the creators of kill shakespeare
TRANSCRIPT
The Creators of Kill Shakespeare
By Kevin Galasinao
At first, I was worried about this whole assignment. Finding people to interview is hard for me
because I have social anxiety and I’m a misanthrope. I like people but I don’t like people for
extended periods of time; people drain me. Plus, people do bad stuff. I heard the boy who killed
an emu or emus. It’s too bad the emu wasn’t an emusaraus or the emus weren’t emusaraus’ so
that it or they could kill and eat the boy. Additionally, I feel as if I need to be a better artist. One
with his own website of my various pieces of artwork. Also, I feel like I need a part time job so
that I can have my own money in order to buy stuff I want to create my own artwork. Then,
professional artists out there could notice my work and perhaps it would have been easier for me
to find a professional artist to work with. I couldn’t drop out like my friend, Steven, so I pulled
through. I decided to send emails to various comic book writers/illustrators.
Eventually, I got an email from Charlie Olsen from Inkwell Management. H etold me that I
could meet with Jeff Lemire for a day. Olsen even gave me Lemire’s email address.
But then, Jeff Lemire didn’t respond with I emailed him.
So I emailed him again and he did respond.
I did receive your email. Sorry I haven't had time to respond. I truly appreciate your obvious
enthusiasm, but to be totally honest with you, I just don't have the time right now to
accommodate you. I have a number of deadlines I'm working towards and I'm also traveling a lot
in the coming months.
I'm really sorry I couldn't help you out. But, the best of luck with everything!
Jeff
Unfrotunately, I couldn’t interview Jeff Lemire because he was too busy.
These are the creators of Kill Shakespeare. Kill Shakespeare is a grahic novel series that pits
Shakespeare’s greatest heroes against his greatest villains. Some of the heroes are Hamlet, Juliet,
and Othello. Some of the villains, on the other hand, are King Richard III, Lady MacBeth, and
Iago. It is up to the heroes to find their creator, Shakespeare, to defeat the forces of evil.
Once again, I couldn’t get many comic book writers-illustrators to help me out because I assume,
they were too busy. But fortunately, I got two emails from Emma Erman and the creators of a
comic book series, Kill Shakespeare.
Unfrotunately, Emma Erman.lives in New Yoirk. She’s pretty awesome. Check out this email.
Hello Kevin!
First of all, thank you for contacting me, I always love to hear from the fans of my work! How
did you find me, by the way?
Unfortunately I can't see the link that you sent me about your assignment, so I'm not precisely
sure what I am supposed to help you with, would you mind telling me exactly what the project is
for?
As for my monsters, thank you! I've been fascinated with monsters ever since I could pick up a
book and start to read about Greek mythology, from there, I am always eager to learn about
different mythologies and folklore, as most of the best monsters are already out there in the
world, you just have to find them! Which of my monsters do you like in particular? I can help
you out by detailing the exact thought process I went through in creating them.
But my number one tip I keep in mind when creating a monster, whether its a rendition of
something already out there or a new creature altogether, is to use a TON of reference. For
instance, if your creature is going to have tentacles, look at creatures with tentacles, understand
how they work, how they move! Do a lot of practice sketches to get the feel for them before
jumping right in. Look at animals in real life, I find deep-sea fish and creatures to be particularly
good bases to jump off of because they are just so bizarre looking as they are found in
environments hostile to humans, with bone-crushing pressure and absolute darkness. They are
truly monstrous and beautiful.
Warm regards,
Em
I hope that helps a bit, let me know if you need anything else!
Hi Kevin,
We’re happy to help. Please contact my Kill Shakespeare co-creator Conor McCreery (CCed
here) and let him know exactly what you’re requesting and he can see if he can assist you.
Please keep in mind that we are all quite busy these days with a convention season starting and
various projects so our calendars are quite full.
Anthony
Biographies
The Writers
Anthony Del Col
An award-winning creator, producer and entrepreneur. He has worked in the music, film,
television and publishing industries, produced two independent feature films, assisted with the
management of international pop star Nelly Furtado and her world tour, and is the co-creator and
co-writer of the acclaimed comic/film KILL SHAKESPEARE.
Specialties:Producing, writing (film/comic book), marketing, finance, negotiation, publicity
Conor McCreery
Has served in both creative and business positions for film and television companies, contributed
over 1,000 stories and articles for media outlets and also provided expert analysis for Canada's
business news network.
Kagan McLeod
Illustrating for magazines, newspapers and design firms since 1999, after graduating from
Sheridan College's illustration program. He began work as a staff artist for Canada’s National
Post newspaper, and has since had work published in magazines around the world. He lives in
Toronto with his wife, two daughters and hound dog, Buddy.
Andy B
Works out of the Toronto-based royal academy of illustration & design and has done work for
comic book publishers d.c. wildstorm, devil's due, and boom! he is the creator of zuda comics'
"bottle of awesome".
I wanted to meet up with these creators. I wanted to meet with Conor so that I could learn how to
be a professional writer. Then, I wanted to meet up with Ian and Andy so that I could learn how
professional illustrator. But I couldn’t meet up with any of them. Conor stated that he was too
busy.
Busy. It seems everybody is busy. Even in the art business. One can’t just do artwork and when
done, relax.
Hi Kevin,
My apologies for the delay in replying. It's been a busy week.
Thanks for your interest and for explaining so thoroughly your assignment. I'm sorry, but I'm not
sure if I have the time for this. I can happily send you a script or two of Kill Shakespeare or
Anthony and my new series, Holmes vs Houdini, and I could take some time for a phone call to
answer some questions, but that's about it. It's a busy time for us -- which is exciting -- but has
left us with very little extra bandwidth.
As for Ian and Kagan - I know they are also very busy. I can see if they would be willing to chat,
but I find the artists have even less time than we do.
I wish I could be of more help.
Fortunately, he gave me his scripts.
I also got to interview Kagan McLeod on what’s it like to be a professional artist. I will admit
again that since I have social anxiety, interviewing people sounded hard. But I knew I had to do
it so I gave Kagan a call. At first I called on a Sunday at 4 something p.m. He called but said it
wasn’t a good time to call him; he said tomorrow. His voice was soothing. I skipped Cole’s class
just to phone him but he didn’t pick up. I must of called him too late. Plus, he as kids so may he
did something with them like take them to school.Therefore I called him the next day, a Tuesday.
Which is perfect because I don’t even have school on that day and that’s a day where I get to
hang out with the great Steven. But that day was a day for the great Kagan.
My Interview with Kagan McLeod
How much should I practice?
Practice all the time. Remember that if you practice for ten thousands, you become better at what
you’re practicing.
Q: How much are paid to be a professional artist.
A: Four Hundred Dollars for one hour a day.
Q: What’s an average day for a professional artist like. Is it like a nine to five job?
A: A little bit. A nine to five job.
Q: How would you describe your art?
A: A comic book kind of style.
Q: Is social media necessary for a professional artist?
A: It’s not necessary. Social media helps.
What do you need to be like if you’re a professional artist?
Art skill is number 1 and people skills. Don’t be a weirdoWhat do you need to be an art student.
A lot by traditional colour.
Management. Communicating ideas. Do fast.
You need discipline, and friendly competition between your classmates.
There are very good artists who are not good at marketing. There are not very good artists but
they’re good at networking.
Traditional.
Bending
Anything
What kind of artwork do you do? Do you draw from real life or do you draw from your
imagination?
Both, imaginative figure drawing
Great
Q: How do you handle criticism?
A: Don’t look at it too much. I don’t know. Not good enough. Forget and go with it.
See what.
Q: What materials do you use?
A: Scroll painting. Brush. Watercolour. Acrylic.
Q: Do you need to do digital art if you’re a professional artist?
A: No, I submit the final art piece digitally. Just use my mac computer. I also have a tablet. I
wake tablet.
Q: What’s it like to be in a comic book convention?
A: Really fun. You get to sell your work. Meet people in the show.
What future artwork are you planning to do?
A: It comes out in April. Comic Image. It’s called (unfortunately, I forgot the name of the future
work; I remember writing Capturn; it sounds like it or something like it).
Q: What do you need to be like if you want to do political art?
A: You need responsibility. Remember Charlie Hebdo. That shows that it affects a lot of people.
Q: How should a young artist start out?
A: Start in small magazines. Publishing is the best advertising.
I have an interview. But I feel as if this assignment isn’t enough. Nope. I wanted an assignment
that deals with an interview from a professional artist and one from a professional writer. The
professional writer that I was suppsed to interview was Conor. Unfortunately, tragedy struck. I
missed my opportunity. I was supposed to call him on Monday on 11.
But when I saw this email, I thought my interview was cancelled.
Convention season has begun and so this weekend I find myself in sunny Seattle (no, seriously).
Because of this I won't be able to return emails or phone messages with any regularity until
Tuesday of next week.
Go Mariners?
Conor
I decided to do other stuff.
But then I found out that email wasn’t from him, personally.
I didn’t get a chance to read that email.
Hey Kevin.
Ignore the out of office message. Please do call. I've set 30 minutes aside for you.
Conor
Unfortunately, we could not communicate.
But he did say that we could do an interview in the future.
Hey Kevin,
Let me check my schedule and get back to you.
Conor
I would still like to speak to me.
This assignment isn’t over until I talk with him over the phone. I would still like to send my
interview with him to Cole. I want to do comics if I’m older.
It’s just too bad that this assignment could have had more. But there are so many problems that I
encountered; external problems and internal problems.
I have come to learn that the art business is tough. It makes you busy. You need to be fast paced
or you fall behind. That’s hard for me. Plus, I want to relax since where living in a period where
unfettered capitalism is exploiting the environment and people until collapse. I want to be a
hemit in the wild. It would be nice to see people rebel but humans are… bad. I don’t know.
There is good in humanity though.
Conor McCreery
That's great to hear Kevin! Persistence is the key. You're going to hear a lot of "no's" in this
world, and you have to learn how to just keep rolling!
The creators of Kill Shakespeare were willing to help this recluse. I see myself as Prospero; a
king with his books. I like them and what they created, Kill Shakespeare. I don’t feel like the
most popular or talented, I’m separate from humanity. So I feel lucky to have even met them. I
still want to be a great writer and artist. It will take time.
I will end this assignment with three scripts that Conor gave me.
Scripts
Script 1
PAGE 1
PANEL 1: (C1) CAPTION: The Future.
(All captions are in boxes – maybe a yellow colour? Like old parchment?)
Establishing shot of the ocean. The waves pound against foreboding rocks. A bird flies in the
distance. It is early morning – but the day break has a “red-sky at morning” feel
PANEL 2: Insert of a mean looking Raptor – perhaps an Albatross? They would have still been
around then.
PANEL 3: A shot of a young man. HAMLET early to mid-20’s, lies on his back on the beach.
He’s barely alive. His face is bruised and cut. The clothes we can see our torn and badly worn.
Through the tears we can see his flesh. It’s pale and puffy from the water. He has salt-scars and
there are infected wounds all over his body (basically cuts that aren’t quite closed because of the
salt-water and the skin around them has turned purple). A DEAD SAILOR lies almost
completely submerged in the water just a few feet away.
(C2) CAPTION: (This is Richard speaking off-panel. I think a word balloon here might look
hokey – but we’ll need to do something to differentiate it from the first caption – will quotes be
enough? Maybe this is actually IN italics?) “Arise, Shadow King.”
PANEL 4: Close on Hamlet. He’s a mess, cut and half-drowned. The birds still circle behind him
through the bloody-red light. In the foreground there is the boot. This is RICHARD III’s foot.
We can’t see him yet but we’re going to mimic this set-up later in the issue. The boot is
menacing it should denote strength. It’s not a knee boot, so we can see a bit of the trousers of the
King above the top of the boot.
(1) Richard III (Off-panel): You belong to me now.
PAGE 2
PANEL 1: This is “real time”. It is the evening, the “Magic Hour”, so everything is beautifully
and warmly lit. Hamlet wearing a cloak so we cannot see him pays his respects at his Father’s
grave. He’s near the front of the tomb which is ornately carved with his father’s likeness.
(C1) CAPTION: Now.
PANEL 2:
(C2) CAPTION: Helsingør. It is one month after the death of the King of Denmark.
From above we watch the KING OF DENMARK being carried in state through the streets of
Helsingør. The mourners are mostly commoners with the odd merchant here or there. The faces
in the crowd are a mixed – some are crying, some are poised, some are scared and concerned.
The feeling is not quite what you might expect for a beloved monarch.
The dead King is dressed in burial clothes. I'm thinking almost the sort of smock the crusaders
used to wear but with the "heart/cross/flower" crest that the Lutherans wore. He should look at
peace. His long grey hair is well-groomed, his armour polished. However, there should be some
hardness to his face - a reason for some of the fear (we don't want to overplay this - largely we
are dealing with normal mourners - but a dash of this hardness/fear would be good).
Above the crowd stands the new King Claudius with his brother’s wife – now his - Gertrude.
Both have a look of sadness on their face.
PANEL 3: (maybe a quarter of the page)
(C3) CAPTION: The dead King’s brother Claudius now possesses the throne. His dead brother’s
widow, Gertrude, rules at his side.
Claudius and Gertrude sit in the throne room attended by guards. This is a straight on shot,
almost like a portrait. There should be an air of coldness, of sadness here. Power won but
perhaps uncomfortably worn.
PAGE 3
PANEL 1: Back in real time – with the arm colours. Another angle of Hamlet reaching out to his
Father’s tomb. From here we can see his face - a frightened and sad young man left alone in the
world
PANEL 2: (1/3 of a page) (C1) CAPTION: It is one week since the King's son Hamlet killed the
nobleman Polonius in a mistaken attempt to revenge his Father.
I think we can position this caption at the bottom of the panel. So leave some room. I like the
idea of this being at the bottom because it is a “low deed” that has been done.
It is nighttime and we are in the torch lit room in a castle. We’ve jumped to the part of the play
where Hamlet discovers Polonius hiding behind a curtain while Hamlet is speaking to his
Mother. Except Hamlet thinks Polonius is Claudius and he wants blood. So let’s have a shot of
Hamlet ready with his sword. Maybe just a shot of the sword itself? I’d like to see him menacing
the unseen Polonius (so it is obvious there is a figure “behind the curtain”).
PANEL 3: Hamlet’s is stabbing his sword through the Arras (a long hanging tapestry – usually
made in France with Gold thread in it, so it should be ornate).
(1) Hamlet: Die! Die!
(2) Polonius: (A short, sharp cry of pain - so no “aaaaaahhhhh”)
(3) Gertrude: (off-panel): O, What have you done?
(4) Polonius: I am slain!
PANEL 4: (1/2 of a page)
POLONIUS lies on the ground grasping his bloody chest. He is an old man, a kindly looking
man. He’s shocked that it has turned out this way. The Aras bunches above him, almost a death
shroud.
Hamlet kneels – again the angle should keep us from seeing much of his face. He is seeking to
comfort the dying old man – the Father of his best friend Laertes.
(1) Hamlet: Polonius… you wretched fool… I thought you were your better. The King... my
Uncle… I thought…
Behind Hamlet we can see the flowing skirt of Gertrude. But we can’t see really any higher than
her waist.
(2) Gertrude: (off-panel): Oh, what a rash and bloody deed! Murderer! Murderer!
(C2) BOTTOM CAPTION: It is one week since Hamlet’s Mother Gertrude forsook her son.
PAGE 4
PANEL 1: Magic hour and “reality” again. A closer shot of Hamlet – a haunted look on his face.
He’s remembering everything we are showing in the other panel’s so this is the face of a man
thinking of how he wrongfully murdered another.
PANEL 2: It is nighttime. The scene is lit by torches. A higher angle look at a family gathered to
bury Polonius. LAERTES, OPHELIA, their mother, and a few others huddle together looking
poor and wretched in their cloaks. A MISERABLE LOOKING PRIEST stands at the head of the
grave – a mean little Bible opened in his hands.
(C1) CAPTION: It is three days since the Prince admitted to his crime and returned the body to
Polonius's family.
PANEL 3 (most of the page): (C2) TOP CAPTION: Claudius has decreed that none shall harm
Hamlet. But the new King has banished his nephew from Denmark; Hamlet is never to return on
pain of death.
A wide shot of the docks during the day. Many ships sit in the bay as men hustle and bustle
about them. The Antonio - a smaller fast-looking ship - is being loaded by the crew. Some of the
loads are by hand, some by pulley. Up on the hill looming over everything is Elsinore - the
Danish royal castle.
(C3) BOTTOM CAPTION: Hamlet’s ship, the Antonio, waits to take the Prince to England.
PAGE 5
PANEL 1: “Real” time. On HAMLET’S eyes – these eyes should capture all of the pain he has
felt in these past few weeks. His Father’s death. His Mother’s newly-emerged relationship with
his Uncle. The murder of Polonius and what that did to Hamlet’s girlfriend and her family - and
also the cost it took on Hamlet himself.
PANEL 2: Pull back to see Hamlet bowing at his father’s tomb.
PANEL 3: A shot of Hamlet’s face - he’s been disturbed - we can see that somebody’s arm is in
the frame (it is Guildenstern holding Hamlet’s shoulder – but we can’t tell that yet).
PANEL 4: Pull farther back to see ROSENCRANTZ and GUILDENSTERN in the background.
Both are about a decade older than Hamlet. They share a similar “three musketeers” style,
though Guildenstern has no facial hair. He is also whittling at something. Rosencrantz stands
closer to Hamlet – and while it was he who touched the Prince’s shoulder it was in a gesture of
support, not to hurry along the Prince.
(1) Guildenstern: Lord Hamlet, we must go. Soon it will be too dark for the Antonio to cast
her lines.
(2) Rosencrantz: Shush. Let the Prince make his final peace.
Also let’s put a little dog in this scene – watching the tableau unfold. We’re going to need this
mutt in a page so give him/her a “subtly prominent” position.
PANEL 5: Hamlet finishes his prayer/communication with his Father by touching the face of the
tomb. The tomb should be a little too grand. The masses of Cherubim and Seraphim adorning the
tomb seem tacky. It is as if the builders were worried they might not show enough respect in the
building of this tomb and then went overboard.
(3) Hamlet: (whispered): Goodbye, Father.
PANEL 6: Hamlet turns to face Rosencrantz and Guildenstern. He is exhausted and the thought
of leaving this place is weighing heavily on his mind yet the young man still manages to cut an
impressive figure.
(4) Hamlet: Nay, Rosencrantz. Guildenstern is right…
PANEL 7: He stands. He smiles and runs a hand through his short hair. When he smiles Hamlet
has a magnetic quality. Not a sex-appeal, rock star thing, but a young man you just instantly like
because you can tell he’s going to like you.
(5) Hamlet: … And I am as shocked as you.
PAGE 6
PANEL 1: As Hamlet stands in front of his two friends a SMALL DOG appears at Hamlet’s feet.
The Prince looks down towards it.
(1) Rosencrantz: We should be ready to leave within the hour, Lord Hamlet.
(2) Hamlet: Then perhaps I shall say my farewells to the city.
(3) Guildenstern: I shall accompany you.
(4) Hamlet: Nay, Guildenstern. I think I shall enjoy the council of my new friend.
PANEL 2: Hamlet looks down at the dog. The hound is small and intelligent looking - a terrier
perhaps? It looks up, head cocked to the side; it seems to understand what Hamlet is going
through.
(5) Hamlet: Will you join me then, madam?
PANEL 3: Hamlet walks towards the gates of the graveyard. They are large, ornate and gothic -
hardly a peaceful door for the dead.
PANEL 4: Close on the dog. The hound has set her feet and begins to whine. She holds Hamlet’s
cape in her teeth.
(S1) SFX: A dog’s whine.
PANEL 5: Closer on the dog. She is growing more insistent. A low growl rises from her throat.
(S2) SFX: RRRRRR A dog’s growl.
PANEL 6: Closer still. The flash of teeth, the dog will not let go.
(S3) SFX: GRRRR The growl, louder now.
PANEL 7: Hamlet, at the gates, looks back at the dog. It stands in the shadow of two large
tombs. The space between the tombs looks like some sort of dark passageway in the failing light.
(6) Hamlet: What troubles you girl?
PANEL 8: The dog turns and trots into the darkened alleyway. Maybe a hint of something
magical and strange – beyond the whistle – here?
(S4) SFX: A piercing whistle. (Use an ominous font for this.)
PAGE 7
PANEL 1: The dog disappears into the darkness.
PANEL 2: Hamlet wondering if he should proceed in after. With all the magic that has occurred
Hamlet can be excused for hoping against hope that this sudden change could be presaging the
arrival of his Father.
(1) Hamlet: Father?
PANEL 3: Hamlet follows the dog. We can barely make out the walls of the tombs beside him.
(2) Hamlet: Father? Is that you? Do you again appear before me, not as flesh but as spirit?
(C1) CAPTION: “Hamlet… Son of Hamlet…” (This text should be lettered differently and have
a supernatural feel to it. Please keep it up for all the witches’ comments. Also the positioning of
this should be BELOW Hamlet’s word bubble – this is a response to his question. I think the
Caption route works better than an off-panel which I fear will look cheesy.)
PANEL 4: Hamlet’s POV. Nothing but blackness. It seems as if the tombs go on forever - but
that of course is impossible; some magic is at play here.
(C2) CAPTION: “Come to me.”
PANEL 5: From the nothingness…
(C3) CAPTION: “Blood of royal blood. Noble blood who spills noble blood.” (This could be
split into a top and bottom caption if needed.)
PAGE 8
PANEL 1: The smoke blends into a growing eerie light.
PANEL 2: Hamlet works his way into the darkness. It is far more expansive than it has any right
to be. In the distance we can see a figure emerging though the smoke.
(1) Hamlet: You were not there, Father. You do not know…
PANEL 3: Out of the shadows emerges the first of LADY MACBETH’S WITCHES. The old
crone should plausibly be just a crazy old lady but her eyes gleam with a terrifying intelligence.
Her hair is wild and tangled and runs to the middle of her neck. She wears tattered rags that are
sea-green in colour. The dog is at her side.
(3) Witch 1: Indeed I do Hamlet, son of Hamlet. And I know thou cans’t be a King if thou
are willing. Simply slip the blade betwixt Claudius’s shoulders…
(4) Hamlet: Who are you? How dare you speak to me of murder? I am no killer.
PANEL 4: Close on the witch.
(5) Witch 1: Are you not?
PANEL 5: Cackling, the witch and dog slip into the shadows. The terrier looks back at Hamlet
– again that look of intelligence like the dog knows something Hamlet doesn’t.
(6) Witch 1: Are you sure of that?
(S1) SFX: There are sounds of people moving about. Conversations which the woozy Hamlet
cannot make out. Let’s use wavy lines to show they are talking and Hamlet cannot hear.
(Panel 4 and 5 are a 1/3 of the page.)
PANEL 4: The blurry face of the THIRD WITCH looks down at Hamlet. An evil grin covers the
witch’s face. Like her second sister there is something clearly otherworldly about her. She
wears a red cloak that looks rotten.
(1) Witch #3: Thou belongst to us now, Prince.
(2) Hamlet: (Tries to speak but he can’t make out any words properly. So perhaps just a
groan? A “Unnhhhh” or other sounds that indicate he is trying to get words out? I like that he’s
trying to ask “Is anyone else alive” – perhaps a chopped-up version of that?)
(4) Richard (off-panel): No.
PANEL 5 (1/3 of a page): The shadow belongs to an enormous man - RICHARD III. We cannot
see his face though - the sun behind him paints him in shadows. It should look like he is
eclipsing the sun itself.
(4) Richard: He belongs to me.
PAGE 23
PANEL 1: Hamlet wakes up in the middle of a big poster bed in a sumptuously furnished room.
Expensive art lines the walls, intricate statues on pedestals. It’s obvious the room belongs to a
very rich Lord.
PANEL 2: Hamlet sits up, touches his head. His wound has been expertly bandaged.
(1) Hamlet: Unh.
PANEL 3: He gets out of the bed.
PANEL 4: Looking out the window he sees an unfamiliar port town.
(2) Hamlet: I am lost.
(3) OFF-PANEL: No, Hamlet. Thou hast been found.
PANEL 4: Hamlet turns to find RICHARD III accompanied by two soldiers. Richard smiles
broadly at Hamlet. Despite his smile he is just as physically opposing as when we first saw him
but in this light we can see that the King has an odd feature: his one arm – his left - is strong and
solid while his right arm, barely visible under his cloak, is withered to the point of uselessness.
(4) Richard: Yes, Hamlet, I know who thou art
(5) Hamlet: Then you have me at a disadvantage, sir.
Richard opens his one arm wide; it is a surprisingly inviting gesture.
(6) Richard: Accompany me and I shall put us on level footing.
PAGE 24
PANEL 1: Richard and Hamlet walk through a stone corridor, also richly decorated.
(1) Hamlet: Sir, are you the pirate chieftain? Am I then your captive?
PANEL 2: Richard bursts out laughing.
(2) Richard: I apologize, I forget your situation.
PANEL 3: He stands tall – a definite element of pride here.
(3) Richard: I am Richard the Third, Lord of this land and certainly no pirate. Thou art my most
honoured guest.
PANEL 4: Hamlet is clearly unsure.
(4) Richard (off-Panel): Come.
PANEL 5: Grinning, Richard motions him to follow.
(5) Richard: I promise I shall not feed you to the sharks until after we sup tonight.
PAGE 25
PANEL 1: Outside. It’s a warm sunny day. Hamlet, Richard and the soldiers stand on a grassy
hillside. Down below them are workers erecting some sort of domed building in what looks to
be a bustling city – though it is far smaller than Helsingør.
(1) Richard: A library.
(2) Hamlet: Hmmm?
(3) Richard: I am not unlike your Father, Hamlet. I believe the way to make my people strong is
by uplifting them. First a library, then a court house, then schools. I will build my people.
PANEL 2: Richard pulls himself onto a small boulder jutting out of the ground. He looks
downward towards the city.
(4) Hamlet: Sir, how do you know me?
(5) Richard: Your deliverance to me was no accident.
PANEL 3: Richard turns to look at Hamlet. He quotes to him.
(6) Richard: “The Eyes of Heaven shine through the night. His fury a tempest raging;
carrying the Shadow King from a land beyond.”
(7) Richard: Those are the words of the prophesy that foretold your coming, Hamlet. The
night before you arrived here the stars - heaven’s eyes - shone with strange colours. A great
tempest the likes of which have never been seen battered this land.
(8) Richard: We have been waiting for you Hamlet. You are the one fated to change the lives
of my people. You are meant to do a great good, Prince.
PANEL 4: He gestures back towards the city below. This dialogue can overlap into the larger
panel surrounding it.
(7) Richard: I wish only to help this green land to become gold. But these are turbulent times
and I have enemies beyond my borders. But worse…
(8) Richard: … worse are those within. They sow seeds of discord in order to reap rebellion.
War-mongers more interested in seizing power than managing it justly.
PANEL 5: He looks back at Hamlet.
(9) Richard: These… zealots rally around the banner of a man. Some say he is a God, others say
he is merely a wizard. You are meant to stop him, Hamlet. You are meant to save us.
PANEL 6: Close on Richard.
(10) Richard: Will you free us from the tyranny of William Shakespeare?
PAGE 26
PANEL 1: Hamlet storms back to the castle, frightened and distraught. He is only a few steps
from its grand entrance.
(1) Hamlet: This is madness. I am no tool of the fates… no messenger sent from one God to face
another.
PANEL 2: Richard puts his good arm on the young Prince’s shoulder in a Fatherly gesture.
(2) Richard: Thou art more than thou realizes.
PANEL 3: Richard and Hamlet walk down a less well decorated corridor. It’s darker and less
cared for. Hamlet’s head is down, one hand pressed to his forehead as if he was battling a
massive headache.
(3) Richard: Stories about your arrival have been told for decades in this land. My wise women
have seen you, there is no mistake. You are the embodiment of prophesy, Hamlet.
(4) Hamlet: No. No I am not.
(5) Hamlet: Lord Richard, I thank you for your kindness but I beg of you to return me to my
home.
PANEL 4: Richard looks at Hamlet keenly.
(6) Richard: I can offer you a greater prize, Hamlet. What wouldst thou say if I told thee I could
return your Father from the grave?
(7) Hamlet: I would say my Father is dead and the worms of Denmark feast upon his bones.
PANEL 5: Richard pushes on the wall.
PANEL 6: With a scrapping noise the wall opens to reveal a staircase.
(S1) SFX: KRRRRRP (scraping noise)
(8) Richard: Come.
PAGE 27
PANEL 1: A close shot of Hamlet and Richard. Hamlet is reacting in fright to the voice he
hears. An all-too-familiar voice.
(1) Witch #1: Hamlet, son of Hamlet, blood of royal blood. Thou art not like other men.
PANEl 2: Reveal Hamlet and Richard in his dungeon. A large altar sits in the middle of the
room and in its centre a fire burns. The altar is made of obsidian. The dungeon looks like it’s
been used for torture and you’d be excused for thinking that the altar had hosted a blood sacrifice
or two in its time.
The three witches stand surrounding the altar – they’ve been waiting for Hamlet.
(2) Witch #2: Hamlet, son of Hamlet… Follow us to thy destiny, Shadow King.
(3)Hamlet: You! Foul creatures!
(4) Hamlet: These fiends haunt my dreams. Are they your servants Richard?
(5) Richard: They are.
PANEL 3: A close up on the witch’s face. She should look foreboding. This should serve as a
counterpoint to Richard’s calming words.
(6) Hamlet (off-panel): I’ll have no more of this madness.
(7) Richard (off-panel): Hamlet, do not damn my people to the terror of Shakespeare. I beg
of thee. I know you do not yet believe it but you shall save them.
PANEL 4: Richard rests his hand on Hamlet’s shoulder. It should look like a comforting gesture,
unthreatening, but there is also no way Hamlet can push through the much bigger Richard
without a struggle.
(8) Richard: You shall, Hamlet. The people shall sing your praises. You will be a saviour to
them. You will rule beside me, wisely protecting all.
(9) Hamlet: Please. Let me pass.
PAGE 28
PANEL 1: Richard does not stand aside. Hamlet looks completely exhausted, not wanting a
fight. He doesn’t have the energy for one.
(1) Hamlet: Please, let me pass. I am so tired. I only wish to sleep and wake from this cruel
dream.
(2) Witch #1 (off-panel): And what of thy father, Shadow King? Will you ignore a chance,
no matter how slight that he can be saved?
PANEL 2: Wearily Hamlet turns.
(3) Hamlet: Why do you promise me what cannot be done? Why do you name me thus?
PANEL 3: Witch #3 fixes her eye on Hamlet - an unholy intelligence burns in her eyes.
(4) Witch #3: Is the throne of Denmark not rightly yours? And yet thou art less than a true King.
PANEL 4: The witches raise their arms and the fire leaps higher.
(5) Witches #1, #2, #3 – a strange half-chant:
“The Father's gates shall open swing,
A welcome to the Shadow King.
The two shall clash and blood will pour,
And things that were shall be no more.
PANEL 5: Hamlet, a wild expression on his face, turns to Richard.
(6) Hamlet: And this Father? This is the wizard-God Shakespeare?
(7) Richard: It is.
(7) Hamlet: And you wish me to spill his blood? To murder a man I have never met?
PANEL 6: Richard holds out his good arm in a peacemaking gesture.
(8) Richard: No Hamlet. The source of his power rests in one object in his possession. All
you need do is bring me his quill.
(9) Hamlet: Then why not do so yourself?
PAGE 29
PANEL 1: The witches loom behind Hamlet. With their arms spread out their cloaks look like
wings. They look like scarred, beaten and feral birds of prey. Hamlet shrinks back.
(1)Witch #1: Dost thou not listen, Shadow King?
(2) Witch #2: Canst thou not hear?
(4) Witch #3: Only thou can find where Shakespeare dwells.
(5) Witch #3: The Father’s dwelling’s cunning cowl’d.
Only thou mightst be allowed
To cross the threshold of his lair
Where fair is foul and foul is fair.
PANEL 2: Richard gives them a fierce look, his arm again on Hamlet’s shoulder in a gesture of
comfort.
(6) Richard: Hamlet,,none can find Shakespeare. I have lost scores of my own men trying to
find the coward to drive him to the light.
(5) Richard: If you are truly who I believe then only you can find his accursed home.
PANEL 3: Hamlet lets loose a laugh tinged with hysteria.
(7) Hamlet: And who shall bring MY Father back from Hades? Is that too a power that I
possess?
(8) Richard: No, that power is my own.
PAGE 30
PANEL 1: The witches have dragged something to the altar – it is the body of the eye-patched
sailor. Hamlet reaches for the eye-patched sailor but Richard holds him fast.
(1) Hamlet: Let go.
PANEL 2: A close up of a dangling hand bursting into flames.
(2) Richard: Watch.
PANEL 3: The witches lower the eye-patched sailor into the flames. He starts to burn all over.
PANEL 4: The witches begin to chant and the fire rises again. The witches chant in an alien
language – so symbols and tiny shapes. They are chanting to Hecate so perhaps you can put that
word in there once or twice.
(3) Witches: (Chanting)
PANEL 5: The sailor begins to shake, cough and gasp. He is alive.
(4) Sailor: (Hacking and coughing noises.)
PANEL 6: Richard leans to the ear of the beyond-shocked Hamlet.
(5) Richard: See this power? As he is renewed so too shall your own Father be.
(6) Richard: Trust me. Save my people. Quill for Father? Is the prize not worth the price?
PAGE 31
PANEL 1: Hamlet sits at the window of his room. He looks out into the night sky – which is
again filled with strange colours.
He is talking to someone, but whom or what we cannot see.
(1) Hamlet: (wavy lines, we can’t hear what he is saying)
PANEL 2: Hamlet lies in bed – another fitful rest.
(C1) CAPTION: “Father.”
PANEL 3: Hamlet tosses and turns.
(C2) CAPTION: “Father.”
PANEL 4: A close up of his mouth.
(C3) CAPTION: “Father…” (Let’s put this to the side of this panel so it bleeds into the dungeon
– almost a sound cue to dissolve from the one to the other.
PANEL 5: The dungeon. A chant comes from off-panel. Again it is an alien language used to
speak to Hecate. So we need symbols and tiny shapes and the single Latinate word “Hectate”.
The fire burns hot and high. The witches look at this unseen magician..
(2) Lady Macbeth: (Chants)
PANEL 6: The fire subsides. In the embers lies a wicked-looking dagger. A young, shapely arm
places her hand upon the weapon.
PAGE 32
PANEL 1: The shapely arm holds up the dagger. The firelight sparkles off of it threateningly.
The three witches stare at the unseen wielder with a mixture of fear and respect.
(1) Lady MacBeth: It is done. Shakespeare shall die at Hamlet’s hands.
PANEL 2: On Richard the third. He stands away from the fire, the witches and the mysterious
woman but it should be clear he is looking at HER – Lady MacBeth - with a mixture of lust and
greed.
(2) Richard III: And all this land shall be ours.
Script 2
KS Mon
PAGE 1
Note: This entire issue takes place at night and is lit by moonlight.
Note: All panels in this page are from the perspective of the Lavinia.
Panel 1: Through a spyglass, we see an escaping lifeboat with a small sail, fleeing from the pursuer. It’s
the dead of night and everything is lit by moonlight.
(1) Cocky Soldier (caption): A Prodigal target arrives!
Panel 2: Same as the first panel but now we’re closer, almost as though we’ve zoomed in (though in fact
the Lavinia is now closer to the fleeing boat). We don’t see much in the way of details but see some
bodies in the lifeboat, hunched over as if they are hiding.
Sharp-eyed readers will realize that these are the bodies of Mariner and Paige.
(2) Cocky Soldier (caption): Line up the cannons!
Panel 3: A Lavinia COCKY SOLDIER looks back as he yells instructions. We see him looking back in
the foreground while in the background the tiny sailboat is drifting in the water. We’re on the deck of the
Lavinia as it pursues the escaping boat. This image is similar to the final panel of Issue #5 of the original
series (as Don John yells back instructions to his troops).
And like Don John, this Cocky Soldier is a cocky guy, sure that he’ll get any ship trying to escape the
wrath of the Lavinia.
(3) Cocky Soldier: Show them they cannot best Lucius!
(4) Cocky Soldier: Fire!
Panel 4: A wide, establishing shot. With the escape raft in the foreground, the Lavinia fires at it from
behind.
(5) SFX: BOOM!!!! BOOM!!!! BOOM!!!!
PAGE 2
Panel 1: A large panel as the cannonballs smash (BOOM!!) directly into the escaping boat. The boat
immediately goes up in flames with large explosions. No one has survived these attacks.
Panel 2: Cocky Soldier is all smiles. And, yes, he’s still as cocky as ever.
(1) Cocky Soldier: Thou can run but thou cannot hide.
Panel 3: Cocky Solider turns to OTHER CREWMEMBERS.
(2) Cocky Soldier: Bring her about! Back to the caves! The remaining rats will scurry away soon
enough.
(3) Cocky Soldier: If any escape Lucius will have thee for his supper!
(4) CAPTION – LUCIUS: “See, Lady Capulet? No one comes to save thee.”
PAGE 3
Panel 1 (insert): A close-up of a serving tray with some bloody, raw food upon it – a collection of a liver,
or two kidneys, and maybe even some testicles (no, we won’t attached a hyperlink for that image…).
Have fun.
A bloody knife is plunging itself into this meat to pick up a piece.
(1) Lucius (off-panel): The golden age of Illyria is before us, not behind us.
(2) Lucius (off-panel): Soon, all will bow down before my father and me.
Panel 2: A close-up of LUCIUS as he holds up the gross meat and stares at it (think of the classic
Hannibal television series promo shots). He’s smiling and his mouth is covered with blood – he’s really
devoured this grotesque meal.
And yes, in case you’re wondering, he’s eating the remains of Cesario.
(3) Lucius: And then what a feast I will have.
(4) Lucius: I will eat until my belly bursts.
Panel 3: A wide shot of Lucius’ dining room. It was probably designed to be quite nice but over the years
– and many of Lucius’ ventures and quests – has been dirtied. There are stains on the floors and the
wooden table is quite cut up from lots of knives and blunt instruments upon it – a glorified cutting board.
The wall behind him is a large glass window. Around smudges of blood we can see the fire of The
Boreas’ skiff burning in the night.
Still holding his knife, Lucius walks towards Juliet, who is lying on another table, tied up by her hands
and feet. She is still defiant, though, and snarls at Lucius as he approaches her.
(5) Lucius: My father will be proud when I deliver you, Lady Capulet. You shall be a symbol of his
victory.
(6) Juliet: Proud? No father could ever be proud of a monster like you. Not even Titus.
(7) Juliet: All know that he sends thee to sea to spare him the sight of thee!
Panel 4: Lucius lunges towards Juliet, the bloody knife held in his hand tightly.
(8) Lucius: You lie!
Panel 5: Lucius places his knife upon Juliet’s stomach with a small amount of force – more threatening
than actual cutting. Juliet is trying desperately to twist away from him.
(9) Lucius: I should carve you to bits right now. He would understand.
(10) Juliet: No!
(11) Lucius: Wait…
Panel 6: A close-up of Juliet’s stomach. Lucius has now put his other hand on it.
(12) Lucius (off-panel): Lady Capulet? Are you perchance hiding something from me?
(13) Juliet (off-panel): Stay away.
Panel 7: With Juliet’s stomach in the near foreground, we focus on Lucius. Full of delight, he has a huge
smile on his face. He just found out something juicy.
(14) Lucius: Are you with child?
(15) Juliet (off-panel): No! No!
(16) Lucius: Oh, this is delicious…
PAGE 4
Panel 1: A large panel. A medium shot of VIOLA standing on a low sail of the Boreas, looking out and
yelling instructions. Something heroic or full of action, similar to the image of Cesario from the first
page of Issue #2.
(1) Viola: Quickly! Raise the sails!
Panel 2: Viola jumps off the sail towards WHITMORE, who is waiting for her.
(2) Viola: We depart now or we die!
Panel 3: A wide shot of The Boreas – sails now up – as it starts to leave the caves.
(3) Whitmore: Your plan worked.
(4) Viola: Aye, Mariner and Page’s bodies. They played their final roles as pirates, Whitmore, and
we shall honour them once we have escaped.
(5) Whitmore: If we are able to escape. The Lavinia will give chase.
(6) Viola: I pray that The Boreas has the speed to keep her behind us.
Panel 4: HAMLET runs up to Viola but she puts her hand up, ignoring him and continuing to yell out
orders.
(7) Hamlet: We cannot leave Juliet behind!
(8) Viola: Come about, mates!
Panel 5: Hamlet grabs her by the arm and…
(9) Hamlet: Viola! We cannot make her a cannibal’s meal.
Panel 6: … Pulls her around. Viola takes offense to this.
(10) Viola: Hamlet, you are concerned with one person.
(11) Viola: My thoughts must be of an entire crew.
PAGE 5
Panel 1: Viola and Hamlet are arguing. Hamlet is passionate and upset with Viola’s lack of desire to help
him out – and her words of disparagement.
(1) Hamlet: And what of Cesario? Was he not of your crew?
(2) Viola: Cesario is dead.
(3) Hamlet: I thought Cesario could never die?
Panel 2: On Viola, getting angry.
(4) Hamlet (off-panel): Does his final mission mean nothing to you?
(5) Hamlet (off-panel): Or is it foolish to think that a pirate would know anything of love?
Panel 3: A wider shot. In a flash Viola pulls her knife out and puts it to Hamlet’s throat.
(6) Viola: You let Juliet, pregnant with child, face Lucius alone! I’ll not have one so frail as thee
lecture me on love.
Panel 4: A two shot of Hamlet and Viola. Hamlet is stoic despite the knife at his throat. .
(7) Hamlet: Aye. Frailty and hatred were my companions and they threaten to end the greatest love I
have ever known. But I will do all I can to fix that. Will you?
(8) Viola: What you propose is a thing impossible! I have men to worry about. I cannot be guided by
revenge!
Panel 5: Viola yanks the knife up as if she was going to grant him his wish and drive it straight into his
throat.
(9) Hamlet: Not by revenge. By what is right.
Panel 6: Hamlet holds up his hands, calm yet defiant. Note – Hamlet’s line should go near the bottom
right of this panel to emphasize some pause at the beginning of the panel.
(10) Hamlet: Kill me if you must. I am willing to die for the woman I love.
Panel 7: Viola holds the hand out to Hamlet, handle out. She looks at him, stern and almost motherly
(like an adult giving instructions to a child before leaving for a night out). She is still holding up the
knife.
(11) Viola: Thou art over-dramatic. Here, take the weapon.
(12) Hamlet: For what purpose?
PAGE 6
Panel 1: In the foreground Hamlet rows a small boat, his determined face illuminated by the moon. In the
background is the Boreas, sailing away.
(1) Viola (caption): For thy mission.
(2) Viola (caption): I will not join thee, but you shall have a boat.
(3) Viola (caption): And wish thee luck with things impossible.
Panel 2: A large panel – a medium-shot of Viola staring out at the water, thinking. Everything is going
through her mind – what Hamlet has said, what has happened to her in the last couple days, what her
options are, etc. Very reflective (perhaps the most important panel in this issue). Is she changing her
mind about what she needs to do?
Panel 3: A profile panel as Whitmore approaches beside Viola. She talks to him without looking over at
him, trying to convince him and – most importantly herself – of the actions she is taking.
(4) Viola: He… he can serve as our next decoy. Foolish man.
(5) Whitmore: It is not too late for thee to join that fool.
(6) Viola: Join him? Now who is the fool? We must leave. Are we on course?
(7) Whitmore: Aye. You have charted a solid path. We may yet escape the Lavinia.
(8) Whitmore: But do you take the wisest course for thyself?
PAGE 7
Panel 1: A medium shot of Viola centered in the panel. She has turned around, her back now towards
Hamlet and the water.
Whitmore is on the left side of the panel talking to and looking at Viola, while on the right side we see the
very small image silhouette of Hamlet getting away in the boat. Viola is looking down, sad and ashamed.
(1) Viola: Has thy injury affected thy thought, Whitmore?
(2) Whitmore: You may not have agreed with his Prodigal zeal but you know Cesario’s pirate days at
an end.
(3) Viola: And I hastened them.
(4) Whitmore: Do not blame thyself.
Panel 2: The same composition as the first panel but this time we’ve pulled in – more close-ups, and
focused mainly on Viola. Viola is now looking up, deep in thought (traces of sadness are leaving her face
as she listens to Whitmore’s words).
(5) Whitmore: Cesario loved you because you were a herald of what is right.
(6) Viola: If I abandon The Boreas I will be no better than Cesario was.
(7) Whitmore: You have done all we need of thee, “captain”.
(8) Viola: My bloody thoughts cannot be trusted on that ship. If I see that monster Lucius –
(9) Whitmore: You will make Cesario proud.
Panel 3: We continue to pull in but this time we just have the close-up of Viola and, over her shoulder,
Hamlet on the boat in the far background. Viola, however, is now smiling. She’s made up her mind and
is happy with what she’s about to do.
(10) Whitmore (off-panel): Go help the fool. You know it to be your true course.
(11) Viola: Thy injury has affected thee, Whitmore.
(12) Viola: Thou art suddenly wise.
PAGE 8
Panel 1: Hamlet kneels in the small boat, looking out towards the water. He is staring at the Boreas,
looming in the very far distance. It should feel very much like it’s going to be a David and Goliath battle
– but end with Goliath winning handily. Hamlet is in way over his head.
(1) Hamlet (to himself): A ship… a most palpable ship.
Panel 2: Suddenly a large splash and someone jumps up towards Hamlet’s boat. Hamlet is shocked to
discover it is…
(2) SFX: SPLASH!
(3) Hamlet: What monster?
Panel 3: …Viola, who has jumped on board the boat and ties back her hair.
(4) Hamlet: Viola? I thought –
(5) Viola: We do not have time to think, Hamlet. We only have time to act.
(6) Viola: Follow my lead. When I catch The Lavinia’s anchor, hold fast to me and move quickly.
(7) Hamlet: Why are you here?
Panel 4: Viola smirks at Hamlet.
(8) Viola: A lost love’s labour.
Panel 5: Hamlet smiles, a sigh of relief.
(9) Hamlet: So I have a new companion joining me in things impossible.
(10) Hamlet: Thank you.
Panel 6: A wide shot of the small ship with the looming Lavinia in the background.
(11) Viola (off-panel): You may be frail, but not of heart. Let us hope that helps us.
PAGE 9
Panel 1: Two DECK SOLDIERS on the deck of the Lavinia are busily loading cannons.
(1) Cocky Soldier (off-panel): Faster, you wretches! I want The Boreas turned to kindling!
Panel 2: The same panel but now Hamlet and Viola are directly behind the two Deck Soldiers, slitting
their throats with knives. Blood spurts out.
Panel 3: Hamlet and Viola grab the swords from the dead soldiers’ bodies.
(2) Cocky Soldier (off-panel): If you let her escape I’ll feed you to Lucius myself!
Panel 4: Hamlet and Viola creep along the deck, prepared for/poised to attack. Smooth and slick, Hamlet
and Viola are like trained assassins.
(3) Cocky Soldier (off-panel): Prepare to fire!
Panel 5: Cocky Soldier is turned around looking over one shoulder for his missing crewman. In his hand
is a spyglass. Unfortunately for him he’s looking the wrong direction to see Viola sneaking up to him.
Viola’s sword is raised and…
(4) Cocky Soldier: What are you dogs waiting for?
Panel 6: … she slashes the sword through Cocky Soldier’s back!
(5) Cocky Soldier: Agghhhh!!!
Panel 7: Two more Soldiers jump out from behind Viola and tackle her to the ground.
(6) Viola: Ughh.
Panel 8: The two Soldiers are perched above Viola, one with a sword and the other with a cannonball in
his hand, both about to bludgeon her to death.
(7) SFX: SQUEAK! (coming from behind the two Soldiers)
PAGE 10
Panel 1: A large panel as the two Soldiers are hit over the head from behind with a moving sail mast.
(1) SFX:WHUMP!!
(2) SFX: WHUMP!
Panel 2: Hamlet jumps to the ground from the sail mast, a small grin on his face. He is holding his hand
out to Viola.
(3) Hamlet: Not bad for one full of frailty?
Panel 3: From Hamlet’s perspective, Viola looks up with a smile on her face.
(4) Viola: For that relief, much thanks.
Panel 4: The two dash towards a small stairwell, both optimistic.
(5) Hamlet: Come. Let us aim for things impossible.
PAGE 11
Panel 1: A wide shot of Lucius’ dining room. In the foreground Juliet is being held down on the rough
table by two SOLDIERS (one holding her by the legs, one by the arms). She is struggling to get out of
their holds. Her jacket and shirt have been ripped off in order to expose her chest to Lucius. Let’s not
have any nudity but there should be bruises and scratches over her arms and stomach from her fighting
the grips of these
In the centre of the image is Lucius, approaching Juliet with a bottle of alcohol for surgery.
The scene has the vibe of a torture-porn film.
(1) Lucius: I promised my father I would keep thee alive, Lady Capulet, that I would not eat thee.
(2) Lucius: Your fetus? Another matter.
Panel 2: Lucius looks down at the struggling Juliet and smiles as he pours a bottle of alcohol on her
stomach to sterilize the surface.
(3) Lucius: I will enjoy sucking on the fruit of thy womb.
(4) Juliet (off-panel): Monster!
(5) Lucius: Do not fret. I am a most able surgeon.
Panel 3: Juliet struggles madly. She is terrified. She’s sweating and tears form in the corners of her eyes.
(6) Juliet: No, please! I beg thee!
Panel 4: A direct perspective (from Juliet’s view) as Lucius leans in towards her stomach with a medieval
contraption. The two men holding Juliet down are on the outer edges of this panel.
(7) Juliet: Lucius! I will kill thee!
Panel 5: The edges of the claws of the medieval Jaws of Life poke holes into Juliet’s stomach, blood
starting to form around those holes. Lucius is going slowly in order to savour the moment.
(8) Juliet: Ah!
Panel 6: A shot similar to Panel 4 but this time Lucius is looking up to his side as blood is sprayed onto
his face from both his right and left (the two men beside him).
PAGE 12
Panel 1: A large panel as Lucius is smashed in the face by the back of Viola’s sword.
Panel 2: A wide shot as Lucius falls to the ground, Viola hovering above him. The two Soldiers are also
on the ground, knives hanging out of their necks. Behind them Hamlet is running towards Juliet.
(1) Hamlet: Juliet!
(2) Viola (off-panel): You are a foul devil!
(3) Viola (off-panel): What man of woman born would target an unborn child?
Panel 3: On the ground, Lucius snarls his fang-like teeth at Viola and points off to the side.
(4) Lucius: Viola. Now appears the sweetest morsel of the night.
Panel 4: Viola turns she can see something that we hadn’t revealed before, the upper half of Cesario’s
body hanging from chains. The rest is missing, cut away. Parts of Cesario’s chest have been cut open. His
mask is still on.
(5) Lucius: Dost thou like my main course?
(6) Viola (quietly, shocked): Cesario?
(7) Viola: My sweet -
Panel 5: Viola is shocked – and distracted from Lucius and is attacked by him off-panel.
(8) Viola: Ugh!
Panel 6: Lucius punches Viola in the stomach.
(9) SFX: WHUMP
Panel 7: Using all of her strength, Viola pushes Lucius away and through the air away from her.
PAGE 13
Panel 1: Hamlet is helping Juliet up from the table. He has put a blanket over her but we see some blood
coming through it, especially around the stomach area.
(1) Hamlet: The child… What has he done?
(2) Hamlet: Juliet, you were right. My choices drove thee to this place. All of this is my fault.
(3) Hamlet: Canst thou forgive me?
Panel 2: Hamlet and Juliet embrace tightly, so glad to be in the presence of the other.
(4) Hamlet: Even after I turned my back to thee as a coward would?
(5) Juliet: You were not you, Hamlet. But now thou art my sun again.
Panel 3: One of the two soldiers – on the ground, almost dead – slices the back of Hamlet’s leg with a
knife, making a big gash.
Panel 4: Hamlet reacts to the pain.
(6) Hamlet (off-panel): Ahhh!
Panel 5: A medium shot as Hamlet smashes the soldier in the face with his boot.
Panel 6: Viola stalks towards Lucius, who is still scrambling to his feet. Her face is death.
(7) Lucius: Pirates.
Panel 7: Despite being at Viola’s Mercy, Lucius continues to provoke her.
(8) Lucius: Sour disposition. Sour taste.
Panel 8: Viola is angry. Very angry.
Panel 9: Viola kicks Lucius across the face.
Panel 10: On Lucius. He’s sitting on the ground, but he has a smile on his face. His one hand is off panel.
(9) Lucius: Always a nuisance.
PAGE 14
Panel 1: Lucius smashes Viola across the torso with his medieval jaws of life (no cutting here, just a big,
blunt object smashing into her).
(1) SFX: WHOOMP!
Panel 2: Viola smashes into the wall, knocking over the candles and torches.
Panel 3: The flames hit the alcohol and a fire starts to rage.
Panel 4: Through a wall of flames (that protect him from Viola’s attack), Lucius stands in a doorway and
smirks at her. He holds up Cesario’s mask, mocking her.
(2) Lucius: Alas, I must bid thee adieu, my pirate queen. Parting is such sweet sorrow.
(3) Lucius: Your meaningless bravery shall be a nice denouement to the tale of Cesario’s death.
Panel 5: Lucius runs out of the room, the growing wall of flames blocking everyone from following him.
(4) Viola (off-panel): Lucius!
Panel 6: A wide, straight-on illustration of Viola as she looks into the flames, consumed with rage.
(5) Viola: I am coming for thee!
(6) Viola: Dost thou hear me, Lucius!
(7) Hamlet (off-panel): Viola, help us!
Panel 7: Viola turns to see Hamlet and Juliet trying to help each other walk. But the two can barely stand.
Behind them the room is engulfed in flames. Viola’s eyes are wild. She knows she should help, but she
wants so badly to kill Lucius.
(8) Viola: I cannot let him flee!
(9) Hamlet: Please, Viola. We must save the child.
(10) Viola: I… I…
PAGE 15
Panel 1: The same panel as Panel 6 on the previous page, but this time we can see Hamlet and Juliet try to
hobble away in the background, while Viola’s eyes are closed. She has come to peace with what she must
do.
(1) Viola: Halt.
(2) Viola: I shall help thee.
Panel 2: The three of them flee the flame-engulfed room.
(3) Viola: To the deck!
Panel 3: They make their way across the deck. Flames seem to have spread across some parts of this deck,
started by Lucius to help him escape.
(4) Hamlet: Beware!
Panel 4: An explosion hits the deck and the flames are out of control. Viola and Hamlet help to carry
Juliet to (hoped for) safety.
PAGE 16
Panel 1: Through flames, Viola points to something off-panel.
(1) Viola: A raft!
Panel 2: Hamlet and Juliet board a raft, held up on the side of the Lavinia by a few ropes.
(2) Hamlet: Come, Juliet. This is no place for us.
Panel 3: Viola looks back at the deck, full of flames.
(3) Hamlet (off-panel): Viola!
Panel 4: Hamlet motions to Viola to join them. Viola holds her hands up, indicating that she will not.
(4) Hamlet: Viola! What madness is this? We must leave.
Panel 5: Viola looks down at Hamlet and Juliet, refusing to board the raft.
(5) Viola: The two of you must go but…
(6) Viola: I cannot join you.
Panel 6: Juliet yells at Viola.
(7) Juliet: You saved my child. Do not die here on this boat!
(8) Juliet: Our cause needs you. Your crew needs you.
Panel 7: Viola pleads with Hamlet and Juliet, convincing them that she is doing the right thing.
(9) Viola: My crew needs you. Lead them to the safety of your Prodigals.
(10) Viola: Cesario was right. It is the wisest course.
(11) Viola: But I will not let Lucius make a bloody mockery of Cesario’s name.
PAGE 17
Panel 1: Viola holds up a small knife to Hamlet and Juliet and smiles to herself, reflecting upon what
Cesario had told her before.
(1) Viola: I will always be the little girl with the knife.
(2) Juliet (off-panel): You will die here.
(3) Viola: Do not worry about me.
(4) Viola: A pirate always finds her way.
Panel 2: From Viola’s perspective, the boat falls down. Hamlet looks up to Viola, saluting her as the
captain she is.
(5) Hamlet: Good luck go with thee, Captain.
Panel 3: Viola slices through the rope holding the raft up with her knife.
Panel 4: Viola smiles as she watches them fall to their safety.
Panel 5: Juliet and Hamlet’s boat falls down along the side of the burning Lavinia to the water. Viola has
already turned around, focusing on her next mission.
PAGE 18
Panel 1: We are now a couple hundred yards away from the burning Lavinia so it’s in the background and
creates silhouettes of those in the foreground.
And in the foreground is Hamlet and Juliet seated beside each other in their floating raft. They hold each
other, shaken by everything that has happened – not only in this adventure, but between them. They both
stare at the ground, tired and exhausted, finally feeling safe.
(1) Hamlet: She will survive. She will.
(2) Juliet: Hamlet, I should have told thee of what happened ‘pon the island but I was ashamed.
(3) Hamlet: Proclaim no shame, your cheek does not deserve its blush. Romeo’s death was just.
(4) Juliet: Was it? He was poisoned by that accursed isle…
(5) Hamlet: It makes no difference. He harmed thee and never should I have blamed thee for
stopping him.
Panel 2: The two are drifting farther from the Lavinia.
(6) Hamlet: Juliet? Is the child mine?
(7) Juliet: I… I do not know.
Panel 3: A small sailing raft approaches Hamlet and Juliet. It’s slightly larger than Hamlet and Juliet’s
and contains three PIRATES. The first is the still-bandaged Whitmore, holding up a torch. They have
come to find out if anyone has lived.
(8) Whitmore (off-panel): Hamlet?
Panel 4: The pirates assist Hamlet and Juliet as they board the pirate sailing raft.
(9) Whitmore: Where is Viola?
(10) Juliet: She… She –
Panel 5: From over their shoulders, the Lavinia behind them explodes, setting the night sky bright with
flames.
Panel 6: Hamlet, Juliet, Whitmore and the two other pirates look to the flames in front of them.
(11) Whitmore: Why did she not join thee?
PAGE 19
Panel 1: A close-up of Hamlet, looking down to the ground and smiling, thinking of Viola’s courage.
(1) Hamlet: Viola was your captain, in every sense of the word.
The next 7 panels should be in a different colour (perhaps a faint blue or green to contrast with the
flames) to connote that this is the story being told by Juliet to the pirates.
Panel 2: Viola enters the flames with her knife, looking determined and on a mission.
(2) Hamlet (caption): She took on a thing impossible.
(3) Hamlet (caption): And conquered it.
Panel 3: Through the flames, Viola sees a still-alive Lucius trapped underneath a fallen sail mast, trying to
escape.
(4) Hamlet (caption): She did what she needed to keep the Boreas safe.
Panel 4: Viola notices Cesario’s mask lying on the ground.
Panel 5: Viola picks up the Cesario mask, about to put it on…
Panel 6: A wide panel. Now wearing the mask, Viola looks down to Lucius.
(5) Hamlet (caption): And whatever she could to keep alive the legend of her heart:
Panel 7: Lucius looks up, scared.
Panel 8: A close-up of Viola wearing Cesario’s mask.
Panel 9: Viola holds the knife up, about to swing it down into Lucius.
PAGE 20
Panel 1: A full-page splash from below the water. This continues to be in the blue-green hue story glow
of the previous page.
This is Viola – wearing Cesario’s mask – diving into the water with her arms stretched out. This is
someone who is definitely alive, not plunging to her death. She looks poised and confident, like someone
on a mission and determined to survive. Hell yeah!
Above her the Lavinia has exploded and if engulfed in flames, so there are glimpses of this through the
water.
Hamlet (caption): Cesario never dies.
Script 3
PAGE 1
Panel 1: An establishing shot of the Waterloo Place section of London. We see both the Duke of York
Column and the Crimean War Memorial. It is early sunrise and the street lamps are still on. The street is
already busy with people of all stripes walking, as well as horses and carriages. It seems like a quiet,
peaceful morning.
(1) Rasputin (caption): Have you heard Tchaikovsky’s Var of 1812?
(2) Rasputin (caption): Of course not, Mr. Houdini. You are smart, but still a dumb American.
(3) Rasputin (caption): It starts with a calm, traditional Russian melody. Russia at peace.
Panel 2: A middle-aged BUSINESSMAN (think Mr. Banks from Mary Poppins) is walking to work using
an umbrella as a cane (it’s London, of course – one never knows when it will rain). He looks content as he
thinks it’ll be a good day.
(4) Rasputin (caption): But then the French begin to invade.
(5) Rasputin (caption): The tempo builds and builds and builds.
Panel 3: A close-up of a mother holding the hands of her two children (LITTLE BOY and LITTLE GIRL)
as she walks across the street. The two kids are dressed in traditional school uniforms (think Harry Potter
and Matilda). The two kids are SMILING and SKIPPING.
(6) Rasputin (caption): To a large crescendo vhen Russia defeats the invaders.
(7) Rasputin (caption): Five cannons are fired. Russia has won.
Panel 4: A woman, FLOWER GIRL, selling flowers on the sidewalk smiles at a man sweeping the streets
(SWEEPER). He smiles at her too. (Yes, this is a tribute to My Fair Lady .)
(8) Rasputin (caption): I liked Tchaikovsky’s music but not the man.
(9) Rasputin (caption): He did not have enough love for Russia.
Panel 5: A close-up of the Crimean War Memorial
(10) Rasputin (caption): I vas a little sad vhen I forced him to kill himself.
PAGE 2
Panel 1: A full-page. A shot from directly above . The dead body of SHERLOCK HOLMES is the central
focus on this page, taking up most of the panel (he lays dead on his side). Some blood surrounds his face
but we can’t see any of the wound at all.
Surrounding him is a handful of people. On the left side of his body is PORK CHOP OFFICER (from
Issue #4) holding Holmes’ wrist, looking for a pulse. On the top we have RASPUTIN, looking down on
Holmes. And on the lower right of the page we have HARRY HOUDINI, held back by two (2) of
Rasputin’s GOONS.
(1) Rasputin: Just as I veel sadness that Mr. Holmes has done the same.
(2) Pork Chop: He’s not breathing.
(3) Rasputin: Dump the body in the Thames. Take Watson and Lestrade to the courtyard and make
sure the stage is set for our performance.
(4) Houdini: Holmes is dead. You have me. What more can you want? Leave them alone.
(5) Rasputin: Leave them? No, unlike Mr. Holmes they vill not miss the crescendo I planned for
London today.
PAGE 3
Panel 1: In the foreground the dead (and slightly bloody) body of Sherlock Holmes is being taken out of
the room. In the background Houdini defiantly struggles to get out of the clutches of the two Goons
holding him back.
(1) Houdini: What crescendo? What have you planned, you madman?
(2) Rasputin: You vill learn soon enough.
(3) Houdini: You will not force me to commit suicide.
Panel 2: A close-up of Rasputin as he laughs menacingly.
(4) Rasputin: Suicide? I don’t vant to kill you.
Panel 3: An insert panel of an intimidating pair of handcuffs – they are long and thick and look hard to
break out of. A cross between these mirror cuffs and these iron bar cuffs .
(5) Rasputin (off-panel): I vant you alive.
Panel 4: These thick handcuff bars are placed upon Houdini by one of the Goons. The other Goon puts a
knife up to Houdini’s neck .
(6) Rasputin: I need you to vatch, Mr. Houdini.
Panel 5: Rasputin is now at the window, the light from outside dancing upon his face.
(7) Rasputin: Fifty years ago Britain joined the Ottomans to battle my Russia in Crimea. We lost. We
have not been the same since.
Panel 6: Rasputin looks back at Houdini, quite serious, bordering on angry. He clutches a seemingly-
wooden microphone but isn’t using it… yet.
(8) Rasputin: That ends today.
(9) Rasputin: Today the spirit of Russia will rise from the dead.
Panel 7: A head-on close-up of Rasputin as he begins to talk; make a speech (this has the feel of Big
Brother).
(10) Rasputin: People of London!
PAGE 4-5
A two-page spread with a row of thin panels at the top (these are Panels 1-3), a very large row (taking up
50% of the vertical space) in the middle, and then a row of thin panels on the bottom.
Panel 1: A close-up of a window as Rasputin is talking in the window.
(1) Rasputin (caption): Avaken. Avaken to be amazed!
Panel 2: We pull out and see that the windows nearest Rasputin have their shades drawn down – creating
a de-facto movie screen. It would be good to see one is in the PROCESS OF BEING PULLED DOWN –
to show that Rasputin’s men are in action here .
Rasputin’s image appears on these screens.
(2) Rasputin (caption): Today you vill learn to believe in the powers beyond!!
Panel 3: We pull out further to a wide shot of the street. Every window has had their shades pulled down.
-- Rasputin’s image appears on each one -- like an old electronics store with numerous televisions on at
the same time.
(3) Rasputin (caption): Today you vill vitness the impossible!
Panel 4: A shot of the Crimean War Memorial. A number of PEOPLE passing by surround it but are
looking at the windows around them. Make sure to focus on the THREE BRITISH SOLDIERS at the
base of the statue.
(4) Rasputin (caption): You valk your magnificent streets, but do you really see them?
(5) Rasputin (caption): Like this memorial that you pass each and every day.
Panel 5: We zoom in a bit as the Three British Soldiers SUDDENLY MOVE! A few people around the
statue look to them, amazed and shocked.
(6) Rasputin (caption): Did you know you fashioned it from Russian cannons stolen from the field of
battle?
Panel 6: We zoom in just a little bit more as the Three British Soldiers JUMP down to the ground. The
people around are still amazed by this.
(7) Rasputin (caption): Look! Be amazed! Your brave sons move again!
Panel 7: The Flower Girl and the Sweeper with her (from Page 1) walk towards the statue, enthralled.
They have smiles on their faces. The man has taken off his hat, shaking his head at what’s going on.
(8) Rasputin (caption): But the var is not over.
Panel 8: The Businessman also looks to the statues, he’s unsure, but amazed.
(8) Rasputin (caption): You have not defeated Russia! She has powers you cannot understand!
Panel 9: The Little Boy and Little Girl look up. The Little Girl points with a large smile on her face. The
Little Boy’s mouth is agape – he’s frightened.
(9) Rasputin (caption): And vith those powers her cannons cannot be silenced!
PAGE 6
Panel 1: From a rooftop we see four window explosions in four buildings cornering the Waterloo Place
square. Bombs have been detonated inside corner rooms in buildings, perfectly choreographed.
(1) SFX: BOOM! BOOM! BOOM! BOOM!
Panel 2: We see rubble from the explosions falling to the ground. People trying to run away from the
street and British Soldiers are blocked inside the square.
(2) SFX: BAM! BAM! BAM! BAM!
(3) People (off-panel): Aaaagggghhhh!!!!
Panel 3: The row of screens shows Rasputin’s hold up his arm. The LIGHT in his sleeve flashes in each
one.
Panel 4: A close-up of the Businessman as he has a distant look. He’s become hypnotized.
(4) Rasputin (off-panel): The var continues!
Panel 5: A close-up of the Flower Girl as she too is hypnotized.
(5) Rasputin (off-panel): There is no escape!
Panel 6: A close-up of the Little Girl as she is now, like the Little Boy, frightened.
Panel 7: The Businessman and Flower Girl stand beside each other, in front of smoldering rubble. They
BLOCK the Little Girl, Little Boy and Mother from getting away. The Businessman holds out his
umbrella like a RIOT SHIELD, keeping them back.
The Mother is in tears, terrified.
(6) Mother: Please. Let us leave .
(7) Mother: Why are you doing this?!
Panel 8: A wide shot of Waterloo Place. Smoldering rubble from the explosions, combined with a line of
people, trap everyone else from leaving.
(8) Crowd: Help!
(9) Crowd: Move! Dear God, move!
PAGE 7
Panel 1: From inside the building , Houdini looks down to what is happening below. He looks shocked
and angry…
(1) Rasputin (off-panel): Like me, you are not fond of this country. But something you love is here.
(2) Rasputin (off-panel): Look down, closer to the statues.
Panel 2: … because right by the Crimean War Memorial – in the midst of the chaos (we see, though not in
great detail, people running behind/in front of her), we see his wife BESS HOUDINI. This is almost like a
big zoom into her so that we know it’s her. She is unconscious in a wheelchair and behind her is the nurse
from Issue #4, who looks scared .
(3) Rasputin (caption): I vanted to give you one final look at your vife, Mr. Houdini.
(4) Houdini (caption): Bess?
(5) Rasputin (caption): Before the final cannon goes off. Before my crescendo.
Panel 3: We see, over Rasputin’s shoulder, Houdini trying to break free of his handcuffs and the two
Goons holding onto him. He’s mad. Really mad. Seething mad.
(6) Rasputin: I am romantic, da?
(7) Houdini: Rasputin! I’ll kill you! –
(8) Rasputin: You vould try, but that vould not be vise.
Panel 4: A close-up of the iron cuffs around Houdini’s hands.
(9) Rasputin (off-panel): I am the one who knows vhere the bomb is. Da?
(10) Rasputin (caption): Besides, you cannot break free of the shackles I have designed for you.
(11) Rasputin (off-panel): You are not the artist you claim to be.
Panel 5: A wide shot of the room. Rasputin points to a large film camera away from them.
(12) Rasputin: Bring the camera. Let us record London falling to its knees. And Houdini .
Panel 6: The Goon walks towards the camera, one of several set up to project Rasputin’s face on the
earlier page. To do so he turns away from Houdini.
Panel 7: A close-up of Houdini’s face, concentrating and looking out of the corner of his eye. He’s got a
plan in place…
PAGE 8
Panel 1: Houdini suddenly SMASHES the first Goon in the face (from below, like an upper-cut but with
two fists) with his iron handcuffs. Make sure to accentuate the goon’s knife flying through the air
(perhaps put it in the foreground).
(1) SFX: WHUMP!
Panel 2: Houdini SMASHES the second Goon into the film camera, which hits the other cameras, ,
SPILLING their film stock onto the ground.
(2) SFX: CRASH!
Panel 3: An insert panel. Houdini (his hands still in the iron handcuffs) PICKS UP the KNIFE that had
fallen to the ground.
Panel 4: With the knife, Houdini SLASHES through a cord connected to the electricity in the room.
SPARKS fly out as he does so.
(3) SFX: HISS!
Panel 5: The room now darkened and lit by only one window, Houdini begins to FLIP over a large, heavy
rectangular table just beside the window, sending a number of the chemicals used to develop film
CRASHING to the ground.
(4) SFX: SMASH!
Panel 6: Insert panel. The table LANDS right in front of the window, obscuring only a small ray or two of
light.
(5) SFX: BAM!
(6) Rasputin: Very impressive, Mr. Houdini.
(7) Rasputin: But you think darkness is your ally? No, I --
Panel 7: In shadows, Houdini smashes the knife down HARD through Rasputin’s forearm, creating a
huge gash! It looks painful.
Not only is there blood that flies with the knife but Rasputin’s robe’s sleeve is also cut. Falling out of it,
to the ground, is a SMALL LIGHT (that looks like a flashlight).
(8) SFX: WHUMP!
PAGE 9
This page will feature five equally sized page-wide panels, all of the exactly same angle. The all feature a
single line of light entering, casting most of the panel into darkness. The only details we see are a tall
hooded man wearing a robe on the left (this is Rasputin) and a shorter, thinner man on the right (this is
Houdini). It almost feels like a classic video game with minimal brightness.
Panel 1: Houdini stands and faces Rasputin who grabs at his bleeding arm.
(1) Rasputin: Nggghh.
(2) Houdini: Don’t think I didn’t notice that trick up your sleeve? No flashing lights, no hypnotism.
(3) Houdini: Now it’s just two men. No tricks, no magic.
(4) Houdini: And even if I can’t beat these handcuffs I can still beat the tar out of you
Panel 2: Much like he did to Rasputin’s first Goon (Page 8/Panel 1), Houdini SMASHES Rasputin over
the head with his iron cuffed arms. Rasputin’s face goes back slightly but nowhere near as far as one
would think it would be after a hard punch.
(5) Houdini: Where is the bomb?
Panel 3: Houdini RAMS Rasputin in the stomach with his iron cuffed hands. Rasputin bows down a bit
as a result, but again, not too much. It’s becoming obvious that Rasputin is able to take a great deal of
pain and NOT BE AFFECTED.
(6) Houdini: Where is the bomb?!
Panel 4: Houdini KICKS Rasputin in his side with a sidekick but the Russian is still standing, having
absorbing the blow – it’s impressive and scary.
(7) Rasputin: You cannot hurt me, Mr. Houdini.
Panel 5: Now it’s Rasputin’s turn. He SLAPS Houdini ACROSS the face with an incredible amount of
force. Houdini is turned around and FLIES through the air from the blow.
PAGE 10
Panel 1: A close-up of Houdini’s drooping, bloody face as it’s YANKED up by a hand clutching his neck.
Panel 2: A large panel, about a half of the page. From a downward angle, Rasputin’s holding Houdini UP
BY THE NECK with one hand (like Darth Vader in Episode 4). With the other hand he has a MATCH
held up to his face. We can see a number of bruises from Houdini’s punches and the bloody arm (from
Houdini’s attack) but Rasputin looks even stronger and more menacing than we’ve seen ever him .
He stares intently at Houdini.
(1) Rasputin: Do you know vhy I hate you?. You are like the rest of the vestern vorld.
(2) Rasputin: You think vealth and fame brings strength.
(3) Rasputin: You turn your back on belief and faith. That is real power. My power. Russia’s power .
Panel 3: We see Rasputin holding up Houdini – and the match – from a different perspective. It’s over the
shoulder of a shadowy figure that has just furtively entered the room and walks towards a large object (a
film camera).
(4) Rasputin: I do not need to hypnotize you. I have already von.
(5) Rasputin: My crescendo – Russia’s crescendo – vill happen in a matter of minutes.
Panel 4: The film camera SMASHES into the back of the unsuspecting Rasputin’s head HARD.
(6) SFX: WHAM!
Panel 5: Caught off guard, Rasputin FALLS into the pile of film that spilled back on Page 8. Also falling
is Rasputin’s MATCH, still holding its flame .
Panel 6: FWOOSH! The film goes up like it did in issue #2 .
Panel 7: An insert panel. A silhouette of the shadowy man as he approaches the flames. He is …
PAGE 11
Panel 1: … Sherlock Holmes! Still alive. His face is bloody and bruised but he looks determined,
prepared to fight Rasputin.
(1) Houdini (off-panel): Holmes? How?
(2) Holmes: I’ll explain later. We need to go, Mr. Houdini.
Panel 2: But Houdini doesn’t listen. He flips the large table onto the dazed Rasputin, screaming at the
crumpled man
(3) Houdini: Where is the bomb? Tell us how to stop it!
(4) Holmes (off-panel): He’s unconscious. We have to go!!
Panels 3 – 5 are a row of thin panels as the flames travel a line of spilled chemicals on the ground towards
the chemicals .
Panel 3: The flames RAVENOUSLY DEVOUR the film – burning along the long unspooled reels.
(5) SFX: HISS!
(6) Houdini (off-panel:) No! He knows where the bomb is.
(7) Holmes (off-panel): He can’t help us, Mr. Houdini!
Panel 4: The flames have travelled along the various mass of film. ONE thick mass of film lies in the
middle of the LARGE puddle of CHEMICALS that spilled in Page 8.
(8) SFX: HISS!
(9) Houdini: Bess will die!
Panel 5: The flames burn along this stretch of film. They are about to reach the pool!
(10) SFX: HISS!
(11) Holmes (off-panel): Bess will die if we don’t help her!
Panel 6: Holmes is grabbing the desperate Houdini, now realizing that an explosion is about to occur.
(12) Holmes: We have to go now!
Panel 7: On Rasputin’s face, he’s regaining consciousness. His eyes are weakly opening. Flames surround
his body.
(13) Rasputin: Hrrr?
Panel 8: Now aware of what’s happening Rasputin’s eyes open wide. He raises his arms, they are covered
with flames!
(13) Rasputin: Hrrrraaaaaarrrr!
Panel 9: Holmes and Houdini run towards the other window (which has a blind down upon it)…
PAGE 12
Panel 1: A full-page splash as Holmes and Houdini (still with the iron handcuffs) jump out of the
window! They both look scared – this wasn’t coordinated at all. They’re acting on pure adrenaline and
instinct.
Behind them the bomb goes off and erupts in a big ball of smoke and flames.
They have just barely escaped.
(1) SFX: BOOOOOOMMMMMMM!!!!!!!
PAGE 13
Panel 1: An extreme low angle as Holmes and Houdini fall to the ground…
Panel 2: … And land (feet first) upon two HYPNOTIZED MEN holding people back. Two fat people,
coincidentally enough.
Panel 3: Holmes and Houdini stare at each other, sitting on top of the people they used as landing spots.
They’ve survived.
(1) Holmes: See?
(2) Houdini: Something…
(3) Holmes: Soft.
(4) Houdini: You…
(5) Holmes: Listened.
Panel 3: They look up…
Panel 4: … To see the building – and flat – they were just in SMOLDERING with flames and smoke.
(6) Holmes: Did he…
(7) Houdini: Survive?
(8) Houdini: Improbable. Impossible.
Panel 5: A wide panel, with Holmes and Houdini in the foreground and on the edges of the panel
(Houdini’s on the left, Holmes on the right). They are observing – analyzing - the CHAOS as PEOPLE
are fleeing and running scared. The Crimean War Memorial in faintly in the background.
(9) Houdini: Rasputin said he wanted five bombs to serve as his for his crescendo. Four have erupted.
(10) Holmes: One left. It’s not in the memorial. Too obvious.
(11) Houdini: He wants Bess dead. The bomb is with someone he trusts or can control.
(12) Holmes: Or… someone who cannot be controlled.
(13) Holmes & Houdini (together): I know where it is!
PAGE 14
Panel 1: A shot of Bess unconscious in her wheelchair, sitting alone in the midst of chaos.
(1) Holmes & Houdini (together, off-panel): Bess!
Panel 2: Holmes and Houdini RUN towards Bess. Houdini is still shackled in the large iron cuffs.
(2) Holmes: We’ll save her, Mr. Houdini, but we have to get everyone clear!
Panel 3: Holmes and Houdini are stopped by TWO MEN, who we only see from their backs.
(3) Holmes: Move! Out of our way!
Panel 4: The Two Men blocking them turn around, and we discover that they are LESTRADE and
WATSON. They both appear to have been hypnotized.
(4) Holmes: Watson? Lestrade ?
(5) Houdini: Let us thr– !
Panel 5: Lestrade swings and PUNCHES Houdini hard in the jaw!
(6) Houdini: Uggghhhh!
Panel 6: As Houdini falls to the ground, Watson has his fists out, ABOUT to hit Holmes.
PAGE 15
Panel 1: An insert panel as Holmes SNAPS his fingers (like in Issue #4, Page 18, Panel 5).
(1) Holmes (off-panel): Призраки остановит вас! (spoken in Russian) Бог увидел слезы твои
Panel 2: Watson looks at his arms, confused.
(2) Watson: I say, what am I doing?
(3) Watson: Mr. Holmes? I had a terrible dream that you –
(4) Houdini (off-panel): How did you know how to stop them?
Panel 3: Holmes helps Houdini off the ground, lifting him with the iron handcuffs.
(5) Houdini: It was the Russian phrase, wasn’t it?
(6) Holmes: Yes, it was. Or it could have been the simple snap of his fingers. That seemed cliché, but
he was rather a frightful showman so I figured I better do both.
Panel 4: Holmes give instructions at Lestrade and Watson. He gestures to the chaos on the street.
If we see Houdini he is half-way put of the panel (he wants to get to Bess).
(7) Holmes: Watson! Lestrade! This phrase will free the people of Rasputin’s influence: “Призраки
остановит вас.”
Panel 5: Houdini begins to RUN from Holmes, Lestrade and Watson, through the chaos of people. He
shouts back over his shoulder.
Behind him we can JUST see Bess in her chair.
(8) Houdini: Rasputin found a way to amplify his voice. Find out how and free the rest!
PAGE 16
Panel 1: Houdini makes it to Bess and her wooden wheelchair. She is unconscious and completely
oblivious to everything going on around her. Her arms are chained with the same iron cuffs that Houdini
has on. Her feet are chained to the wheelchair.
(1) Houdini: Bess! Bess!
Panel 2: A view of Houdini and Bess from the side (their profiles). Houdini stares at Bess, seeing if he
can see any sort of movement within her. Nothing.
(2) Houdini: Призраки остановит вас. (the Russian phrase)
(3) Houdini: Bess! My love! Can you hear me?
(4) Holmes (off-panel): Mr. Houdini?
Panel 3: Holmes and Houdini lie or kneel on the ground, looking below the wheelchair to what has been
set up. They look quite anxious.
(5) Holmes: We need to focus. The bomb is underneath her chair.
Panel 4: A close-up of the underneath of the wheelchair. It’s a large collection of pipe bombs and
dynamite sticks; there’s seemingly enough to blow up the entire block. A number of copper wires are
connected to each of the bombs.
(6) Holmes (off-panel): I thought that Rasputin’s camera technology was ahead of its time, but this
is…
(7) Holmes (off-panel): I can’t even tell how long we have until it detonates.
Panel 5: A close-up of a concentrating Holmes, lying on the ground and working.
(8) Houdini: Not long. Rasputin mentioned it would be done in minutes, which means we have –
(9) Holmes: Less than a minute, I estimate.
PAGE 17
Panel 1: Houdini kneels beside Bess and looks at her hands, tied to the chair with the same thick pair of
handcuffs.
(1) Houdini: Bess, I’ll free you. I’ll…
(2) Houdini: These cuffs are too complex.
(3) Holmes (off-panel): This bomb is too complex.
Panel 2: A wide panel. Holmes and Houdini, on opposite ends of the panel, look at each other, both
fearful of what’s about to happen. The unconscious Bess is framed in-between them.
(4) Houdini: Go, Holmes! Run! There is no point in you dying here!
(5) Holmes: I will not leave you and Bess here.
(6) Houdini: Don’t be a stubborn old fool! Run, or you won’t be able to escape.
Panel 3: “Escape?” Inspiration! Holmes looks at the arms of the wheelchair.
(7) Holmes: Mr. Houdini, the solution is obvious!
(8) Holmes: How did you escape from that prison box?
Panel 4: Houdini looks up at Holmes comprehension dawning on his face .
(9) Houdini: I broke my way out through the old wood.
Panel 5: Holmes kicks the legs of the wheelchair, while Houdini kicks the back of the wheelchair. Both
sections break, allowing Bess to be free from the seat area of the chair, which includes the bomb.
(10) SFX: CRACK! CRACK!
Panel 6: They rush off. Houdini carries Bess over his shoulder, Holmes helping him along. We’re tight
enough on their faces to see the sweat and their fear.
Panel 7: They dive to the ground behind some rubble.
OR
Tighter on the two. Holmes looks over his shoulder. Have they ran far enough ?
PAGE 18
Panel 1: BOOM! The bomb goes off.
With Holmes and Houdini the foreground, protecting themselves – and Bess – behind the rubble, the
biggest part of this panel is the explosion of the bomb.
OR
Holmes and Houdini instinctively cover Bess.
We see fragments of War Memorial fly through the air with the explosion.
(1) SFX: BOOM!
Panel 2: Through the smoke, we see Holmes looking out over the rubble, covering one of his ears and
analyzing the scene of destruction. He’s looking to see if anyone died.
(Lettering note: When a bomb goes off one’s ears begin to ring so it’s tough to hear anything over the
small buzz, which should be put in the rest of the panels on the page, only starting to end with the final
panel (Panel 6 ).)
(2) SFX: BUZZ…
Panel 3: A medium-shot of Houdini looking at his wife. He holds one hand to her neck to check her pulse.
We can tell that it’s good news, though, with the way that Houdini smiles. She’s still alive!
(3) SFX: BUZZ… (getting smaller)
Panel 4: Houdini puts his head up to Bess’, sharing a quiet moment with her. He is all smiles – they’ve
won.
(4) SFX: BUZZ… (getting even smaller)
Panel 5: Houdini and Holmes smile at each other. They’ve survived.
(5) SFX: BUZZ… (getting even smaller)
Panel 6: Houdini and Holmes shake hands, smile on their faces still. Behind them, through the smoke,
Lestrade and Watson arrive, smiles on their faces.
This is a triumphant shot. Everyone has survived so it’s almost like a celebration in slow motion.
(6) SFX: BUZZ… (even smaller)
(7) Houdini: … Thank… you… Sherlock…
(8) Holmes… Thank… you… Harry …
(9) Watson: … They’re… alive…
(10) Lestrade: … Everyone… alive…
PAGE 19
Panel 1: Using the same angle and size as Page 1/Panel 1, this is an establishing shot of Waterloo Place at
night (the sun has just set). It’s a month later so we need the square to look radically different from where
we last saw it (in smoke and ruins, of course). The buildings that had suffered from explosions are being
repaired so we see tarps on some of them, signs of construction on others. Any ruins from the ground
have been removed.
A stage has been set up where the Crimean War Memorial statue had stood. People surround the stage as
someone walks on stage (this is Bess, still in crutches). A banner just above the stage reads “The Great
Houdini Celebrates London!”
(1) Houdini (caption): Mr. Holmes! I am glad to see you.
(2) Holmes (caption): I don’t mean to interrupt, Mr. Houdini. I know the show –
Panel 2: We’re behind the stage. Houdini is dressed in a full black tuxedo while Holmes is in a standard
three-piece suit. Houdini is shaking Holmes’ hand and both are smiling and happy to see each other – like
old friends.
Holmes has a wry smile on his face.
(3) Houdini: “Don’t mean to interrupt”? Has your time in the country changed you? I would be
disappointed if you didn’t interrupt me.
(4) Holmes: Well, I have changed a little. I no longer see dragons or dancing men.
(5) Houdini: Holmes may I ask you something? You shot yourself in the head. You didn’t have a
pulse. How did you survive?
Panel 3: A close-up as Holmes smiles under Houdini’s questioning.
(6) Holmes: You taught me.
(7) Houdini: Me?
(8) Holmes: It took me awhile but I realized how you survived in the sand so long that night on stage.
Panel 4: Houdini is surprised and impressed by Holmes reveal.
(9) Holmes: You studied the Fakirs in India didn’t you? They hold their breath for hours and slow
their heartbeat so as to appear dead. And even a grazed scalp bleeds profusely.
(10) Houdini: But it took me years to master that. When did you???
(11) Holmes: I had a long lunch.
Panel 5: A medium shot of Houdini, also smiling as he reveals his secret.
(12) Holmes (off-panel): And you? How did you discover darkness was the key to holding off
Rasputin? I almost died before I learned that trick.
(13) Houdini: It was when you closed your eyes, just before you shot yourself. It made me think of
your battle with the darkness.
(14) Houdini: And that made me think of light… and Rasputin’s curious sleeve.
Panel 6: A wide panel. On the two ends we see Holmes and Houdini looking at each other, realizing
they’re equals. They both have smiles of recognition.
In the background we see Bess with a spotlight on her on stage.
(15) Holmes: Very logical, Mr. Houdini.
(16) Houdini: I learned from the best, Mr. Holmes .
(17) Bess: Welcome, London!
PAGE 20
This page should have a saturated look to it – each panel away from the action onstage of Waterloo Place.
These will be six page-wide panels, similar to the very first page of Issue #1.
Panel 1: A wide shot of Scotland Yard from Issue #1 – where Holmes and Houdini first met. It’s not
important that the reader knows this but it’s good that we do.
A horse-drawn supply truck goes by amidst other moonlit traffic. On the side of the supply cart are the
words “Russian Film Institute ”.
(1) Bess (caption): … It affords me pleasure for my husband and me to be here tonight!
Panel 2: A wide shot of a London city street – it’s Baker Street. And yes, we see in the corner the same
horse-drawn supply cart wheeling by.
(2) Bess (caption): Tonight is a celebration of London and its citizens.
Panel 3: A wide shot of another London street – this time it’s in front of the Alhambra Theatre (with a
Harry Houdini banner coming down). The horse-drawn supply cart drives past it.
(3) Bess (caption): Proof that no one here can be held prisoner by a madman or his tricks!
Panel 4: We now have a close-up of the horse-drawn supply cart as it goes along the streets.
(4) Bess (caption): For there is no such thing as magic!
Panel 5: We now see inside the supply cart (like we’ve zoomed in); a number of wooden crates are piled
up.
(5) Bess (caption): No such thing as the impossible!
Panel 6: We now are inside one of the crates. A man is located inside and reads a book with a match. He
seems to be wrapped up with a number of bandages over his body (what can be seen in the shadows, of
course). The only real traits that we can discern are his piercing blue eyes and a thick beard. The man?
Rasputin. Still alive.
(6) Bess (caption): Merely the improbable come to life!
(7) Bess (caption): Enjoy the show!
THE END