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Typtober is Alive


#41

(Yay! An actual lunch break.)

PAGE SEVEN – FIVE PANELS

Note: All panels are from Christopher’s point of view, face down on the stone altar. There is a blurry/double-vision effect (from the drugged liquid).

PANEL ONE
The High Priest passes the goblet to an acolyte. In the background, several flaming torches are background highlights in the gloom.

NO DIALOGUE

PANEL TWO
The flaming torches are now much nearer, beginning to form the walls of a firey passage. The flames give off an almost psychedelic effect due to the blurred/double-vision. The High Priest is no longer in view.

NO DIALOGUE

PANEL THREE
A figure is walking towards Christopher through the now fully-formed acolyte-held, flame-torch passage. It’s Marshall wearing a ceremonial robe (not quite as ornate as the High Priest’s) and a ram-horned crown. He is holding what appears to be an ancient leather tool roll-up.

NO DIALOGUE

PANEL FOUR
Marshall has reached the edge of the altar near Chris’s head, and has placed the leather roll up on the altar between Chris’s outstretched arms, right in front of Chris’s face. Marshall is untying the leather straps to the roll-up.

NO DIALOGUE

PANEL FIVE
Christopher tries to focus on the collection of ancient medical tools - which could be mistaken easily for instruments of torture - that are sticking out of pockets in the unfurled roll-up.

NO DIALOGUE


#42

OK, so there was another meeting during luch, so I sat at my desk and wrote the next page straight after. Woe betide any MF who complains about me taking 20 effing minutes.

PAGE EIGHT – FIVE PANELS

Note: Back to normal omniscient point of view.

PANEL ONE
The High Priest incants from the grimoire being held on the left hand side of the altar by an acolyte bent on one knee.

HIGH PRIEST: #&@ #&@ $#&@ (OK, so Wingdings doesn’t work here - think black magic symbols)

PANEL TWO
Marshall selects a scalpel from his kit, watched by a sweating, unfocussed Christopher.

(OFF PANEL): #&@ #&@ $#&@

PANEL THREE
The High Priest continues with his incantations, while Marshall walks around the altar, holding his scalpel. An acolyte stands either side of the altar, level with and facing the centre of Christopher’s back. Christopher tries to turn his head to follow Marshall.

HIGH PRIEST: #&@ #&@ $#&@

PANEL FOUR
Marshall stands on the right hand side of the altar, slightly behind the acolyte on that side. The High Priest raises his arms at the incantation crescendo. The two acolytes have begun pulling at Christopher’s shirt from the neck down – the shirt is ripping.

HIGH PRIEST: $#&@

PANEL FIVE
Christopher’s shirt has been fully ripped from his back revealing a pentagram haemangioma, identical to that on the grimoire’s cover.

NO DIALOGUE


#43

PAGE NINE – NINE PANELS

Note: A 9-panel grid with a single view consisting of Christopher’s back. His neck is in the top left corner, and his right hip lower right. His back is angled: his right shoulder blade furthest away; his left lumbar area nearest. A rectangle of flesh is being cut. (Artist’s suggestions might be very useful here.)

PANEL ONE
Marshall digs the scalpel into Christopher’s back at the left shoulder blade, and has started the incision across the top - left-to right (3 inches long). A trickle of blood leaks from the opening wound.

NO DIALOGUE

PANEL TWO
A portion of the unsliced top right corner of the rectangle.

NO DIALOGUE

PANEL THREE
An upper/middle portion of the unsliced right hand side of the rectangle.

NO DIALOGUE

PANEL FOUR
An upper portion of the unsliced left hand side of the rectangle.

NO DIALOGUE

PANEL FIVE
The centre of Christopher’s back containing most or all of his a pentagram haemangioma.

NO DIALOGUE

PANEL SIX
A lower portion of the unsliced right hand side of the rectangle.

NO DIALOGUE

PANEL SEVEN
A middle/lower portion of the incised left hand side of the rectangle. A trickle of blood leaks from the open wound.

NO DIALOGUE

PANEL EIGHT
The left hand lower corner of the incised rectangle. A trickle of blood leaks from the open wound.

NO DIALOGUE

PANEL NINE
The scalpel is cutting the lower line of the rectangle left-to-right), and is just 2 inches from meeting the right hand side incision. A trickle of blood leaks from the opening wounds.

NO DIALOGUE


#44

PAGE TEN – SIX PANELS

PANEL ONE
With the rectangular incision complete, Marshall passes the blood-soaked scalpel to an acolyte standing beside the instrument roll-up. The acolyte is simultaneously passing over a skinning tool to Marshall.

NO DIALOGUE

PANEL TWO
The two acolytes who stripped off Christopher’s shirt have their fingertips ready at the top of the skin rectangle while Marshall shoves the skinning tool into the incision.

NO DIALOGUE

PANEL THREE
The two acolytes have pulled back the first six inches of Christopher back. Marshall has the skinning tool at the point at which the flap of skin meets muscle. Christopher screams. F/X: AAAARRRGGH

NO DIALOGUE

PANEL FOUR
A pair of aged hands have gripped one of Christopher’s.

NO DIALOGUE

PANEL FIVE
Christopher looks up at who was making this friendly gesture, and sees a hunched man in a hooded cloak. Christopher’s face betrays the agony and strain of his skin removal. In the background, the skinning operation is past the half-way point.

NO DIALOGUE

PANEL SIX
The two acolytes are holding up the fully removed rectangle of flesh. Christopher’s head has sagged to the surface of the altar. The hunched man remains holding Christopher’s hand.

NO DIALOGUE


#45

PAGE ELEVEN – SIX PANELS

PANEL ONE
The acolyte holding the grimoire continues to do so while the High Priest removes the old cover. Where the cover has already been removed, a cover framework made up of small human bones is revealed.

NO DIALOGUE

PANEL TWO
The two acolytes who removed off Christopher’s back approach the High Priest. One acolyte is holding Christopher’s fresh new skin, while the High Priest passes the old, slightly paler and slightly distorted skin to the other. The grimoire’s skeleton framework can be seen in its entirety.

NO DIALOGUE

PANEL THREE
As the acolyte with the old skin walks back to the altar, the High Priest begins to wrap Christopher’s skin around the grimoire’s skeleton frame.

NO DIALOGUE

PANEL FOUR
The acolyte with the old skin begins to lay it over Christopher’s raw back, watched by Marshall, who is holding a goblet.

NO DIALOGUE

PANEL FIVE
With the old skin fully in place on Christopher’s back – albeit with small gaps in some places due to shrinkage, Marshall pours the red liquid from the goblet over the joins. Steam rises from the places the liquid has touched Christopher’s back. The hunched man is still holding Christopher’s hand.

NO DIALOGUE

PANEL SIX
The High Priest holds the freshly-covered grimoire high over his head. All the acolytes are looking at it and gesturing with a hand signal (to be determined). Marshall has finished pouring the red liquid around the skin join. Steam is rising from around the rectangular wound.

NO DIALOGUE


#46

PAGE TWELVE – SIX PANELS

PANEL ONE
The High Priest leads Marshall and a dozen or so torch-bearing acolytes away from the altar. The hunched man, still with Christopher, watches them

NO DIALOGUE

PANEL TWO
The High Priest places the open grimoire on a small lectern that stands before a brick-lined pit in the floor. Torch-bearers continue to walk around the pit.

NO DIALOGUE

PANEL THREE
The torch-bearers now surround the pit. The High Priest holds his arms out towards pit as he incants.

HIGH PRIEST: #&@ #&@ $#&@

PANEL FOUR
The hunched man unties the straps retraining Christopher to the altar. Christopher watches him from his prone position.

(OFF PANEL): #&@ #&@ $#&@

HUNCHED MAN: We need to get you out of here before it appears.

CHRISTOPHER: What? Before what appears?

PANEL FIVE
The High Priest’s incantations reach their crescendo. The hunched man helps Christopher slide to his feet from the altar. F/X: GGRRRAAAAAHHH (after dialogue)

HIGH PRIEST: $#&@

PANEL SIX
Leaning for support on the hunched man, Christopher looks towards the pit after hearing the growl. He can see, over the heads of the acolytes, the head and neck of a large, hideous demon rising from the pit.

HUNCHED MAN: That.


#47

PAGE THIRTEEN – FIVE PANELS

PANEL ONE
The demon’s blood red eyes alight on Christopher, who is still leaning on the hunched man. The High Priest, Marshall and all the acolytes turn to look at Christopher.

DEMON: You must be unsettled somewhat by today’s ordeal, Christopher Hayden.
(LINK): You are suffering the ignominy that the Hayden male line will endure in perpetuity.

PANEL TWO
The demon continues. Christopher attempts to stand erect without support.

DEMON: A misguided ancestor of yours attempted to extinguish my existence centuries ago.
(LINK): His temerity is your torment.

PANEL THREE
Christopher looks befuddled at the demon, which seems to have a smirk on its face.

DEMON: You should at least feel grateul for a rare reunion.
(LINK): Rare for Hayden men, at least.

PANEL FOUR
With his back to us, the High Priest stands behind the hunched man, tearing off his hooded cloak. The cloak has been pulled down just below his shoulders, so we can see the back of his head, his shoulders and the hint of the top part of his scar. We can see Christopher’s shocked reaction to the hunched man’s face.

NO DIALOGUE

PANEL FIVE
The hooded cloak has dropped to the floor, and the face of the stooping figure before Christopher is an older version of Christopher’s. The man, who is clearly Christopher’s father, looks into his son’s eyes with a wretched expression. He is angled enough such that part of his pentagram can be seen.

CHRISTOPHER: Y-you’re–?


#48

PAGE FOURTEEN – SIX PANELS

PANEL ONE
Christopher has found the strength to bend down and pick up his father’s fallen cloak. His father watches him. The demon observes the pair, looking particularly smug.

HUNCHED MAN: I’m sorry, son. I tried to stop him but he’s too-.

DEMON: Powerful?
(LINK): Even using this seventh generation flesh, I can foresee that, you mortals are no match for me.

PANEL TWO
Christopher places his father’s cloak about his shoulders, while glaring defiantly at the demon, who has raised himself higher out of the pit.

DEMON: I look forward to see your own son carved up before me, Christopher Hayden.
(LINK): Imagine my power using the flesh of the first of a new seven-generation cycle.

PANEL THREE
Christopher’s face evolves from a Cheshire Cat smile…

NO DIALOGUE

PANEL FOUR
… to a chuckle…

CHRISTOPHER: Haha!

PANEL FIVE
… to raucous laughter.

CHRISTOPHER: Hahahahahahaha!

PANEL SIX
The demon looks unamused at a grinning Christopher, who has taken a pace forward, putting himself directly in front of his father.

DEMON: And what could Christopher Hayden find so hilarious?

CHRISTOPHER: You’ve neglected the fact that my son has no pentagram haemangioma.
(LINK): No new book cover for you, oh mighty demon. I foresee that you’re finished.


#49

PAGE FIFTEEN – SIX PANELS

PANEL ONE
The demon has fear in his eyes.

DEMON: Impossible.
(LINK): A simple look into the future will-.
(LINK): NOOOOOO!

PANEL TWO
Christopher puts an arm around his father’s shoulders and heads way from the pit, where the demon is dropping back into the pit in agony. Chunks of the chamber start dropping, and the acolytes start running around like headless chickens. F/X: AARRRGGGHHH! (demon – before dialogue)

CHRISTOPHER: Come. Let’s get out of here.

PANEL THREE
Christopher and his father pass the altar. Ahead of them, heading through the door, is the High Priest (carrying the grimoire) and Marshall. The building is crumbling properly now.

NO DIALOGUE

PANEL FOUR
Christopher tries the door. The floor is strewn with huge chunks of building, several of which have squashed acolytes. Torches have fallen to the floor and a couple of dead acolytes are burning.

CHRISTOPHER: It’s locked!

HUNCHED MAN: It’s for the best.

PANEL FIVE
A huge stone pillar beside the door has broken free and is about to crush Christopher and his father.

CHRISTOPHER: What is?

PANEL SIX
The pillar has caught Christopher and his father, crushing and trapping there lower halves. Chrostopher looks dead, his father mortally wounded. They are holding hands. The fires have caught hold.

HUNCHED MAN: There’s only one reason why your son wouldn’t carry the curse.
(LINK): Your wife…


#50

PAGE SIXTEEN – SIX PANELS

PANEL ONE
Sophie is removing the soiled disposable nappy from a three-month-old baby THOMAS on a changing mat placed on the dining room table. JESSICA, Sophie’s sister (slightly younger), is playing with two-year-old Toby. There are balloons and birthday cards decorating the room.

CAPTION: “… has ended the curse by having an affair.”

SOPHIE: This year’s party will mean a lot more to Toby than last year’s.

JESSICA: I can’t believe it’s been a year already since–

PANEL TWO
Sophie is powdering the baby with talc.

SOPHIE: It’s alright, Jess. I’ve mourned.
(LINK): I’m only sad that Christopher and I hadn’t straightened things out before he died.

JESSICA: Well, if he’s looking down on you I’m sure he’d be pleased.

PANEL THREE
Sophie places the fresh nappy underneath the baby.

SOPHIE: It’s amazing that he had the forethought to do what he did.

JESSICA: Do you think he knew?

PANEL FOUR
Sophie grabs the baby under the armpits, lifting him slightly from the changing mat, but without his back showing to the viewer.

SOPHIE: I doubt it. He never showed it.
(LINK): And he seemed genuinely surprised when that guy turned up on the doorstep.

PANEL FIVE
Sophie has fully lifted the baby, so that his face is level with hers. His back can be fully seen, and it has a strong pentagram haemangioma.

SOPHIE: I’m just happy he decided to make a deposit at the sperm bank…
(LINK): … and thankful to IVF for allowing Chris’s bloodline to continue.

PANEL SIX
A busy building site. Several mechanical diggers are working in huge hole dug for basement foundations. Within the hole a deep pit is under construction. At the ground level Marshall and the High Priest stands with an ARCHITECT. All are dressed in suits and wear a hard hat. The architect is holding a blueprint, while Marshall points towards the pit, and the High Priest tightly holds onto the grimoire.

CAPTION: “That can only be a good thing, right?”

END

Well, I have a couple of rough drafts I din’t imagine would exist a month ago, allbeit written under unusual circumstances - a page a day feels unnatural and very restrictive. Please feel free to comment, I look forward to rewriting these two stories some time in the future now they’re here.

Happy Halloween!