trails of blood are flowing bountifully from his severed wrists. His eyes are shut and his face contorted in great pain. (He is depicted as you wish, whether merform or one more akin to the Progenitors, or however, but he must be missing at least one set of hands (or his only set, if he has none.)

PANEL 2

Dagon sits on a lone flat island out at sea. The night is nothing special, only bearing the thin crescent of the moon.

DAGON: Citizens of the deep, those who live in my world, find safety in my waters, and have bountiful hunting, I call upon my debt. My children, I have a task for you.

PANEL 3

A small group of Progenitors crawl out of the ocean, looking appropriately ominous. One is rising from his crawling position to bow.

PANEL 4

Dagon raises his stubbed arms/wrists.

DAGON: My children, this shall not be an effortless task. It has been centuries since I was maimed, in that I lost my hands. I have fought for all this time to obtain them again, but my form limits me. Find my hands, find who took them, bring what is mine back to me. Bring me my hands and the offender’s head.

PANEL 5

PROGENITOR: We understand, oh father and master. We shall not return with our quest futile.

PAGE 2

PANEL 1

DAGON Op: My children…

They are seen slinking in the shadows outside a Maori settlement, the citizens of the village unaware of their presence.

PANEL 2

DAGON Op: Have you found them yet?

They are now emerging from a river, deep within a rainforest.

PANEL 3

DAGON Op: You are failing me.

The Progenitors are in the Arctic, clawing into the icebergs.

PANEL 4

The Progenitors are shown swarming in a small European or colonial American fishing village. Citizens are attempting to defend themselves with crude weapons (fishing harpoons and scythes, etc), but many are shown to be wounded or dying in the background.

PAGE 3

PANEL 1

Hydra is shown standing with Dagon on the flat island that is his recent domain, one hand on his shoulder. His head in hung low, his face in shadow.

HYRDRA: Your power is now overspent. You cannot send your children any farther

DAGON: No, they have no yet found my hands… my power…

HYRDRA: My husband, it is time to accept help.

PANEL 2

Hydra is shown standing in the water, cradling Dagon’s shoulders as he is mostly submerged.

HYRDRA: Sleep now, my husband, and regain your strength. I shall search with your children for you.

PAGE 4

PANEL 1

The Progenitors are now shown questing further. The Progenitors are now deep within a mountain pass, still below the snowline, dividing up to search the nearby woods from the large spring they emerged from (most likely it was fed by an underground river). Hydra is soaking calmly in the water as the Progenitors are chasing people away from the spring.

PANEL 2

The creatures are scattered about a dark cave, with ancient ruins surrounding the underground lake. Mother Hydra is standing atop one of the tallest remains, her glow casting off the ruins and her servants.

PANEL 3

Mother Hydra is shown standing on the bank of a large river, fed by a waterfall in the background, that runs by an Aztec temple. The Progenitors are shown attacking the temple guardians.

PANEL 4

They are shown in the Loch, combing the body of water late at night, with Mother Hydra standing over them. A lone man is shown hiding behind a tree, fearfully watching the scene.

PAGE 5

PANEL 1

Obed Marsh is shown, clutching the Red Hydra in his hands, smiling greedily.

PANEL 2

Hydra is shown smiling in a similar manner to Obed, looking over a scrying pool at Obed.

HYRDRA: Slaad, for years, we have no found the necessary power to awaken your father and to give him his lost power. That time is nigh.

PANEL 3

Hydra is shown standing in front of a large group of Progenitors. They have mixed looks of joy, confusion, or simple apprehension.

HYRDRA: These humans shall be the key to our power.

PAGE 6

PANEL 1

Obed is shown overlooking his crew loading up various artifacts onto their ship, watching them while still clutching the gem under one arm.

PANEL 2

This panel is divided by the Red hydra in the middle. On the left side is the face of Obed’s wife, perhaps looking a bit apprehensive, and on the other is her new appearance as she is controlled by Mother Hydra.

PANEL 3

Obed his wife, and their now adolescent daughter are shown standing (facing the fourth wall) in front of a large group of Progenitors, humans, and many Offspring(whose backs are towards the fourth wall.) The young daughter has the characteristic snakes curling around her back as she looks over the new followers.

PAGE 7

PANEL 1

Mother Hydra is shown standing on the shore one night.

OFFSPRING Op: Mother?

PANEL 2

The Offspring is now shown standing next to her.

HYRDRA: Yes, Offspring?

PANEL 3

OFFSPRING: I can feel his power, Father’s. It has grown as of late.

HYRDRA: Yes, it has grown somewhat.

OFFSPRING: Will he be awakened soon?

HYRDRA: Very.

PAGE 8

This is a full page panel, showing Hydra standing proudly on the shore, looking over at Innsmouth. Hydra is smiling cruelly.

HYRDRA: My husband shall arise when Shadowchild falls.

JUST ANOTHER DAY

PAGE 1:
PANEL 1
Panoramic view of Innsmouth across the top.

BECKA: (Internal Monologue)
Welcome to Innsmouth, Massachusetts.

BECKA: (Internal Monologue)
The People in this town decided who I was…

PANEL 2
Long view down left side, of Becka in clothes with Hoodie (hood down), Mp3 player clipped on and earphones around neck looking up towards something.

BECKA: (Internal Monologue)
…the day I got back from the hospital.

PANEL 3
View of Innsmouth High School, main building, from the outside, front of the building on an angle so we don’t see the grounds. The building is large, imposing, and the façade feels more like that of a sanitarium than of a school. A set of double doors is center, just below the Innsmouth High motto “Wealth and happiness through knowledge” in latin? “Opulentia et gaudium per notitia,”. Back of Becka looking up at the building in the forground to the side. Note she should be holding a few books in her right arm.

BECKA: (Internal Monologue)
And they go out of their way to beat it out of me…

BECKA: (Internal Monologue)
…if I ever try to rise above my place.

PANEL 4
Shot of Becka’s face, staring down and sighing deeply looking determined not to show how hard this is.

BECKA:
*sigh* “Now entering the 5th level of hell, please keep your sanity fastened until the day has ended”


PAGE 2:

PANEL 1
Panoramic view of the grounds below the previous image with the back of Becka in the foreground to the side. Kids seen throwing a football back and forth, some girls gathered in a group. Some other, random kids scattered around, reading books, walking up the stairs into the main entrance, etc.
BECKA: (Internal Monologue)
Another day at Innsmouth High School

PANEL 2
Close of Becka from chest up, looking on with a fairly blank expression.

BECKA: (Internal Monologue)
When my Mom was my age, fifteen…

BECKA:
“Whats it gonna be today?”

PANEL 3
Close of Becka in previous but putting earbud-style headphones on

BECKA: (Internal Monologue)
she developed a tumor in her frontal lobe.

BECKA: (normal speech)
“Guess it’s time to find out”

PANEL 4
Close of Becka in previous but she’s pulled her hood up over her head.

BECKA: (Internal Monologue)
She disappeared for a few months ‘till they found her…

PANEL 5
Becka walking down the sidewalk – obvious alone – people are moving to avoid her. Song Lyrics begin in the background.

LYRICS: (from iPod)
“Face to face, with the devil that you been dreadin”

BECKA: (Internal Monologue)
…wandering the desert, naked, crazy…

JOCK: (off screen)
“Go Tad!”

BECKA: (Internal Monologue)
…and pregnant with me.

PANEL 6
Becka gets hit in the side of the back with a football wincing but not turning at the strike.
LYRICS: (from iPod)
“Eye to eye finally has arrived”

TAD: (off screen)
“Watch it, Freak! We’re playing here”

JOCK: (off screen)
“Careful Tad, I’ll bet she knocks up as easy as her mom”

BECKA: (Internal Monologue)
It’s a small town

PANEL 7
Becka seen beginning the ascent of the stairs, group of nearby girls looking on.

INSIGNIFICANT SCENERY BITCH (ISB) 1: (whispered)
Damn trailer trash.

LYRICS: (from iPod)
“But bad as it was…”

ISB 2: (whispered)
Careful, she’ll turn crazy on you like her mom.

PANEL 8
Becka is in the center, at the top of the steps into the school. Behind her, we see kids returning to their previous activities. The jocks are high-fiving over their great jokes.

BECKA: (Internal Monologue)
And everyone knows the story.

LYRICS: (from iPod)
“…now sister wasn’t it better”

PAGE 3:

PANEL 1
The view is from just inside the school doorway. Becka facing towards us as she enters. Lindsey is talking with Misty and Tabbi, and looks scared and slightly guilty as she spots Becka enter. Both Misty and Tabbi are wearing an evil grin.

BECKA: (Internal Monologue
My Mom gave birth to my while spouting gibberish she can’t even remember

MISTY:
“All we want is for you to get her to the party and paired up with Chip. Its not as though we’re going to dump pig’s blood on her or anything.”

TABBI:
“There she is Misty.”

MISTY:
“Me and Tabbi here, will have a position on the pep-squad waiting for you. Just don’t disappoint us.”

PANEL 2
Becka has passed the group, still zoned out in her iPod and ignoring those around her.

BECKA: (Internal Monologue)
The Moment I was born she regained her sanity but the strangest part is her tumor also disappeared.

PANEL 3
Misty and co. are retreating into the background of the panel. Lindsey grabs Becka in an exuberant hug from behind, startling Becka.

LINDSEY:
“Morning!”

BECKA:
“GAHHH!”

LYRICS:
“Dealin’ with him face to face.”

BECKA: (Internal Monologue)
That’s my best friend Lindsey Jun Yeoh. We’ve been peas in a pod since Pre-School.

PANEL 4
Becka has removed the headphones and is smiling as Lindsey, on her left side, holds the iPod, checking the song title. Random Jock Justin is approaching from behind on Becka’s right side where she holds her books.

BECKA: (Internal Monologue)
Don’t let her size fool you, she’s a firecracker. Half the time, she’s the only thing that gets me through another day in this school.

LINDSEY:
“You’re listening to country?”

LINDSEY:
“You have got to get out more.”

BECKA:
“Says the girl who recognizes the song”

PANEL 5
Becka is bumped by a jock (Justin). Her books begin to fly from her arms.

BECKA: (Internal Monologue)
My Mom being the other half. But she didn’t have the same luxury of friends after I was born.

BECKA:
“Woa!”

JUSTIN:
“Whoopsey”

PANEL 6
Becka is left rolling her eyes, her books spread across the floor. Lindsey shakes a fist at Justin who is lauging together with another jock who’s giving him a thumb’s up.

BECKA: (Internal Monologue)
Despite regaining her sanity after my birth, they kept her in an asylum for months…

JUSTIN:
“Looks like you need to hit the books, McKay”

LINDSEY:
“I’d hit you with a book, Justin!”

LINDSEY:
“If you could to read anything thicker than a comic”

PANEL 7
The girls are picking up the books.

BECKA: (Internal Monologue)
…And when she got out, every friend had abandoned her. The whole town labeled her the crazy mother of a bastard child.

LINDSEY:
“As I was saying, you’ve got to get out more. And I have just the thing! What are you doing this Friday?”

PAGE 4:

PANEL 1
Becka and Lindsey enter bathroom door. Several guys are standing in the background. Two of them are looking at the girls and wear mischievous grins. The rest seem focused on something in the center of the group, near the floor.

BECKA: (Internal Monologue)
Generally I find invisibility is my greatest defense at school.

BECKA: (Internal Monologue)
I’ve pretty much spent my whole life trying not to get noticed.

PANEL 2
The girls are now in a bathroom that looks much like any other school bathroom, complete with penned declarations of love, some of which have been scratched out repeatedly. Becka is moving into one of the stalls after dropping her bag just to the side of it.

BECKA: (Internal Monologue)
When you get noticed, bad things happen. The kind of attention that’s paid to me, isn’t the sort I like to encourage.

LINDSEY:
“So, there’s this party on Friday. You know the barn at the edge of town? The old Miller’s pla-”

BECKA: (cutting her off)
“Don’t bother, Lindsey. We both know I’m not invited.”

PANEL 3
Becka’s feet show under a stall door, as Lindsey checks her make-up in the mirror over the row of sinks closest to the wall away from the door to the bathroom. (possibly make this from the view of the mirror). The stalls either side of Becka are free and open. Her backpack leans against the wall between her own stall and the next one closest to the bathroom exit/entry.

BECKA: (Internal Monologue)
But despite that I try not to pre-judge everyone as nasty. And I like to think that everyone has a good side that can show through.

LINDSEY:
“Yes, we are. We both are. That’s what I’m trying to tell you! I got us in!”

BECKA:
“…really? Are you kidding me?”

LINDSEY:
“No! I was paired with Tabbi for computer studies assignment.

PANEL 4
Same as before but Lindsey has changed postures/expression. The bottom of Becka’s pants can now be seen just below the door.

BECKA: (Internal Monologue)
I’m not naive. I’ll certainly question the good intentions of people who have shown me only spite in the past.

LINDSEY:
We got to talking through some of it. She mentioned the party and she said I’d be in. Then I pushed the right buttons and got you invited too. C’mon it’ll rock!

BECKA:
How do you know this isn’t just another prank? Remember Tabbi’s 13th birthday party?”

PANEL 5
Same as before but Lindsey sports a look of exacerbation.

BECKA: (Internal Monologue)
Its just… If I can see or experience the better side of someone, it helps wash away the hurt I’ve suffered from them in the past.

LINDSEY:
“When are you going to get over that? It all washed out of your clothes. And we were kids. People change you know, they grow up and get over stuff”

BECKA:
“It was humiliating.”

LINDSEY:
“Well, this is legit. And I’d think you’d be happy for us to get some party action for once.”

PANEL 6 (Background)
Behind all panels is a muted picture of the bathroom. In the bottom right corner, a rat is sneaking into panel 5. The rat is in full color.

PAGE 5:

PANEL 1
Same image from the Mirror’s perspective. Lindsey is fixing a pigtail in the mirror. Behind them, several large rats have entered and are scurrying along the floor about to enter Becka’s stall. Becka has now pulled her pants up.

BECKA: (Internal Monologue)
I won’t lie. I’ve put the olive branch out to the wrong people and been burnt plenty of times for it.

BECKA:
“I am happy. Alright, you’ve even got me excited now.”

BECKA:
“But you’re missing one major hurdle here, Lindsey.”

LINDSEY:
“What’s that”

PANEL 2
Same image as before but becka’s feet have moved to the side of the stall away from the rats. Lindsey has a look of shock as he pig-tails stand on end from Becka’s scream.

BECKA:
“My M-“

BECKA:
SCREAMS

PANEL 3
Lindsey has turned around and can now see the rats, some of which are also looking at and moving towards her. The rats in the stall are gathered around the toilet, looking up. Becka is now above the stall door, obviously standing on the toilet, with a look of horror on her face as she stares down at the rats.

BECKA: (Internal Monologue)
I tend to blame myself for the pranks sometimes.

BECKA:
Multiple screams and shouts but lesser than the first

LINDSEY:
“Oh my God!”

PANEL 4
Lindsey is up against the wall staring at the rats as they approach. Becka is now climbing over into the next stall as the rats below her look on.

BECKA: (Internal Monologue)
It’s silly I know.

LINDSEY:
“Get away, get away!”

LINDSEY:
“Shooo!”

PANEL 5
Lindsey has jumped over the approaching rats who are now closer to the wall and look up as she sails above. Becka has made it into the second stall and is beginning to step down from the toilet, to get out, the rats in her stall are now beginning to move towards this stall and peek under the wall. One of the rats moves towards her backpack.

BECKA: (Internal Monologue)
But it’s like I’ve failed to keep invisible.

LINDSEY:
“Geronimo!”

PANEL 6
Lindsey has made it past the rats and is half way out of the panel towards the bathroom door. Becka has left the stall and is swiping her backpack from the floor as she follows close behind. A rat dangles from the backpack precariously.

BECKA:
I’ve tried to rise above my place

PANEL 7
Becka has just burst out the bathroom door, back into the hall. The guys are laughing, and the rats are still visible in the bathroom behind the girls. Both girls looks as though they’ve just run a marathon. Becka, her hair frazzled, is still visibly shaken and surprised at the reception but Lindsey (having arrived there first) is clenching her teeth with a look or rage. The rat that had been hanging onto Becka’s backpack is falling off.

BECKA:
And so they’ve noticed me and gone out of their way to beat it out of me for it.


PAGE 6:

PANEL 1
Lindsey and Becka are walking down the hall. Becka is straightening her hair, which had gone askew in the rat event. Lindsey is starting to look nervous, but Becka doesn’t notice.

BECKA: (Internal Monologue)
I love my Mom. She’s never raised a hand against me but…

LINDSEY:
“Come on, its a Barn Rave! We have to go. It’s our one chance to get in the crowd and have some fun.”

BECKA:
“Lindsey, my mom would freak. There’s no way she’d let me go.

LINDSEY:
“Just tell her you’re staying at my house.”

PANEL 2
Becka’s face. She is obviously contemplating it. Looks as though she’s trying to decide. Lindsey’s voice: “Come on, Becka.”

BECKA: (Internal Monologue)
She’s still one scary woman.

BECKA (Internal Monologue)
And maybe she’s never raised that hand because I’ve never been game to give her a reason.

PANEL 3
The girls have stopped walking. Lindsey is holding Becka’s arm, and giving her the “puppy-dog eyes”.

BECKA: (Internal Monologue)
I guess there’s a first time to test everything.

BECKA:
“Fine. But if my mom finds out, I’m telling her that you drugged me and I didn’t know what I was doing.”

Both girls laugh.

PANEL 4
The girls are walking toward a bank of lockers. Lindsey’s pigtails indicate her excitement, and her face agrees. Becka’s shoulders are slumped and she is biting her lip, looking worried.

BECKA: (Internal Monologue)
Although maybe it isn’t so wise to test everything at once.

BECKA:
“I just hope that we aren’t going to be disappointed.”

BECKA: (Internal Monologue)
Going to a Barn Rave isn’t exactly keeping invisible

BECKA: (Internal Monologue)
It certainly isn’t staying in my place

BECKA: (Internal Monologue)
And if my Mom finds out, it’ll certainly test if my fear of her wrath is well placed.

PANEL 5
Becka is turning the lock on her locker.

BECKA: (Internal Monologue)
But I’m lucky I have Lindsey as a friend. Or I’d have probably given up on people and fun.

BECKA: (Internal Monologue)
Mom’s best friend, Jack, abandoned her when I was born. He had a crush on her and it was hard for him to accept that she’d had someone else’s child.

BECKA: (Internal Monologue)
I worry about her sometimes. She tells me I’m all she needs but I wonder if some of her more eccentric… hobbies… aren’t her band-aid for a broken heart.


PAGE 7:

PANEL 1
Becka has opened her locker, and we see eggs tumbling out the top towards Becka and the rest of her locker’s contents. A few have already broken mid-air.

BECKA: (Internal Monologue)
But for a while now I’ve had some other worries of my own. Something that scares me more than my mom.

PANEL 2
View from the inside of the locker looking out at Becka, standing with her eyes closed. She is covered in egg, and a laughing crowd can be seen further in the background. Lindsey is standing a little behind her, looking sad. Some of the contents in the locker also bear eggs.

BECKA: (Internal Monologue)
There’s something inside me. Something that almost makes me wonder if they’re right to treat me this way. And sometimes…

PANEL 3
Same view as Panel 2, except now her teeth are clenched, her eyes are glowing blue and her hands are at her sides with fingers spread wide, palms forward, almost like she’s making claws from them. The Shadowchild symbol can be seen glowing in her left hand.

BECKA: (Internal Monologue)
…sometimes I just want to let go and unleash upon them the horrors that haunt my sleep.

PANEL 5
Same as Panel 3, except now her eyes are closed and hands clenched into fists as she strains to control her rage.

BECKA: (Internal Monologue)
It takes everything I have to stop myself but if I succumb it would justify every prank they’ve ever played.

BECKA: (between clenched teeth)
“Don’t. It’s not worth it. You can handle this.”

PANEL 6
Becka is sitting in an empty classroom, at a desk. Her hair and clothes are wet in spots, where she cleaned off the egg as well as she could. A small piece of egg shell is stuck in the back of her hair. In front of her is a now-stained notebook. She’s holding a pen, but looking lost in thought.

BECKA: (Internal Monologue)
I write a lot of stories, and Lindsey thinks they’re quite good, if not a bit strange.

BECKA: (Internal Monologue)
But for me they’re a place to pour all my woes and a place of escape.

PANEL 7
Shot of Becka, as though from the floor looking up into her face. She has leaning down with eyes closed.

BECKA: (Internal Monologue)
If anyone except Lindsey read them, I think they’d lock me up.

BECKA: (Internal Monologue)
And it wouldn’t surprise me if even she thinks I need to book a psycho session.

BECKA: (to herself)
“Breath in. Let it go and just write”

BECKA: (Internal Monologue)
But the only thing that worries me about them isn’t the content.

BECKA: (Internal Monologue)
It’s this strange feeling. Almost like I’m not imagining them…


PAGE 8:

SPLASH
Entire page is a view of the notebook from Becka’s perspective. Her left hand is palm-down, pen in hand, but a faint blue glow can be seen on the desk beneath it. The notebook page has random sketches in the margins. Some are in the vein of “I <heart> Chip” or other “girly” doodles. Some, however, are sketches of the symbols for Elder Gods or other Lovecraft mythos. Most importantly, though, is the story that takes up the rest of the page. It is almost a direct quotation of a Lovecraft story (fit in, only as much as you can on her notebook).

BECKA (Internal Monologue)
…but remembering them.

POSSIBLE TEXT:
The moonbeams did not reach down here, but I could just see my way about without using the flashlight. Some of the windows on the Gilman House side were faintly glowing, and I thought I heard confused sounds within. Walking softly over to the Washington Street side I perceived several open doorways, and chose the nearest as my route out. The hallway inside was black, and when I reached the opposite end I saw that the street door was wedged immovably shut. Resolved to try another building, I groped my way back toward the courtyard, but stopped short when close to the doorway.

For out of an opened door in the Gilman House a large crowd of doubtful shapes was pouring - lanterns bobbing in the darkness, and horrible croaking voices exchanging low cries in what was certainly not English. The figures moved uncertainly, and I realized to my relief that they did not know where I had gone; but for all that they sent a shiver of horror through my frame. Their features were indistinguishable, but their crouching, shambling gait was abominably repellent. And worst of all, I perceived that one figure was strangely robed, and unmistakably surmounted by a tall tiara of a design altogether too familiar. As the figures spread throughout the courtyard, I felt my fears increase. Suppose I could find no egress from this building on the street side? The fishy odour was detestable, and I wondered I could stand it without fainting. Again groping toward the street, I opened a door off the hall and came upon an empty room with closely shuttered but sashless windows. Fumbling in the rays of my flashlight, I found I could open the shutters; and in another moment had climbed outside and was fully closing the aperture in its original manner.
REFERENCE:

“Face to Face” by Garth Brooks - Lyrics written by Tony Arata
There was a bad boy in the school yard
Waited on you every day
Seemed like every time you turned around
Well, he was standing in your way

Well, he broke your glasses,
The girls all laughed,
As he pushed you to the floor,
But then you stood up one day knowin’
You couldn’t stand it anymore
And your gentle hand was finally clenched in rage
You were face to face.

CHORUS:
Face to face with the devil that you been dreadin’
Eye to eye, finally has arrived
But bad as it was, now brother wasn’t it better
Dealin’ with him face to face.

Your date showed up with flowers
And you thought your prayers had come
But with every passing hour
You watched it come undone
Then the night exploded and you begged him no
But he forever changed your life
And now he waits for judge and jury
Thinkin you’ll break down and cry
And with a finger you can put his fists away
You’re face to face.

CHORUS (substituting “sister” for “brother”)

Cause it’ll never go away
Until the fear that you been runnin’ from is finally embraced

Drivin’ by the grave yard
On a wicked winter’s eve
And you’re wonderin’ why a man of faith
Is whistling nervously.
Then you stop your car
And you hold your heart
Cause you finally realize
The devil ain’t in the darkness,
He’s rattlin’ round inside
And with folded hands you truly start to pray
And you’re face to face

CHORUS

Cause it’ll never go away
Until the fear that you’ve been runnin’ from is finally embraced.
Face to face.

Transformation

Page 1, 7
panels (4 on top, 1 in middle, 2 on bottom) (all scenes of Charon getting ready
for the
first date in a long time)

Page 1, Top
left, Close up of a woman’s brush going through hair.

Word balloon on the right : “I DON’T KNOW ABOUT THIS.”



Page 1, Top
middle left, Close up of makeup, generic and inexpensive.

Word balloon on the left : “COME ON, GIRL. YOU HAVEN’T GONE OUT ON A DATE SINCE YOUR
GRANDMOTHER DIED.”



Page 1, Top
middle right, Close up of a woman’s back, wearing a blue-black conservative
jacket.

Word balloon on right : “I DON’T LIKE TO LEAVE BECKA…”



Page 1, Top
right, Close up of an woman’s ear with a simple stud earring.

Word balloon on left : “YOU LEAVE HER TO ME. YOU JUST GO OUT AND HAVE A GOOD TIME.”



Page 1, Middle
panel spans most of page, Charon poses in front of a mirror, but looks towards
the reader. She’s wearing the blue-black
conservative blazer and slacks. She was
getting ready to go out, but seems tentative.
She’s 20 years old (roughly three years after Becka’s birth, or a year
after Charon’s grandmother’s death) and has developed the beauty from the
current day, but is dressed conservatively.
In the mirror, we see an older woman smiling encouragingly. The older woman should
seem extremely
formidable. The sort of woman who’s
raised her kids and can’t be surprised by anything that young people do
anymore. The room is a cheap
apartment. A stuffed koala peeps out
from beneath the bed, but otherwise the room is very neat.

Charon : “HOW DO I LOOK?”


Word balloon on lower right (from the older woman) : “YOU
LOOK FINE, DEAR.”



Page 1, Bottom
left (small panel), Close up of a door panel with sound effect.

SFX : KNOCK KNOCK



Page 1, Bottom
right (small panel) Directly beneath the top left panel (small panel), Charon
reaching for the door.

Charon : “I STILL DON’T KNOW…”








Page 2, 5
panels (2 on top, 2 in middle, 2 on bottom)
(Charon meeting her date, Robert.
He thinks he’s funny.)

Page 2, Top
left (larger panel), Charon opens the door. Robert, a handsome man in his late teens,
stands in the doorway. He’s wearing
jeans and a red polo shirt. He’s clean
cut and has short blonde hair, but has a mischievous and friendly expression on
his face.

Robert : “SO, YOU’RE THE INFAMOUS INNSMOUTH RECLUSE. FOR SOME REASON, I THOUGHT
YOU’D HAVE FANGS.”



Page 2, Top
Right (narrower panel), Charon slams the door in his face.

SFX : SLAM.



Page 2, middle
left, Charon turns to the older woman.
The room is a small living room.
A television is barely visible sitting on top of an orange milk crate
and a small embroidery of flowers, made by Charon’s grandmother, by the door
reads “God bless and guide you.”

Charon : “I CAN’T DO THIS.”

Woman : “SURE YOU CAN.
HE MAY SEEM LIKE AN ASS, BUT HE’S JUST TRYING TO BE FUNNY.”

Robert (through door) : “UMM…HELLO?”



Page 2, middle
right, the woman opens the door with her left hand while she holds onto Charon
with her right.

Woman : “ROBERT, THIS IS CHARON. NOW CUT IT OUT OR I’LL GUT YOU LIKE A STRIPED
BASS.”

Robert : “YES, MA’AM.”



Page 2, bottom
(full page wide), Charon and Robert walk away from the door. The woman is visible
in the doorway behind
them. Charon looks apprehensive, Robert
looks relaxed and the woman has an expression of mock outrage. Charon and Robert
are not touching.

Woman : “AND DON’T MA’AM ME!”



Page 2, bottom
right (inset), Close up of Robert smirking.

Robert : “MY AUNT HATES IT WHEN YOU MA’AM HER. MAKES HER FEEL OLD.”






PAGE 3, 8
panels (walking out to the car and
driving to the bar.)

Page 3, Top
left, Long panel of walking from the apartment on the left towards a car. From the
outside, the apartment is an
unremarkable 2 story building with four identical apartments. Another is visible
towards the back of the
panel. The car is a green Toyota hatchback in good
condition but otherwise unremarkable.



Page 3, Top
middle, Robert opens up the passenger side door for Charon. She gives him a quick,
tenative smile.

Charon : “YOU’RE NOT AFRAID TO TEASE HER?”

Robert : “TERRIFIED.
BUT OLD FISHERWOMEN ARE LIKE SHARKS. THEY CAN SMELL FEAR.”

Charon : “SHE’S A LANDLADY.”



Page 3, Top
right, close up of Robert, he’s driving, but glancing over towards Charon.

Robert : “NOW SHE IS. SHE USED TO WORK THE FISHING SHIPS.”

Charon (from off panel) : “WHERE ARE WE GOING?”

Robert : “I DON’T SUPPOSE YOU’RE INTERESTED IN JUST HOPPING
IN BED, HUH?”



Page 3, Middle
left, view of both people through the windshield. Robert is looking curious and
Charon is
looking pissed.



Page 3, Middle
right, Charon is still looking pissed and icily replies.

Charon : “NO.”



Page 3, Bottom
left, close up of Robert shrugging from Charon’s perspective.

Robert : “OH WELL. THOUGHT I’D TRY TO CUT OUT THE SMALL TALK.”



Page 3, Bottom
middle, they’re still driving. Close up
of Charon looking mad.

Charon : “I SUPPOSE YOU’RE GOING TO JUST TAKE ME HOME THEN?”

Robert : “HELL NO. I’M
GOING TO TAKE YOU OUT DRINKING. MAYBE IF
I GET YOU DRUNK ENOUGH, YOU WON’T TELL MY AUNT I WAS RUDE.”



Page 3, Bottom
right, view of both of them. Charon still
looks irked, but now she’s fighting to keep a smile off her face and Robert is
shuddering.

Charon : “CAUSE SHE’S LIKE A SHARK?”

Robert : “RIP A MAN IN HALF WITH HER TEETH.”








Page 4, 4
panels (Charon and Robert in a bar.)

Page 4, Top,
wide panel of a casual bar. Charon and
Robert are sitting at a table near the center of the room and the room is over
half full. A wide bar with shelves of
bottles is visible behind them. Over to
one side is a jukebox and beside it is a large beer barrel labeled Marsh. The
booths along the wall look particularly
full. Charon and Robert both have beers
in front of them.

Charon : “I WISH THERE WAS A BOOTH OPEN. IT FEELS LIKE EVERYONE IS STARING AT US.”

Robert : “NOT REALLY, THEY’RE STARING AT YOU, NOT ME.”



Page 4, Bottom left, Close up of Charon looking
shocked.

Charon : “WHAT?”



Page 4, Bottom
middle, Robert looks relaxed and lifts his beer to his mouth.

Robert : “YOU MAY NOT GET OUT MUCH, BUT PEOPLE DO KNOW WHO
YOU ARE. YOU VANISHED FOR A WHILE, CAME
BACK PREGNANT, WENT INTO THE NUT HOUSE, BARELY FINISHED SCHOOL AND HAVEN’T BEEN
OUT IN PUBLIC MUCH SINCE. YOU AT A BAR? DRINKING A BEER? FOR THIS TOWN, THAT’S AS
COOL AS PAY-PER-VIEW.”



Page 4, Bottom
right, Charon looks mad again. She’s
crossed her arms across her chest.

Charon : “THANKS.
WHEN YOU PUT IT THAT WAY, I DON’T REALLY FEEL LIKE A FREAK AT ALL.”








Page 5, 7
panels (3 on top, 3 in the middle, 1 on bottom)
(Robert gives a little speech which is important later on. They’re still in the
bar. Thugs come in.)

Page 5, Top
left, Robert reaches out and puts his hand on Charon while giving her a smile.

Robert : “LOOK. I
KNOW IT’S BEEN HARD. BUT YOU JUST CAN’T
HIDE AWAY AND HOPE IT’LL GET BETTER.”



Page 5, Top
middle, closeup of Robert’s smiling face.

Robert : “YOU’VE GOT TO STAND UP FOR YOURSELF. LET PEOPLE KNOW YOU’RE NOT GOING TO
GET PUSHED
AROUND. THE PEOPLE THAT MATTER WILL
RESPECT YOU. F%$^ THE REST.”



Page 5, Top
right, close up of Robert’s face. His
eyes are wide and he looks worried.

Robert : “OH, S^%$.”



Page 5, Middle
left (large panel) Large view of the bar’s interior around the front door. Two men
are standing there with hard
expressions. They’re dressed in jeans
and ripped t-shirts. The one on the left
is extremely muscular, has a shaved head and a scar on his cheek. The one on the
right is slim and tall, almost
spider-like in appearance, with a brass knuckle on his right hand.



Page 5, Middle
middle, Charon turns back with a suspicious expression.

Charon : “FRIENDS OF YOURS?”

Robert : “KINDA. BUT
THEY’RE THE WE-WANT-TO-BREAK-YOUR-KNEECAP SORT OF FRIENDS.”



Page 5, Middle
right, pan back to show the two thugs approaching the table while Robert stands
up.

Robert : “LISTEN. CAN
YOU GET A CAB HOME? I’M GOING TO TAKE
THESE GUYS OUT BACK, BUT I DON’T WANT YOU GETTING HURT.”



Page 5, Bottom,
Robert looks over his shoulder and smiles.

Robert : “I WAS HAVING A REALLY NICE TIME, CHARON. IF I LIVE THROUGH THIS, WOULD
YOU LIKE TO GO
OUT AGAIN?”








Page 6 (8 panels)
(Charon watches the thugs go after Robert and makes a decision.)

Page 6 Top left, Charon sits alone at the table
staring as Robert goes out the back door.
Her eyes are wide and she looks scared.



Page 6 Top middle, Charon closes her eyes as the
thugs pass right by her heading for the back door.



Page 6 Top right, The back door shuts (sound effect
: SLAM). Charon’s eyes are open and she
looks sad.

Charon (quiet voice,
small font) : “YES”



Page 6 Middle inset panel on left, Charon clenches
her teeth and her expression grows hard.




Page 6 Middle panel left, Charon stands up.



Page 6 Middle panel right, Charon shrugs out of her
jacket and leaves it draped over the chair. She is now wearing a sleeveless
t-shirt. She has no scars or tattooes



Page 6 Middle inset panel on right, Charon runs for
the back door.



Page 6 Bottom inset panel on left, Charon opens the back
door.



Page 6 Bottom panel (wide), view of the alley. Charon is standing in the door to
the bar on
the left. In front of her, the muscular
thug and the spider-like thug are approaching Robert from behind. Robert is
standing in the middle with his
hands balled into fists and facing two more thugs at the street entrance. The one
in front is wearing a sleeveless
t-shirt and has a large tattoo of a lizard-like humanoid on his right shoulder. The
other is very broad and has a baseball
bat over his shoulder.






Page 7, 7
panels (Robert faces off against the
thugs while Charon watches. He loses
badly. Feel free to embellish the fight
against him, but leave any great moves by Charon to page 8.)

Page 7, Top
left, Close up of the thug with the baseball bat. He has a gold tooth in front and
a sneer on
his face.

Baseball thug : “SO, ROBERT, STILL THINK THAT TELLING THE
BOSS TO SCREW HIMSELF WAS A SMART MOVE?”



Page 7, Top
middle, Robert strides forward with a hard look on his face.

Robert : “I NEVER THOUGHT IT WAS SMART. BUT THE SMART MOVE ISN’T ALWAYS THE RIGHT
MOVE.”



Page 7, Top
right, Robert punches the tattooed thug with a strong uppercut while the
muscular and spider-like thug approach from behind him.



Page 7, Middle
left (tall panel), the muscular and spider-like thugs attack Robert from behind
while the tattooed thug punches him from the front. The thug with the baseball
bat stands back and watches.



Page 7, Middle
right (tall panel split diagonally lower left to upper right. Upper half, Close up
of Charon’s face. She looks determined but she still gulps a
bit.



Page 7, Middle
right (tall panel split diagonally lower left to upper right. Lower half, Charon
reaches down and picks up
a pipe from the ground while striding forward.


Caption across bottom : “LOOK, I KNOW IT’S BEEN HARD.”



Page 7, Bottom
panel (wide), Charon smashes the pipe into the muscular thug’s back.

Caption across bottom : “BUT YOU CAN’T JUST HIDE AWAY AND
HOPE IT’LL GET BETTER.”








Page 8, 8
panels (2 on top, 3 in middle, 3 on bottom. Each row of panels has a caption across
the
bottom of the row.) (Last page has
Charon fighting off the thugs. She has
no superpowers or abilities. She’s just
attacking from ambush. Feel free to
embellish the brutality of her blows against the thugs, but no one should be
killed or crippled. While she fights,
the words that Robert spoke a couple minutes ago run through her mind. Middle row
should be the smallest to keep the
focus on her.)

Page 8, Top
left, The spider-like thug turns with a confused expression. The brass knuckle is
clearly visible on his
right hand.

Page 8, Top
right, Charon bashes him across the face with the pipe.

Caption across bottom of both top captions : “YOU’VE GOT TO
STAND UP FOR YOURSELF.”



Page 8, Middle
left, Charon jabs the pipe into the tattooed thug’s stomach and then knees him
in the face.

Page 8, Middle
left inset, In the background, Robert staggers to his feet and gives Charon a
big smile.

Page 8, Middle
inset, Close up of thug with a baseball bat.
He’s wearing a shocked expression.

Page 8, Middle
right, Charon turns towards the thug with a baseball bat and scowls.

Caption across bottom of both middle captions : “LET PEOPLE
KNOW YOU’RE NOT GOING TO GET PUSHED AROUND.”



Page 8, Bottom
left, The thug with baseball bat runs into the night.

Page 8, Bottom
middle, Robert and Charon exchange a look. Robert is wearing a big grin and Charon
looks
concerned about him.

Robert : “HOW’S FRIDAY SOUND?”

Page 8, Bottom
right, Silhouette of Charon and Robert walking away from the alleyway. Robert has
his arm around Charon and is
leaning heavily on her. He’s obviously
hurt, but will survive.

Charon : “SOUNDS PRETTY GOOD.”

Caption across bottom of both bottom captions : “THE PEOPLE
THAT MATTER WILL RESPECT YOU. F#%% THE
REST.”