Darke Rhodes – The Rest of the Story

So I found something that should be of interest to anyone who’s been reading the scripts for my Darke Rhodes of the Soul graphic novel that never was/has yet to happen. Around issue three, I decided to write what is essentially a synopsis — when one makes a proposal for a story, you give a bit of a write up about the characters, maybe a sketch or two, and then a plot synopsis. That’s what I have here — the story from issue three forward — in a conversational “me telling you what’s going on” voice rather than proper prose. So if you were miffed with me for stopping at Script 6, well, here’s the rest of the story.

If you have no bloody idea what I’m talking about, go here, and it’ll tell you all you need to know.  If you just want the gist from beginning to end, you can probably get away with reading Script 1, Script 2, and then skipping back to read this synopsis if you like.

As always, if you are a budding comic artist and you’d be interested in taking this on as a project, I’d be more than happy to work with you and develop scripts for the second half — but right now, Scripts 1-6 is about 180 pages worth of material, so I’d say you have a pretty good chunk to start with. I’d love to see this become something cool someday, but for now, it is what it is.

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Rhodes synopsis, starting with issue three:

Okay, so it turns out that Janet is a model who’s checked herself into the clinic to deal with her issues of S.C.D. (Sexual Compulsive Disorder – I’m making this up, but who’s to say it’s not real?) Anyway, when she first tells Rhodes she has SCD, he thinks she says STD and freaks out a bit…  but anyhow, moving the plot along, several weeks later, Rhodes and Janet check out of F.N. C.R.A.C.I. and Rhodes tells the band he’s in love.  He’s not cured, but he’s all happy ‘cause he’s in love (and it’s going to be disgustingly sweet, which again, is comedy gold, because we’re going to hear this tough Dark Lord Rhodes using words like “sweetums” and “honeypie” etc… yuck!)

And yes, I know that getting involved with someone from rehab or therapy is an ABSOLUTE no-no, and against all the rules, but he’s “Darke F-ing Rhodes, god dammit, and I’ll do what I want” (his words, not mine – I’ve created a monster).

Okay, now from here, every step forward in the relationship is a complete mistake and disaster. This is the most dysfunctional, yet somehow functional relationship EVER. (‘cause they’re both flipping nuts!) But Rhodes, hypocritically, has trust issues, and when Janet’s away on a photo shoot, all he can do is picture her in the arms of some topless Fabio type (this should be funny to write/draw – fantasies reminiscent of the covers of paperback romance novels) and he’s a nervous, jealous wreck the whole time she’s away. He stars writing sappy love songs… SO out of character that at first the band doesn’t want to play them, and threatens to break up… the record company is demanding a record, but doesn’t want any of his love songs, so Phil convinces them to release a compilation of Rarities and B-Sides, titled (get this) “Rhodes Less Travelled” (good, right?)

After Janet comes back from one of her photo sessions (2 weeks away in some tropical paradise wearing little more than her underwear the whole time), Rhodes asks her to move in with him, and they get a new place together. (Rhodes is just being possessive – he doesn’t REALLY want to do this).

As time goes on, Janet is pressuring Rhodes to get married, she wants to settle down and have kids… Rhodes keeps deflecting her, telling her he’s not ready, what kind of parents would they be, etc. etc., and then one day, he compromises and surprises her by bringing home a dog… a cute little Irish Terrier which they name Bowie.

All this time, Rhodes is flaking out on the band… showing up late for rehearsals, blowing off meetings, etc… basically alienating himself from the guys (because of Janet). Janet feels bad and tries to do nice things for the band, etc… including buying them all the cars they wanted (remember, Janet’s a model and has $$$$, too)

Anyhow, Janet also continues to pressure Rhodes to marry her, and Rhodes is beginning to crack. He’s all nervous and afraid of commitment, but he decides that he’s going to take the plunge, and so he goes out and buys a huge rock. When he goes home to propose to her, as he is outside the door, he hears Janet talking to some guy, telling him how much she loves him, and how she wants only him for all time, etc.. and he runs away from the house, heartbroken. He waits for Janet to leave, then goes into the house and trashes the place, painting the word WHORE on the wall. (I picture a great full page shot of the trashed house, with WHORE on the wall and poor Bowie standing in the middle of it, head cocked to the side.) This issue will end with Rhodes rummaging through her dresser, looking for evidence of an affair, and finding a gun – not his – and he’s surprised to see it – like “WHY THE HELL DOES SHE HAVE A GUN?” He takes the gun and leaves (this will end this issue.)

Next issue: flash forward one month. (So here’s where things start to get crazy.) Rhodes, Number 1 & Number 2, Phil, and one of Janet’s friends are all at the restaurant (Chloe, the disapproving girlfriend who hates Rhodes, but that’s okay because he hates her, too. I want to work in an incident where she’s considering getting a tattoo, and Rhodes sends her to a friend of his, who gives her a Chinese character tattoo (oh, so trendy!) which he tells her means “beautiful soul” or something, but which really means “Caucasian whore”.)

Rhodes has a gun in his hand, and there are police cars outside, floodlights shining through the windows, and everyone is cowering and freaked out. (Basically, it looks like a hostage situation.) The police ask him what he wants, and he tells them that all he wants is Janet Silvia. (Unfortunately, Janet is off somewhere and can’t be easily located.)

OKAY… flash back THREE WEEKS EARLIER.

After he trashes his and Janet’s house, he ends up on (don’t know yet… #1? #2? Phil’s) doorstep, and stays with them that night. The next day, he wakes up and goes out to his car, which has been splattered with “blood” and has all kinds of nasty things scratched in it. I guess Janet didn’t take him trashing the house very well. NOW please note at this point that they haven’t even TALKED to each other. Janet has NO IDEA why Rhodes did what he did. And really, Rhodes has NO IDEA what is going on with Janet, other than what he thinks he heard. They’re both just nuts and impulsive and volatile. Seeing the “blood” makes Rhodes go crazy again, he blacks out… but refuses to talk about what’s going on with his band mates… doesn’t want to talk about it… but they just know that something is up.

A week later, (maybe he goes to the hospital again?) he calls Janet and tells her he wants to talk to her… explain things, apologize, make peace, etc… They get together for a nice dinner at home, have a glass of wine together, chit chat, but don’t really talk about what’s going on, and Rhodes drugs her food/wine, and when she passes out, he shaves off all of her hair (yes, you read that right).

One week later (getting closer to the present)… maybe say TWO DAYS AGO… the band is practicing in a big house (Phil’s? who knows… maybe a studio space or something) and a package arrives for Rhodes… a big chest cooler. NOW… it’s important here to mention that there was SUPPOSED to be a note attached, but it fell off somewhere along the way… maybe even just at the foot of the driveway, and we’ll show the reader what the note says, but Rhodes never sees it (I’ll get back to that in a minute)

The guys open the cooler, and there, packed in ice, is Bowie… or, what used to be Bowie… he’s dead, and has been shaved nearly bald, with only patches of fur on his face where it was too hard to shave off.

Yes, it’s horrible, and it’s the last straw for Rhodes, who loved that dog.

NOW… back to the note… the note reveals that Janet had initially just wanted to give Bowie a summer cut, but he wouldn’t hold still, and so she had taken Rhodes’ idea and had drugged the dog so she could shave him while he was asleep… but then he never woke up… she gave him too much and he died. She’s as heartbroken as Rhodes, and the note says how she thought that Rhodes would want to be able to say good-bye and bury him, which is why she sent him the dead body (yes, it’s a little fucked up, but her intentions were… um… good?) She also says she doesn’t know how things got so out of control and that this all needs to end now.

Of course, Rhodes never reads any of this.

Rhodes sends out an email to #1, #2, Phil, Janet and Chloe (he wants witnesses) and invites them all to a public place (restaurant) where he plans on burying the hatchet with Janet. Truce. White flag… all that.

Flash forward to the night of the restaurant. Janet’s not there… she didn’t even get the email… she’s off in a clinic, hiding out (I mean, she has to wait for her hair to grow back, doesn’t she?) or somewhere.

Rhodes tells everyone that Janet was cheating on him, and they all express their shock and disbelief. They say how she was crazy about him, and that she’d never do that… Rhodes brings up her SCD, and they tell him that’s a pretty low thing to bring up – after all, she didn’t hold his craziness against him, etc… then he pulls the gun out of his pocket and says that they didn’t know her; she was keeping secrets – why did she have a gun? Phil tells Rhodes that HE gave her that for when the band was out of town. She didn’t want it, didn’t think she needed protection, but Phil insisted. Then Rhodes tells them about how he bought a ring, and was going to propose to her (all the while getting upset and waving the gun around) and then tells them what he heard. Jaws drop, and Chloe reveals that Janet was talking to her on the phone… that Janet had given up waiting for Rhodes to pop the question and decided that hell, it’s the 21st century, and she’d ask him to marry her! So what Rhodes heard was Janet rehearsing what to say… she was nervous and wanted to run it by her girlfriend first. (At this point, I’m sure Chloe has a few choice names to call Rhodes, all of which he deserves, of course). Rhodes, upon hearing this news, lets his hand slip and the gun (which he had no idea was loaded) goes off, blowing out the window beside their table.

NOT GOOD. This accidental gunfire freaks the whole restaurant out even more, and panic follows… Rhodes starts waving his arms around and yelling at everyone to calm down; that it was an accident. Of course, to an outside observer, this looks like hostile behaviour, and someone calls 911.

Flash forward to NOW, which started with Rhodes yelling that all he wanted was to see Janet Silvia. See, now he knows everything, and all he wants is to reconcile with “the woman he loves, if she’ll still have me” blah blah blah (hilariously pathetic)

Now, the climax: Rhodes is apologizing to everyone, telling them that no one’s going to get hurt; that it’s all just a big misunderstanding. Meanwhile, the police HAVE located Janet. From behind him, Rhodes hears Janet’s voice coming from the kitchen door. (They let Janet in the back door or whatever… doesn’t matter…). Seen from behind, we watch her approach Rhodes. She’s holding a big meat cleaver style butcher knife behind her back. See, once she heard that Rhodes was holding her friend hostage, well, that was the final straw for her. In her mind, she had sent the note with the dead dog asking for truce, so Rhodes “holding people hostage” is like a big slap in the face (another huge misunderstanding, because, well, Rhodes ISN’T holding anyone hostage, but that’s what the police told her – it’s a comedy of errors, really – more Shakespeare for you)

Anyway, she approaches nicely, and tells Rhodes to put the gun down on the bar… (He’s holding the gun in his right hand… in his left hand, though we don’t know this yet, he’s holding the ring he bought for her clenched tightly in his fist.) After he puts the gun down, he reaches out to embrace her, and in one swift motion, she forces his left hand down on the bar, and swings her other hand around and cuts his hand clean off… beautiful visual of the butcher knife stuck in the bar, and the fingers pull back, revealing the diamond ring sitting in the palm. At the sight of all the blood (and, I imagine, a considerable amount of pain) Rhodes passes out on the floor, while the police bust in with the medics, who load him on to a gurney. Janet just keeps looking at the ring in the hand, and puts two and two together (even though this is just messed up and dysfunctional, and completely surreal) and realizes that he was going to propose. SO of course she immediately regrets what she’s done, and grabs the hand and puts it in a bowl of ice and places it on the gurney with him, as he’s being loaded into the back of an ambulance. As he regains consciousness, he hears her crying sickly sweet endearments (you know, stuff like “Oh, pookie bear, I’m so sorry! I love you so much my dark little night elf!” and asking the medics “you can fix him, right? Tell me you can fix my pookie bear!”.) She’s hysterical. Finally, they give her a sedative and load her into the ambulance beside him. Great shot of them lying side by side in the ambulance, drug induced smiles on both of their sleeping faces.

OK… so then, the denouement:

The two of them are in counselling, Rhodes has his hand reattached, all wrapped in bandages… they’re all cuddled up beside each other on the therapist’s couch, all smiles (very odd) and they’re no longer psycho with each other… they’re back to all the “sickly sweetness”, calling each other pet names and being all kissy. They tell the doc how the band broke up, but that’s okay, ‘cause Rhodes is starting a solo career with his love songs, etc… and they’re happy as can be. “I mean, sure we have our issues, but doesn’t everybody?”

Hell, it’s as “happily ever after” as I could think of… in a fucked up way.

Dark Rhodes – Script 6

Darke Rhodes, v.6

Plot Synopsis:  This issue opens with Phil sitting in a boardroom with Number 1 & Number 2 and three record executive types… gold records on the walls, etc… Phil’s embarrassed because Rhodes didn’t show up.  The record execs are impatient, and reluctantly reschedule the meeting for two weeks later, but only because Phil told them that they had some new songs to show them.  The record execs express concern about Rhodes’ recent erratic behaviour and stay in the rehab clinic.   Phil assures him that Rhodes is better than ever, in fact, he’s in a solid relationship, and most likely, that’s why he’s not here for the meeting… he’s just madly in love.

The record execs say that that’s all well and good, but it can’t interfere with his work – they remind Phil that there are contractual agreements to be fulfilled, etc.

One exec comments that maybe the relationship will end badly, and they’ll get another dark brooding masterpiece like (insert yet unnamed fictional classic ‘Darke Rhodes’ song title here).  They all look hopeful at the demise of Rhodes’ relationship with Janet.

Number 1 and Number 2 think that would just be the greatest thing that could happen.  “We can only hope….” They say.

Meanwhile, back in L.A., Janet is taking Rhodes shopping for all kinds of designer clothes and changing his look completely.  He’s in love, so he tolerates being dressed up like a Ken doll (might make use of that phrase, that’s good).  He’s also inspired to buy an acoustic guitar, a microphone and some very basic recording equipment… he likes the idea of hanging out in L.A. for a couple of weeks and recording a demo of some of the songs he’s had kicking around in his head.  He calls Phil and gets chewed out and told that Phil saved his ass, by stalling the record company people by telling them there were new songs… Rhodes tells him about his plan to record some demos in L.A., and Phil tells him he has two weeks.

Two Weeks Later, Rhodes shows up back in San Francisco to meet with Phil, Number 1 & 2 and the record company people…. He looks clean cut and preppy, and has a CD with him of some songs (which are sappy love ballads that sound like Hootie & the Blowfish), which he then proceeds to play for everyone.  The record execs are furious.  They think it’s a joke… they think that the band is trying to get out of their contract – they threaten to sue.  They compare it to Neil Young’s recording of what David Geffen called “uncharacteristic” albums in order to get out of a contract.  Tempers are high… Phil tries to mediate, assuring the execs that he had no idea what was going on, Rhodes has just arrived back from L.A., and they haven’t seen him until now, and could they have a moment to talk as a band.

Phil rips Rhodes a new one and Number 1 and Number 2 are emphatic that they will “not play that pappy, sentimental crap”.  Rhodes threatens to quit the band, and Phil reminds them that they are under contract for 2 more albums, and that Phil MADE them what they are, and if Rhodes does this Phil will ruin him.  They are at an impass.  Phil strikes a compromise.  He tells Rhodes that if he agrees to keep the band together, and give the record company something that is characteristic of Darke Rhodes, that Phil will help him find a way to do a solo album with the songs he’s just recorded demos for.

Rhodes tells him that he doesn’t know if he can write anything like that right now… he just doesn’t feel it.  Number 1 & 2 look pissed this whole time.  Rhodes says he needs more time, Phil says they don’t have more time, they need to pitch something NOW.

Rhodes says “Well, if they want a Darke Rhodes album, we’ve got plenty of b-sides and archives stuff… what about a rarities album?  Hell, we could even record a new song for it, just so they have a single.”

Phil likes the idea, but asks what new song they could record.

Rhodes replies with a grin, “What do you do when you’ve got nothing new? We’ll do a cover…”

Phil tells him to get the hell out of there.  He’s still pissed at him, but he assures them he can sell the record company on the idea, and that they’ll get together for rehearsal that afternoon, and that Rhodes had BETTER damn well show up this time.  Rhodes tells him that Janet’s working, so don’t worry, he’ll be there.

Meanwhile, Janet’s off on a shoot in some exotic tropical location, and the whole time she’s gone, Rhodes is worried that she’s screwing someone else.  He’s insecure about her sex addiction, and he keeps picturing her in the arms of some Fabio type from the cover of a romance novel.  I’m picturing these moments of insecurity interspersed throughout the rest of the story… ie. Rhodes is daydreaming about Janet, and then the daydream turns sour… Janet with another guy, etc… but first it needs to be established that Janet’s away elsewhere.  Maybe in Rhodes’ initial phone conversation with Phil while he’s still in L.A… something like “Well, Janet takes off for Aruba in 2 weeks, so that’s perfect, Phil.  I’ll see you then…”

Rhodes shows up for the rehearsal, and Number 1 and Number 2 are pissed at him.  They show him a tabloid with the front page article being pics of him and Janet, with the caption “Beauty and the Beast”

Rhodes is unimpressed, and laughs at how unoriginal it is.  Number 1 & 2 tell him that it makes him look like an idiot, which in turn makes them look like idiots.  The article basically calls him a freak and her a whore.  They draw attention to the quotes about “Darke Rhodes’ life, as well as his career has been in the toilet for some time, and is grasping any chance to get back in the eye of the media.” And the quote about “Darke Rhodes, the latest in a long line of men connected with Miss Silvia, is certainly the strangest… let’s see how long this one lasts.”  And more especially the quote that says “a source close to the couple revealed that the beauty met her beast in rehab for ‘every drug known to man’ and that it was only a matter of time before they were no longer co-dependant on each other.  ‘In the meantime’, our source speculated with a nod and a wink, ‘they could both use the publicity, if you know what I’m saying’.

Rhodes knows immediately who the source is, and responds with a righteous “THAT BITCH!”

Number 1 and Number 2 try to hit him up for info on Janet, and he tells them how she’s away in Aruba…. Number 1 plants seeds of doubt… how can he trust her, etc, etc… she’s Janet Silvia… she’s a total nympho… do you really think she’s going to be faithful to you down in Aruba, etc… Number 2 takes the position of telling Rhodes that he’s no saint, himself… is he going to give up all the groupie booty?

Rhodes gets defensive and tells the guys they don’t know what they’re talking about, he’s in love for the first time ever, and it’s different from just banging groupies, etc… and that he knows that she loves him, too (flash to him thinking of her posing for swimsuit shots, etc… morph into him worrying that she’s going to mess around with someone down in Aruba)

Phil shows up and reveals that the record company bought the idea of the B-Sides & Rarities album, especially after Phil pitched the title: Rhodes Less Traveled.  The band all like the idea and sit down to pick which songs might go on, and what cover they might want to record, when the doorbell rings, and there’s a delivery guy at the door with 4 small packages; one for each of  them.  The next issue will pick up here, with the reveal of “what’s in the packages”.

Page 1: full page:  POV: full page shot of a boardroom, shot from behind and slightly above Number 1, Phil, and Number 2, who are standing at the bottom of the page.  In front of them is a long rectangular table, with 5 people sitting around it.  These are the “suits” – record executives.  It’s a well-lit room, and the table is like a perspective shot, showing distance.  1,2 & Phil’s heads should be the biggest, trailing out to the head executive, sitting at the far head of the table, being the smallest.  Around the table, clockwise starting with the person sitting on the bottom left (which will actually be about mid-panel) we have a woman, call her “Suit A”, mid to late thirties, looking bored.  She’s dressed in a business suit jacket and a skirt, her hair pulled back painfully tight.  To her left, an older looking man, I’m picturing someone who looks like George Hamilton.  Fake tan, botox tight skin, dressed sharp and conservative, call him “Suit B”.  To his left, at the head of the table, we have “The Executive – Steve”, dressed surprisingly casual for the head of a record company.  He’s wearing a plain white t-shirt under a sports jacket and slacks, sleeves of his jacket pushed up.  Don’t get me wrong… they’re nice clothes.  Sure it’s a t-shirt, but it’s Versace or something, and the sports jacket cost $1200 or some nonsense.  He’s looking at his watch and frowning.  He’s got a mug of coffee in front of him.  Behind him, on the wall on either side of his head are gold records.  To his left (continuing clockwise) we have “Suit C”, a misfit-looking woman with short cropped purple hair and horn-rimmed glasses, maybe a nose piercing or something.  She’s dressed nicely, but oddly.  She’s the goth element.  She, like everyone else at the table, is looking bored and impatient.  To her left, and the final person at the table, is “Suit D”, a middle-aged man of Asian descent, wearing a blue and white striped shirt and a solid blue tie, maybe even some suspenders… looking very business-like.  He’s flipping through some newspapers in front of him, ignoring the others.

On the table, aside from the newspapers, are the usual things you’d see at a staff meeting – glasses, a pitcher of water, coffee service, maybe some croissants/danishes, etc… Also, most likely there will be pads of paper, pens, etc…. in front of everyone.  It’s important to me for these full page shots, especially, to be visually interesting.  Take colour and light into consideration when creating the table, etc…

Back to Number 1 & 2 and Phil, they’re standing almost, but not quite, at the base of the table, where there are four chairs awaiting them (we may see the backs of these chairs), as if they’re approaching the table.  They’ve been standing there for a while, and were uncomfortable at the idea of sitting, so they’ve been awkwardly standing there waiting for Rhodes to show.   Phil is bookended by Number 1 & 2, who both have their heads slightly turned inward to murmur at him.

Text Bubble #1: (Number 1) (under his breath, small font) He’s not coming, is he?

Text Bubble #2: (Phil) (also under his breath, small font) No, I don’t think so.

Text Bubble #3: (Number 2) (small font) We are so royally fucked.

Page 2: Panel 1:  POV: 3rd person, widescreen shot, zoomed in on The Executive, catching him from about the chest up.  The heads of Suits B & C will likely be visible, framing the shot, as would the gold records on the wall behind him.  The Executive looks exasperated, as if he’s sighing.

Text Bubble: (The Executive/Steve) Thank you, gentlemen, for wasting all of our time here today.  Please be sure to thank Mr. Rhodes for me, too.  This meeting is over.

Page 2: Panel 2: POV: 3rd person wide shot of Number 2, Phil & Number 1 (left to right), seen from about their chests up.  Phil is smiling a “schmoozing” smile, maybe has his hands spread as if to say “c’mon”.  Number 2 & Number 1 are looking nervously away, muttering under their breath.

Text Bubble #1: (Phil) C’mon, Steve, you know how Rhodes can be.  I’m sure there’s a good reason for him not to be here

Text Bubble #2: (Number 2) (small font) Yeah, right.

Text Bubble #3: (Number 1) (small font) I’m sure

Page 2: Panel 3:  POV: the next three panels will be close up, head shots of three of the “Suits”, beginning with “Suit A”, the business suit lady with the severe hair.  She’s making an expression of amused contempt… a slight smirk, but with annoyed undertones.

Text Bubble: (Suit A) Well, sure – he could be in jail

Page 2: Panel 4:  head shot of “Suit B” – Mr Fake Tan, silver fox…. Looking amused, less contempt with him… he’s likely self-medicated, so he really doesn’t care.

Text Bubble: (Suit B) Or locked in the trunk of a car

Page 2: Panel 5:  head shot of “Suit C” – the goth nerd…. She’s nearly expressionless.  Maybe she’s looking down, doodling or something, doesn’t even look up.

Text Bubble: (Suit C) Or maybe he’s back in rehab…

Page 3: Panel 1:  POV: side profile of Phil from the shoulder up, angry, right hand out, left hand “counting out fingers” of his right hand (he’s making a “first of all” speech)  This is a half page, and Phil’s taking up the left half of the panel (leaving room for dialogue on the right half).  He’s angry, not only because Rhodes didn’t show, but because now he has to defend Rhodes, and has to act all defensive and offended on his behalf.

Text Bubble: (Phil) Look, first off, Rhodes has NEVER been convicted of anything, and his recent stay at the F.N. Centre was due to sheer exhaustion!  He’s not a machine, you know!  And that whole “locked in the trunk of a car” thing was just a stupid prank played by these two jokers.

Page 3: Panel 2:  POV: 3rd person, widescreen shot of Number 2, Phil and Number 1, pulled back enough that Suit D is visible on the left and Suit A is visible on the right.  The three of them are standing at the end of the table, Phil still playing the role of defending his client, while Number 1 & Number 2 are smirking a bit at the trunk of the car story.  Suit D has a tabloid newspaper in front of him, and has his hand slapped down on it.

Text Bubble #1: (Phil) The truth is, Rhodes is doing better than ever.  In fact, he’s in a solid relationship, and, well, not that it’s an excuse, but that’s probably where he is now – holed up in some love nest…

Text Bubble #2: (Suit D) with Janet Silvia.  Yes, we know.

Page 4: Panel 1: POV: 3rd person, looking over Phil’s right shoulder (the back of his head and shoulder will be in the pic) to look at the tabloid paper, which has a picture of Rhodes & Janet on the cover, with the caption “Beauty & The Beast?”.  The name of the paper is the Inquirer or the Inquisator or something like that…..  Dialogue is coming from off panel

Text Bubble: (The Executive/Steve) …and we don’t care, Phil.  It can’t interfere with his work.

Page 4: Panel 2:  POV: 3rd person shot of “The Executive” at the head of the table, from about the chest up.  He’s leaning over with his arms folded in front of him on the table.

Text Bubble: (The Exec) You still owe us two albums, Phil.  There are contractual obligations to be fulfilled.

Page 4: Panel 3:  POV:  1st person from Phil’s POV, looking at the table of “suits”.  In his mind’s eye they’re smiling devilishly, and have horns coming out of their heads.  This would look hilarious if the horns were just “drawn on” as if this is a snapshot that Phil’s doodled on in black pen.

Text Bubble #1: (Suit B) Well, maybe this whole relationship thing will go bad…

Text Bubble #2: (Suit C) We are talking about Janet Silvia, so…

Text Bubble #3: (Suit A) Right… and then maybe we’ll get another dark, brooding masterpiece like “Sunday Never Says Goodbye”

Text Bubble #4: (Suit D) Now that was a great record.

Page 5: Panel 1:  POV: 3rd person widescreen shot of Number 2, Phil and Number 1, from the shoulders up.  Both Number 1 & 2 are smiling hopefully, while Phil has a stunned look on his face.

Text Bubble #1: (Number 2) We can only hope (bottom left panel)

Thought Bubble (Phil) yeah…. okay (top right panel)

Text Bubble #2: (Number 1) Fuck yeah (bottom right panel)

Page 5: Panel 2: POV: 3rd person… this is a shot of Rhodes & Janet in the shower, behind frosted glass, so they’re just silhouettes.  This is a full width shot, so the shower door should be framed by the bathroom wall (see storyboard).  Rhodes is standing under the shower head on the right of the panel looking to the left of the panel.  Janet is bent over in front of him “picking up the soap” with her ass pushed into his crotch.  Rhodes has his right hand in his hair, and his left hand is on Janet’s ass.  (well, this is all silhouette, so it’s just two stick figures, basically…. But sexy stick figures.

Text Box: (top left) Meanwhile, down in L.A…

Text Bubble: (Janet) Oops! I dropped the soap!

Page 6: Panel 1:  POV: wide “scenery” shot of the boardwalk of Venice Beach, from behind Janet and Rhodes.  They are at the very bottom of the panel, nearly all the way to the right, walking on an asphalt path.  We see the path leading on into the distance, and to their left is the sand, volleyball nets (with people playing volleyball), the ocean, a person playing guitar by the path.  To their right are various shops.

Text Box: …and afterwards

Text Bubble #1: (Rhodes) You now, I’m really glad you talked me into coming.  This is just what I needed.

Text Bubble #2: (Janet) Hmm. Me, too.  Do you know what else we need?
Text Bubble #3: (Rhodes) What’s that?
Text Bubble #4: (Janet) Some new clothes!

Text Bubble #5: (Rhodes) Whatever you say, honey.

Page 6: Panels 2-4:  POV: the next three shots are full height, mannequin-like shots of Rhodes trying on 3 different very-un-Rhodes-like outfits.  Like khakis and polo shirts or some preppy shit.  Just think California beach boy.

Page 7: Panel 1:  POV:  3rd person shot of Janet, full height, posing in a beautiful, flattering sundress, with laced up sandals.  She’s smiling, looking sexy…. She knows she looks good, but she’s not being conceited, she’s just happy.

Text Bubble: (Janet) So… What do you think?

Page 7: Panel 2:  POV: 3rd person shot of Rhodes, full height, looking stiff and uncomfortable in khakis and a collared, short sleeve shirt.

Text Bubble: (Rhodes) You look fabulous.  I, on the other hand, look like a Ken doll.

Page 7: Panel 3:  POV: extreme close up  of Janet and Rhodes, in side profile, facing each other (that whole “inverted space” thing happening between them)  Janet’s leaning in to kiss him, a sexy grin on her face.  Rhodes can’t help but smile.

Text Bubble #1: (Janet) Well, I think you look sexy

Text Bubble #2: (Rhodes) Alright.  Ken doll it is, then.

Text Bubble #3: (Janet) That’s right, mister.  You’re my anatomically correct plaything, and don’t you forget it.

Page 8: Panel 1:  POV: 3rd person widescreen pulled back shot of Rhodes and Janet on a couch.  Rhodes is on the right of the frame, sitting and playing an acoustic guitar.  Janet is on the left of panel, laying down, lounging, with one leg up on the back of the couch, the other across Rhodes’ lap.  Rhodes is wearing jeans and is shirtless.  Janet is wearing a t-shirt and striped, thong-style panties.  They’re both very happy and relaxed.  Rhodes’ hair is still all wild at this point.  This is “three days later” than the last panel.

Text Box: Three days later…

Text Bubble #1: (Rhodes) You know, I think I want to pick up a mic and maybe an iBook or something – I want to get some of this stuff down.

Text Bubble #2: (Janet) It sounds really good, Rhodes… and Phil and the guys will be happy that you’re writing.

Text Bubble #3: (Rhodes) Well, I don’t know if this is quite what they’re expecting, but it’s just what I’m feeling right now – like I need to explore different directions.

Page 8: Panel 2:  POV: 3rd person shot, from about Rhodes’ waist up, of Rhodes, still holding his guitar.  Janet has moved behind him and wrapped her arms around his chest, resting her chin on his right shoulder.  They’re still both all smiles.

Text Bubble #1: (Rhodes) Speaking of Phil, I should probably give him a call.

Text Bubble #2: (Janet) Well, it has been three days.  He should have calmed down by now.

Page 8: Panel 3:  POV:  close up of Rhodes’ and Janet’s heads, in the same pose as the last panel.  Rhodes is grinning guiltily, like a cat with a canary in its mouth.

Text Bubble: (Rhodes) You know, I kinda doubt that, but…

Page 9: Panels 1-8:  POV: the next eight panels are basically split-screen “phone conversation” type shots.  On the left of the page, Rhodes will be holding the phone receiver in his left hand, on the left of the panel,facing the centre of the page (side profile, with the phone in his hand, held up to his ear)  His expression may change slightly panel to panel, but not much.  On the right side of the page, Phil will be on the right side of the panel, facing the centre of the page (leaving room for the dialogue in the centre of the page.  Phil is angry, and doesn’t lighten up until panel 8, and even then he’s skeptical.  Phil’s wearing a hands-free headset, or maybe even just one of those Bluetooth earpieces

The dialogue will go as follows:
Panel 1:  (Rhodes) Hey Phil.  It’s Rhodes

Panel 2: (Phil) Ritchie!  Three days!  Three FUCKING days!  WHERE HAVE YOU BEEN?

Panel 3: Jeez, Phil, you sound like my mom.  I’m fine.  I’m in L.A. with Janet

Panel 4: L.A.?  What the fuck are you doing in L.A.?  You were supposed to be at rehearsal. ‘No problem,’ you said. ‘Don’t worry, Phil,’ you said.

Panel 5: Look, Phil, I just needed to get away for a while and clear my head.  I needed a rest.

Panel 6: What, six weeks of rehab wasn’t enough for you?  Do you have any idea how pissed off the record company is?  I had to promise them new songs, Ritchie!  I don’t know how much longer I can stall them.

Panel 7: You won’t have to, Phil.  I’m actually working on some new songs now.  I’m thinking of putting together a demo while I’m here.

Panel 8: (and here, Phil’s eyes bug out of his head, and a beginning of a smile appears) Really? That’s… that’s great, Ritchie… that’s good.  But we’ve got the meeting rescheduled for two weeks from yesterday, so you’ve got two weeks.

Page 10: Panel 1:  POV: 3rd person shot from right beside Rhodes’ head (still on phone) but Rhodes’ head is just in the bottom left corner of the panel, which is the full with of the page (about 1/3 of the page).  Rhodes may be talking on the phone, but he’s looking over at Janet, who’s sitting on the bed, naked and holding his guitar in front of her upright, strings out, the guitar’s neck on her shoulder, like she’s hugging it.  In essence, the guitar is covering most of her… it’s meant to be sexy, not obscene.  She’s smiling coyly at Rhodes.

Text Bubble #1: (Janet) (small font, whispered) Come and play!

Text Bubble #2: (Rhodes) No, that’s perfect, Phil. Janet heads to Aruba for a shoot in ten days, so I’ll see you in two weeks.

Text Bubble #3: (Phil) (small font… his voice coming from the phone) You’d better show this time

Text Bubble #4: (Rhodes) I will, Phil… look Phil, I really gotta go…

Page 10: Panel 2: POV: 3rd person shot…. 2/3 page… This shot should be super sexy and not lewd or obscene at all.  This shot is of Rhodes with his head buried in Janet’s lap, his arms reached around her, pulling her against his face.  All we basically see of Rhodes is the back of his head, all that wild hair, and his arms wrapped around Janet.  Janet is still hugging Rhodes’ guitar, the neck of the guitar curled into her neck, her face in an expression of pleasure, eyes closed, mouth wide open.  The bottom of the guitar is pressing on the top of Rhodes’ head as he goes down on her.  Janet’s not quite sitting up, not quite laying down…. Her legs are dangled over Rhodes’ shoulders.

Page 11: Panel 1:  POV: 3rd person widescreen shot of the boardroom from earlier in the issue.  In the forefront, approaching from the left of the panel, is Rhodes, dressed in trendy threads and with a new, short cropped, “Clooney” cut (Caesar) and wraparound shades.  He’s wearing designer jeans and a black fitted shirt.  Everyone in the foreground should be about full height (maybe their feet are cut off? Not essential)  Rhodes is  carrying a CD on his finger.  To the right of panel are Number 1, Phil and Number 2, looking baffled.  Behind them, we can see the boardroom table with the same people from before seated around it.  This is two weeks later.

Text Box: Two weeks later

Text Bubble: (Rhodes) Hey all… sorry I’m late.

Page 11: Panel 2:  POV: 3rd person close up of Rhodes’ face, and he’s holding the CD out, top side up so we can read what he’s written on it…. Like a magician holding out a deck of cards, and with the perspective, it’s almost like we’re seeing two faces…. Rhodes’ and the CD become nearly the same size.  Rhodes has a triumphant smile on his face, as if he’s just delivered scriptures from heaven.  The text on the CD reads Rhodes V.B. Demos

Text Bubble: (Rhodes) I trust this is what you’ve been waiting for.

Page 12: Panel 1:  POV:  3rd person, widescreen medium close up of Phil and the guys facing Rhodes.  Phil has his hand on Rhodes’ shoulder as if he’s going to hug him or something.  Phil’s smiling… but like he’s trying not to laugh, and Number 1 & 2 are still fairly stoic…. Bewildered and a bit worried at Rhodes’ new look.  Rhodes’ grin is fading at what Phil says.

Text Bubble #1: (Phil) Ritchie, is that really you?  Man it’s good to see you! AND you’ve got the demo!  I take back most of the bad things I said about you.

Text Bubble #2: (Rhodes) Most?

Text Bubble #3: (Phil) Yeah, well, you’re still a fucking douche most days, but forget that!  Let’s hear what you’ve got!

Page 12: Panel 2:  POV: widescreen shot pulled way back, so that everybody, the table, everything in the room is in the shot (POV 3rd person from behind and above Rhodes et al, with the Executive being at the top of the panel)  In this shot, they’re listening to Rhodes’ demo, so have some speakers with lines indicating that music is coming from them, with the lyrics floating by them as well (not in any text bubble or box)

Lyrics: The sun is shining just for you,

It makes me laugh to see

The shadows on your face

Fall sweetly into place

My love you can’t erase

Page 12: Panel 3:  POV: wide shot, 3rd person from behind Suits C&D, with Rhodes on the left of the panel and The Executive at the right of panel.  He looks pissed, and is standing up, hands spread on the table, baring his teeth at Rhodes across the table.  Rhodes is smiling proudly, oblivious to the reaction of the room, which is not only unhappy, but hostile.  We can see looks of disgust/disbelief on the faces of Suits A & B.  Phil & Number 1 & 2 are likely standing behind Rhodes, so aren’t in the shot

Text Bubble #1: (Rhodes) So what’d you think?  I know it’s different, but I thought it was time for a change.

Text Bubble #2: (The Exec) Are you fucking kidding me?  Is this some kind of joke?  Or is this some desperate ploy to get out of your contract?

Page 13: Panel 1:  POV:  3rd person close up of Rhodes’ face.  He’s got his sunglasses on, but I’m picturing him looking over them, one eyebrow raised, a frown on his face.

Text Bubble (Rhodes, to the right of panel): What are you talking about?  You said you wanted new music, and here it is.

Page 13: Panel 2:  POV: 3rd person close up of “The Exec’s” face, and he’s mad as hell.  Give him some colour, like he’s about to blow a gasket.

Text Bubble: (The Exec) That shit? (Even this font should be “angry”) Do you think anyone wants to hear you play sappy Hootie and the Blowfish sentimental tripe?  We wanted Darke Rhodes music.

Page 13: Panel 3:  POV: 3rd person extreme close up of Rhodes’ face.  Likely only see from his eyebrows to his mouth, and his mouth is wide open, so maybe we only see the top half of his mouth.  This shot’s pretty much just bunched, angry eyebrows, sunglasses, nose and half of his mouth, not quite front shot, but almost a ¾ profile angle.  At the top of the panel will be a text bubble.

Text Bubble: (Rhodes) I AM DARKE RHODES, and this is MY music.  How is that not clear?

Page 13: Panel 4:  POV: 3rd person side profile of “The Exec” at the right side of the panel, looking to the left.  Really, it’s just a part of his face, from forehead down to chin.  Mouth open, eyebrows down, angry, yelling.

Text Bubble: (The Exec) (filling up left part of panel)  You try to pawn that shit off as Darke Rhodes music, and we’ll sue your ass for breach of contract!  You are obligated to produce a certain product, and by god, you will, or our lawyers will know why!

Page 13: Panel 5:  POV: 3rd person widescreen shot, pulled back to show the table from the side.  On the left of the panel, Rhodes is standing, hands on table, leaning in, pissed off.  On the right of the panel, “The Exec” is mirroring this posture.  They form bookends of the table, with the four suits sitting in the middle, looking amused or upset.  Phil is standing on Rhodes’ left (so behind him in the shot) poking his head in and giving a big nervous smile.

Text Bubble #1: (Phil) Hey, hey, easy guys – no need to start throwing out words like breach of contract.

Text Bubble #2: (The Exec) What is this shit, Phil?  Did you know about this?

Page 14: Panel 1:  POV: 3rd person close up of Phil’s face in ¾ profile, left of panel (it’s a widescreen panel) looking to the right of panel, leaving lots of room for dialogue.  Phil’s looking shocked and apologetic, eyebrows raised, mouth open in surprise.

Text Bubble: (Phil) No, no, look – Rhodes just showed up from L.A., and this is the first I’ve seen of him.  We haven’t even had a chance to talk.  Sure, this new music isn’t exactly what you’re looking for, but the good thing is, he’s writing again.  I mean, c’mon, guys… he’s Darke fucking Rhodes.  He’s been your meal ticket for a decade now.  Are you going to give up on him so quickly?

Page 14: Panel 2:  POV: 3rd person widescreen close up from the side, similar to Page 13: Panel 5, only cut from the shoulders up.  Rhodes is on the left, looking down, and then Phil, looking “at the camera”.  To the far right of the panel is “The Exec”, looking at Phil with a sour look on his face.  In between them, we can see the tops of the heads of the suits, still seated.  Phil’s in the zone, now… he’s calmed the room down a bit, and has a big smile on his face, like he’s a used car salesman who’s just convinced you to buy the most expensive car on the lot.

Text Bubble: (Phil)  Of course you’re not.  Now, if you will all just excuse us for a moment, I’d like a few minutes alone with the band.  We’ll just step out into the hall.

Page 14: Panel 3:  POV:  3rd person widescreen shot of Phil exiting the boardroom doors (wide doorway, two doors).  He’s looking over his shoulder with a smile.  On either side of the door, on the walls, are posters of Darke Rhodes.  On the left of the panel is a full size poster of Rhodes in the centre, flanked by Number 1 & 2, Rhodes is shirtless, and they’ve all got metal collars around their necks, and are connected to each other by chains.  Rhodes is in the forefront, Numbers 1 & 2 are slightly behind him.  A sinister look is on Rhodes’ face.  On the right of panel, on the wall, is a square poster – an album cover.  I picture it being an old Cadillac convertible on a road driving away from the camera into the distance, where, at the top right corner, there is a fire… kind of a “gates of hell” type image…like they’re driving straight into hell…  In the top left corner is the DRS logo.

Text Bubble: (Phil) We’ll be right back.

Page 15: Panel 1:  POV: 3rd person, pulled back widescreen shot of the four of them (L-R: Rhodes, looking right, at Phil, looking left, #1 & #2, also looking at Rhodes) standing in front of the closed boardroom doors.   Rhodes is looking a bit hurt, as if he doesn’t understand why they don’t like his songs.  Phil is looking ready to slap him, and #1 & #2 are just pissed, but they look mostly neutral, as if they’re stoned or something.

Text Bubble #1: (Phil) Do you want to tell me WHAT THE HELL YOU WERE THINKING?

Text Bubble #2: (Rhodes) What? They’re just songs.  You don’t like them?
Text Bubble #3: (Number 1) Dude, I am NOT playing that shit

Text Bubble #4: (Number 2) No way, man.  No fucking way.

Page 15: Panel 2:  POV:  3rd person full height shot of Rhodes facing left of panel, walking away, a stubborn look on his face.

Text Bubble: (Rhodes) Fine.  Then I’ll find people who will.  I’m Darke fucking Rhodes.  I’m sure I’ll survive without you.

Page 15: Panel 3:  POV: 3rd person close up of Phil’s face in ¾ profile, on the right of panel, looking left.  Very angry, baring teeth, eyebrows knitted in a “V”.  Leave room in left of panel for dialogue.

Text Bubble: (Phil) You’re Darke fucking Rhodes because I MADE YOU Darke fucking Rhodes!  Before that you were just pimply faced, manically depressed Ritchie Rhodes.  You leave now and I’ll fucking ruin you, you hear me, Ritchie?  You’ll disappear so completely you’ll never even show up on one of those “Whatever Happened To…” specials.  It’ll be like you never fucking existed… OR…

Page 16: Panel 1: POV: 3rd person, side shot of Rhodes’s head, facing left of panel, looking down and slightly “toward camera”, as if he’s turning back toward Phil.  He’s lost his anger, and is chastised.  He’s interested in what Phil has to say.

Text Bubble: (Rhodes) Or what?

Page 16: Panel 2:  POV: 3rd person shot of Phil’s face, similar shot as Page 15: Panel 3, only in a smaller space, and now, Phil’s not angry… he’s trying to play Rhodes the same way he plays the record execs, so he’s got his “peace making” face on…. softened features, eyebrows raised, hint of a smile.

Text Bubble: (Phil) Or, you stick it out – give them something – something that is characteristic of the old Darke Rhodes – fulfill our contract – and in turn, if you still want to, I’ll help you with a solo project with your new songs.

Page 16: Panel 3:  POV:  3rd person widescreen shot, similar to Page 15: Panel 1, only shot from the shoulders up.  Rhodes is looking down and away, still (looking to the left of panel) while Phil is looking desperate, if still a little annoyed.  Numbers 1 & 2 just look numb, and still bitter.  Rhodes is looking pressured and frustrated.

Text Bubble #1: (Rhodes) I don’t know, Phil… I don’t know if I can write anything like that right now.  I just don’t feel it.  I need more time.

Text Bubble #2: (Phil) We don’t have more time, Ritchie!  We need to pitch something NOW!

Page 16: Panel 4:  POV:  3rd person side profile shot of Rhodes’ face, still looking down, sunglasses on, but with a devilish grin forming on his face.  Rhodes’ head should be on the far right of this widescreen panel, looking to the left (and down)… might be funny to put some shadows on his face, that realistically wouldn’t be there, just to play up the devilish grin.  Dialogue will fill the left half of the panel.

Text Bubble: (Rhodes) So… they want a Darke Rhodes album, right?  Well, we’ve got plenty of b-sides and unreleased archive stuff – some of it’s even good.  What about a rarities album?  We could even record a new song for it, just so they have a single.

Page 17: Panel 1:  POV:  same as Page 16: Panel 3, only Rhodes is now turned around and is facing Phil and the guys.  Rhodes still has a grin on his face, as does Phil.  Numbers 1 & 2 are still looking neutral and apathetic.

Text Bubble: (Phil) See, now you’re thinking!  But you said yourself you’ve got nothing they’d want.  What new song could you record?

Page 17: Panel 2: POV: 3rd person widescreen shot of Rhodes and Phil’s side to ¾ profiles mirroring each other, with space between for dialogue.  Both of them have big smiles on their faces.

Text Bubble: (Rhodes) What do you do when you’ve got nothing new?  We’ll do a cover song!  It’ll work, Phil!  I know you can sell them on it.  It’s why we pay you the big bucks.

Page 17: Panel 3:  POV: same as panel 1, except Phil’s now turned to re-enter the room (they’ve been standing in front of the boardroom doors this whole time), and is looking over his right shoulder)  Number 1 & 2 are still standing there looking neutral.  Phil’s laughing, and Rhodes is looking relieved.

Text Bubble #1: (Phil) Yeah, yeah… You’ll be giving me a big fat raise if they go for this.  Now get the hell out of here, I’m still pissed off at you.  Rehearsal at my place at, say, three o’clock.  And Rhodes… you damn well better be there.

Text Bubble #2: (Rhodes) I told you – Janet’s in Aruba. I’ll be there, I promise.

Page 18: Panel 1: POV: 3rd person wide shot of Number 1 & Number 2 sitting on Phil’s front porch.  This is pretty nearly a symmetrical shot.  They’re sitting as bookends to Phil’s steps, feet dangling over the porch, each sitting and smoking with one hand, and holding a bottle of beer in the other.  Have them be mirror images of each other.  There should be a pillar beside each of them as well.  Number 1 is on the left of panel, Number 2 on the right.

Text Box: Later that day… Phil’s house in Haight-Asbury

Page 18: Panel 2:  POV: 3rd person shot from directly behind Rhodes’ head, as he is standing at the foot of Phil’s steps, approaching Number 1 & Number 2, who look less than ecstatic to see him.  This shot should be zoomed in so that we see Numbers 1 & 2 from about the waist up, but all we basically see of Rhodes is the back of his head, so that it looks like (Number 1) (Rhodes’ head) (Number 2). (see storyboards)  There should be room above Rhodes’ head for back and forth dialogue.

Text Bubble #1: (Rhodes) Hey guys

Text Bubble #2: (Number 1) Hello Rhodes

Text Bubble #3: (Number 2) We need to talk

Text Bubble #4: (Number 1) Inside

Text Bubble #5: (Number 2) Yeah, better inside. We don’t want the neighbours to get an earful

Page 19: Panel 1: POV: similar shot to last panel, only now they’re inside.  Position all three heads near the bottom of the panel to leave room for back and forth dialogue at the top of the panel.  Number 1 & Number 2 are both angry at this point, and are fed up with keeping quiet.  They let loose on him, and their faces should reflect that anger and frustration.  Rhodes is, after all, their friend, and he’s acting like an ass.  Number 1 on the left, and Number 2 on the right, with Rhodes (the back of his head) in the middle.

Text Bubble #1: (Number 1) What the fuck’s the matter with you, man?

Text Bubble #2: (Number 2) (there will be back and forth going on, so position the dialogue accordingly)  Yeah, what the fuck’s the matter with you?

Text Bubble #3: (Number 1) I mean, I’m used to crazy shit from you…

Text Bubble #4: (Number 2) Crazy shit!

Text Bubble #5: (Number 1) But ever since you met that woman, you’ve just fallen apart!

Text Bubble #6: (Number 2) Fallen apart!

Text Bubble #7: (Number 1) Would you stop that?
Text Bubble #8: (Number 2) Stop what?

Page 19: Panel 2: POV: 3rd person large shot of Number 1’s head, and his hand holding up a tabloid magazine for Rhodes to see (we see Number 1’s hand at the top of the paper, and about half of the cover – enough to view the headline, which reads “Beauty & the Beast?”)  Number 1 is looking angry. (His head is positioned at the left of the panel, the hand and paper at the bottom right, with room for dialogue in the top left)

Text Bubble: (Number 1) She’s making you look like an idiot, man – that that makes US look like idiots.  You used to be cool, man – what’s happened to you?

Page 20: full page:  This is a shot of the magazine cover… and so it should look like a magazine cover, with a logo, etc…. INQUIRER.  The caption reads, in large font: BEAUTY & THE BEAST? Above a picture of Rhodes and Janet from the night they went to the club to meet Chloe.  Rhodes is in his wraparound yellow “Bono” shades, and is scowling and holding his hand up to block his face, while Janet is smiling and looking at the camera.  The shot is a close up, so we see them from about the chest up.  If this could be in that grainy colour that they always have on supermarket tabloids, that would look great.  Below the picture is the caption in medium large font: Shock rocker Darke Rhodes out on the town with… can it really be true? The oh-so-sexy Janet Silvia

Text box: “Let me see that…” (placed in the top left corner)

Page 21: Panel 1:  POV: wide shot, 3rd person view of Rhodes from the side, shot from about the mid-chest up, holding the magazine open and reading it. (facing to the right of the panel.  Rhodes is positioned close to the left side of this widescreen panel, and on the right side of the panel, in the background, we can see Numbers 1 & 2 sitting on a couch (or at least we see part of the couch.)

Text Bubble: (Rhodes) Wow, how original… c’mon guys, this is just bullshit.  Nobody takes any of this seriously – it’s a fucking tabloid – nothing but trash.

Page 21: Panel 2:  POV: wide shot, 3rd person, of Number 1 & 2 lounging on a big leather couch.  This is Phil’s house, and on the wall behind them he’s got psychedelic posters.  The couch is definitely big enough for three people, and Number 1 (on the left of panel) and Number 2 (on the right) are on either end of it.  They’re both looking tired and possibly a bit drunk.

Text Bubble #1: (Number 1) Yeah, well, none of it’s any good.  I’ve read it.

Text Bubble #2: (Number 2) He’s right, Rhodes.  The whole article is basically about how you’re this giant freak, and Janet’s a great big whore.

Text Bubble #3: (Number 1) I circled the best bits for you.

Page 21: Panel 3: This panel, as well as the panels of the next page, will be split with an image of Rhodes reading the magazine, and then a square of the actual text of what he’s reading, in print, with a circle around the important part (see storyboard).  In this panel, on the left of the panel, the POV is a 3rd person shot from the front of Rhodes holding the magazine in front of him and looking down, reading it.  Frame his face so that the top of the panel cuts it off just above his sunglasses, and the magazine should come up to just below his chin.  His mouth is twisted as he reads, like he’s eating a lemon.  The text (on the right half of the panel) reads:

Text Box: (newsprint) If you’ve even turn on a TV, listened to the radio or had a pulse for the past year, you’ll know that Rhodes’ life, as well as his career has been in the toilet for some time now.  He’s obviously grasping for any chance to get pack in the eye of the media.  Which begs the question:  what’s her excuse? (with a circle around the text, starting with the part about “Rhodes’ life…)

Page 22: Panel 1:  In this panel, on the left of the panel, we’re looking over Rhodes’ right shoulder at the open magazine. (We see him from rear ¾ profile).  On the page in front of him is one of those flow charts they always have in tabloid magazines linking people to each other… you know.. .person A dated person B and now person B is dating person C, who also slept with person A after person A broke up with person D, etc…..(see storyboard).  On the right of the panel, the text box reads:

Text Box: (newsprint) has been romantically linked with actors, models, Congressmen, and musicians more than any others.  Darke Rhodes, the latest in a long line of men connected with Miss Silvia, is certainly the strangest.  Let’s see how long this lasts. (with a circle around the text starting with “Darke Rhodes….”)

Text Bubble: (Rhodes) What do they know?  This is all just complete bullshit.

Page 22: Panel 2:  In this panel, on the right of the panel, we’re again looking at Rhodes straight on, over the top of the magazine, which he has opened in front of him.  Now his face is angry, teeth bared, eyebrows knitted.  To the left of the panel, the text reads:

Text Box: (newsprint) recently, a source close to the couple revealed to this reporter that the beauty met her beast during a stint in rehab for “every drug known to man” and it was only a matter of time before they were no longer co-dependant.  “In the meantime,” my source speculated with a nod and a wink, “they could both use the publicity, if you know what I’m saying.”  We certainly do!  These media hungry has-beens just don’t know the meaning of the word shame. (with a circle around most of this.)

Text Bubble: (Rhodes) (positioned above the text box) THAT BITCH! (in loud angry font)

Page 23: Panel 1:  POV: This page (and the next one) are all widescreen shots of the couch.  Number 1 and Number 2 bookend Rhodes, who is the only person who will change much.  Number 1 & 2 are pretty neutral, just chilling out.  Rhodes is going from angry to angrier.  In this first panel, he’s standing, crumpling up the magazine.  Number 1 & Number 2 are looking at him.

Text Bubble #1: (Number 1) I tried to tell you, man… the girl’s no good.

Text Bubble #2: (Number 2) No good.

Page 23: Panel 2: In this panel, Rhodes is seated.  He’s not saying anything, he’s just fuming and tearing up the magazine.  Number 1 is talking, and Number 2 is just echoing him.

Text Bubble #1: (Number 1) I mean, sure she’s hot – she’s Janet Silvia!

Text Bubble #2: (Number 2) Damn.  I mean, just… DAMN.

Page 23: Panel 3: In this panel, Number 1 is still talking, more to the room than to Rhodes.  Rhodes is still staring forward, while Number 1 is looking front/left and Number 2 is his mirror, looking front right.

Text Bubble #1: (Number 1) But she’s trouble waiting to happen.  I mean, did you see all those guys? That woman’s a man-eater, Rhodes.  She’s just going to chew you up and spit you out.

Text Bubble #2: (Number 2) Eat you raw, man…

Page 24: Panel 1:  In this panel, Number 1 has turned to Rhodes, and is pleading with him.  Neither Number 1 or Number 2 are very passionate about this, and Rhodes is pretty much in stone mode, still looking forward, listening but not hearing them.

Text Bubble #1: (Number 1) I mean, how can you trust her?  She’s a total nympho.  Do you think she’s going to spend two weeks half naked in Aruba and not get laid?

Text Bubble #2: (Number 2) Shit, man.  No fucking way.  Not looking like that.

Page 24: Panel 2: Number 2 turns to Rhodes in this panel, and pleads his case with him.  I picture all throughout this, Number 1 & Number 2 are alternating between lounging back on the couch and sitting forward, almost crouching.

Text Bubble #1: (Number 1) And what about you?

Text Bubble #2: (Number 2) Yeah, Rhodes.  Are you going to start turning away all the screaming girls that pound on your door?  Give up all that groupie booty?

Page 24: Panel 3:  In this panel, Rhodes stands back up, and looks angry.  Numbers 1 & 2 aren’t fazed, and are still lounging.

Text Bubble: (Rhodes) You know what? Fuck you both! You don’t know what you’re talking about

Page 25: Panel 1: POV: extreme close up of Rhodes’ face, ¾ profile on the right side of the panel, looking left. (dialogue will be on the left) His face should be cropped from about mid forehead down to his chin.  He’s not angry, but rather, has a passionate, “just had a catharsis” look on his face.

Text Bubble: (Rhodes) For the first time ever, I know what it’s like to be really, truly in love – it’s different from just banging groupies – and I know that she loves me, too.  I’m not worried that she’s going to be unfaithful…

Page 25: Panel 2: There should be thought bubbles around this panel, leading up to Rhodes from the previous panel.  This is a picture of Rhodes worrying about Janet.  The POV is third person from straight on/slightly from an angle, of a rock jutting out of the water, with waves crashing against it.  Leaning on the rock is Janet, wearing only a string bikini bottom.  The rock in on the left of the panel, and Janet’s slightly behind it, leaning against it with her left arm, obscuring her breasts, and her right hand is pushing her hair back, her head leaning back, eyes closed, basking in the sun. (this is meant to be like a Maxim magazine shot…. So no explicit nudity, ie, her arm is covering her nipples, but otherwise, she’s topless)  (see storyboard)  Behind Janet, further right in the panel, is a well groomed man rubbing suntan lotion on Janet from behind.  He’s fully dressed, maybe some khaki shorts and a short sleeve Hawaiian shirt or something…. His fantasy fears haven’t gotten that bad just yet.

Page 26: Panel 1:  POV: 3rd person, zoomed in on the left half of the couch, with Number 1 on the left side of the panel and Rhodes on the right.  We should see both of them from about the waist up.  Number 1 is turning towards Rhodes, who’s looking a little uneasy, but still smiling.

Text Bubble #1: (Number 1) I hope you’re right, man.  But some things you can’t control.  If even half of the stories I’ve heard are true, that girl just can’t help herself.  It’s just who she is.

Text Bubble #2: (Rhodes) You’re wrong.  You’ll see.  You’ll both see.

Page 26: Panel 2: POV: 3rd person, similar shot as last panel, only now pan over to the right side of the couch, and now Rhodes is on the left of panel, and Number 2 is on the right.  Rhodes is turned to see Number 2, who’s talking to him.

Text Bubble: (Number 2) Well, do me a favour and at least be careful for a change, will ya?  And take off your sunglasses, you look like a douche.

Page 26: Panel 3: POV: zoom back out to fit the whole couch in the panel.  Number 1 is sort of looking off up and to the left of panel with a smirk on his face.  Rhodes has taken off his glasses and is smirking, himself.  Number 2 looks mock angry…. Kind of an “open mouth” look of shock.

Text Bubble #1: (Number 1) So, look… I’m just putting this out there, but if you two should break up…

Text Bubble #2: (Number 2) No way, I got dibs!
Text Bubble #3: (Rhodes) You guys are such assholes!

Page 27: Panel 1:  POV, 3rd person close up of Phil coming in the door, like he’s Mr. Rogers or something.  The door is in the foreground, and Phil’s poking his head in around it, with a great big, excited smile on his face.

Text Bubble: (Phil) They BOUGHT IT!

Page 27: Panel 2: POV: full width shot of the guys on the couch, still lounging and grinning.

Text Bubble #1: (Number 1) Hey Phil

Text Bubble #2: (Rhodes) They did?  That’s great then, right?

Text Bubble #3: (Number 2) ‘sup

Page 28: Panel 1:  POV: ¾ angle shot of Phil, from about his shoulders up, facing right of panel, lighting a cigarette. (So his head’s at a slightly downward angle.)  Phil’s centred in the panel, even though it’s widescreen.  Maybe we see the couch with the guys in the background, but not in focus.  Text bubble(s) will be all around him

Text Bubble: (Phil) I’m a genius.  They thought I was trying to push a greatest hits package on them, but as soon as I explained that it was going to be all rare and unreleased stuff, they lightened up.  But when I gave them the title, they were sold.  Get this:

Page 28: Panel 2:  POV: 3rd person straight on shot of Phil, smiling, hands spread as if he’s just mimed the title.  The cigarette is in one of his hands. (details.. details)

Text Bubble: (Phil) “RHODES LESS TRAVELLED”

Page 28: Panel 3:  POV: 3rd person ¾ profile of Phil’s face, left of panel, looking right, with a cigarette in his lips, grinning.  Dialogue will be in the right half of panel.

Text Bubble:  (Phil) I’m brilliant, right?  Tell me I’m a genius.  C’mon, guys, where’s the love?  I just pulled your collective asses out of the fire, here!

Page 29: Panel 1: This page should have an interesting look to it.  It’s going to be close up profiles of each of the band member’s faces, but the potential for creating interesting shapes with the negative space is great.  In the first panel, we have Number 1 on the left of the panel, ¾ profile looking to the right.  The top of the panel should crop him in the middle of the forehead down to his chin.  He’s going to be looking very solemn and serious, but with the slightest hint of a grin, as they’re making fun of Phil.  With the lines, you should have Number 1’s chin end where Rhode’s head begins in the next panel (see storyboard)

Text Bubble: (Number 1) It is pretty brilliant, Phil.  I love the title.  ‘Cause, you know, we’re hugely influenced by Robert Frost.  “Two roads diverged in the woods…”

Page 29: Panel 2: In this panel, we see Rhodes in full front profile, cropped from mid forehead to chin, in the very centre of the panel.  Again, see storyboard to see how the lines from the above panel and the lines from the panel below can line up.  Rhodes has his eyes closed, as if he’s savouring the moment.

Text Bubble #1: (Rhodes) (left of panel) “And I, I took the one…”

Text Bubble #2: (Rhodes) (right of panel) …paved with good intentions! OH YEAH!

Page 29: Panel 3: Now, Number 2 is on the right side of the panel, in ¾ profile, looking to the left, eyes closed tightly, teeth bared in an “evil grimace”, eyebrows knitted, like he’s headbanging or something…. And he has his fist raised beside him, with his first and pinkie fingers raised, and thumb and other fingers curled in the universal sign of “rock on”

Text Bubble: (Number 2) ROCK ON, MUTHAFUCKA!!!

Page 30: Panel 1:  POV: full width, ½ page shot of the couch, and all three guys are laughing hysterically, eyes closed, bent over, holding their stomachs type laughing.

Large font letters of HA HA HA HA HA HA AHAHAHAHAHA over their heads.

Page 30: Panel 2:  POV: 3rd person shot of Phil from about the waist up, arms crossed, trying not to smile, trying to look angry, more or less centred in the panel (slightly to the left of panel.

Text Bubble #1: (Phil) (left of panel) Well, then, I guess you dickheads don’t want to hear the rest of the good news then…

Text Bubble #2: (Phil) (right of panel) I got them to agree to put off a full stadium tour (I know you guys aren’t ready to go back on the road just yet) – they just want you to do some local promo gigs for the album, and play a few festivals up and down the coast.

Page 31: Panel 1:  POV: 3rd person close up of the three guys on the couch, from about their shoulders up.  They’re all still giddy, and have silly grins on their faces.  Rhodes is talking.  Also, there should be large letters in the bottom right hand corner: DING DONG signifying the doorbell ringing.

Text Bubble: (Rhodes) Hey, that’s great, Phil… really… good going, man…. I knew having you around would pay off someday.

Page 31: Panel 2:  POV: 3rd person widescreen shot, pulled back, so that we see Phil on the left of the panel, full height, walking away from the couch, on the right side of the panel, to get the door.  Phil’s grinning.  The guys are still recovering from their laughter.  On the left of the panel: DING DONG   DING DONG

Text Bubble: (Phil) Yeah yeah… fuck you, too, Rhodes…  We still do have a lot of work to do.  We have songs to choose, artwork to approve, and you guys need to be able to PLAY these songs – and you still need to record a new song…

Page 31: Panel 3: POV: 3rd person from just behind Phil, who’s standing in front of his door reaching for the doorknob to open it.  To the top right of the panel: DING DONG

Text Bubble: (Phil) Yeah, yeah, I’m coming!  Hold your fucking shorts on already!

Page 32: full page:  POV: 3rd person from behind Phil, looking over his right shoulder to see a delivery guy standing in the open doorway holding a box and an electronic clipboard.  Phil’s got his left hand on the door itself, and has his right hand across the open doorway on the frame, forming a barrier between the delivery guy and the inside of the house.

Text Bubble #1: (Phil) Hey, what’s the emergency?!

Text Bubble #2: (Delivery guy) I’ve got a package here for a Mr. Phil Besseling.  Is that you?
Text Bubble #3: (Phil) That’s me.  Who’s it’s from?
Text Bubble #4: (Delivery guy) I don’t know, sir, I just deliver them. Can you sign here, please?

Next issue will open up with: What’s in the box?

——

What is this?  Get more information HERE, or start with Issue 1 HERE

Darke Rhodes – Script 5

Darke Rhodes v 5: Plot synopsis:

Rhodes and Janet show up late to the diner where the band had planned to have breakfast the next morning… and when he shows up, all kinds of photographers are there and want to talk to Rhodes & Janet – these pics will later show up on tabloid pages  with the caption “Beauty and the Beast”.  This unwelcome attention pisses Number 1 & 2 off, and Phil chases the paparazzi away.  Janet’s attendance at their breakfast is also noted with some degree of surprise and coldness (think Yoko Ono).  They’ve already eaten (it’s now nearly noon) but Rhodes & Janet order anyway, and reminisce about their time in therapy, laughing at “those wackos” unaware of the irony of this.  Number 1 and Number 2, normally morose and unresponsive, sneer and mock Rhodes & Janet’s “cuteness”… ie.. “you’ve known each other for six weeks, and you talk like it’s been a lifetime” which doesn’t piss them off at all, in fact, it just makes for more lovey-dovey talk.

They specifically mention Darkechilde, which brings up the topic of Chloe, Janet’s friend.  Chloe has a younger sister who’s a big Darke Rhodes fan, and cuts herself and shit… Janet wants to know if Rhodes would talk to her… Rhodes is reluctant, and says that he can’t be held responsible, but then Janet gives him doe eyes and he says he’ll think about it.  Janet’s appeased, and says that she’s meeting Chloe that night for drinks, and to go dancing at some club, if he’d like to come… and then she says that they’re all invited of course.  Number 1 & Number 2 decline…

Phil steps in and reminds Rhodes that they have a rehearsal tonight, in case he forgot… Rhodes says yeah, great…. He’ll just pop in to meet Janet’s friend Chloe and then be at the rehearsal for 10, 10:30 at the latest.  In fact, he’s got some new songs he’s been working on in his head that he’d like to play with… Phil’s all excited about this, because they have a meeting with the record company the next morning to discuss their plans for the next album/tour.  Phil stresses that Rhodes CANNOT miss this meeting.

Rhodes assures him that he will be there.

Later that night, Rhodes and Janet go to a club, where Janet and Rhodes meet Chloe.  Both Janet and Rhodes are trying to keep a low profile, so they are incognito. (ball caps, different clothes, stuff like that.  Janet has dressed Rhodes all preppy and he feels like a dick.  Rhodes overhears Chloe bad-mouthing Janet in relation to why is she dating that scum-bag, etc… realizes she’s petty and jealous.

Chloe is trying to talk to Rhodes, but it’s really loud, so he doesn’t hear her… She thinks he’s ignoring him as she tells him about her sister… how she idolizes him, and how she doesn’t quite get that it’s all an act… how, if Rhodes could talk to her, and tell her that it’s no different than a horror movie, then maybe she could grow out of it…

She tells Rhodes that she’s not just a pretty face.. she was a Psych major at Berkeley…. She knows that her sister’s just acting out, cry for attention, jealous of her sister, because she’s just not that pretty, etc… (Rhodes rolls his eyes)  Her sister writes all this really morbid poetry and stories… they’re good, but they’re so fucking disturbing, you know?

Rhodes replies that it sounds like Chloe’s the one with jealousy issues – all she’s got is her looks, and she’s not even all that – her sister’s got talent, and she’ll always have that, whereas Chloe’s career will be over with her first wrinkle, and all people will be able to say about her is how pretty she “used to be”.

Chloe calls him an asshole, and he pretends not to hear, so she yells how he’s a FUCKING ASSHOLE, and Rhodes just laughs and goes to find Janet.  Janet’s surrounded by reporters who won’t leave her alone. Rhodes drags her out of there, and Janet tells him that she has a friend down in L.A. that has a house in Venice Beach, that they’re away on a shoot, and wouldn’t mind if they crashed there for a few days… whaddaya say?  You want to go to L.A., get away from everything for a few days?

Even though Rhodes hates L.A., Janet convinces him that he could use some sun – he’s too pale – and it’s Venice Beach… if he wants, they never have to leave the bedroom.

Rhodes totally blows off the rehearsal, AND the meeting, and goes to LA.  The next issue will open with the meeting with the record execs.

Page 1: full page: POV:   3rd person from behind Rhodes & Janet.  Rhodes & Janet are at the bottom of the page, trying to enter the diner where they are supposed to be meeting the guys.  Unfortunately, between them and the door are a bunch of photographers, reporters, etc…, taking pictures.  Lots of cameras, etc…  From the back, Rhodes is kind of a silhouette of wild hair.  Janet is wearing a big sun hat.  Rhodes is on the left, Janet on the right.  At the top of the page we see a plate glass window with the word “DINER” in big red letters…. Very traditional looking place…. Nice… not a greasy spoon, per se, but a diner, not some fancy ‘bistro’ type place.  I picture it as North Beach, San Francisco. (in between Chinatown and the Waterfront – essentially, SF’s Little Italy)  They are here to meet the guys for breakfast, and are running very late as it is

Text Box #1: (top of page, Rhodes narrating): By the time we got up, there were three messages on my cell.

Text Box #2: (a bit further down): The first was curious, as in Hey, where are you, Rhodes? Sure hope you’re okay.

Text Box #3: (further down, along the right side of the page) The second was impatient, as in Where the fuck are you, Rhodes?  You better be lying dead in a ditch somewhere or else you’ll wish you were

Text Box #4: (bottom of page) The third contained not so thinly veiled threats including the implication that if I was in anyway attached to my testicles, it would be in my best interests to show up for our previously agreed upon breakfast meeting.

Text Bubble (Rhodes, middle-left of page) Look, we just want to get some breakfast, alright?

Page 2: Panel 1:  POV:  3rd person shot of Rhodes & Janet from the front (from this shot, Janet’s on the left, Rhodes is on the right), from about the chest up, filling the panel.  They’re both covering their faces with their “outside” hands… they’re holding hands.  Janet’s wearing a sundress and that big hat, big sunglasses a la Audrey Hepburn in Breakfast at Tiffany’s.  Rhodes is wearing a white Bauhaus t-shirt with the “Greatest Hits” logo on it.

Text Box 1: (top of panel) So here I am.

Text Box 2: (Bottom of panel) I brought Janet along, too.  I didn’t think they’d mind.

Page 2: Panels 2-4: In these panels, Phil comes out and ushers the couple into the Diner.  These will be three narrow panels roughly half a page high.  In panel one, Phil comes out of the glass door… so we see him from the front, half in and half out, an annoyed look on his face

Text bubble: (Phil) ALRIGHT!

In panel two, Phil has his back turned, and has Rhodes and Janet under his right arm (Rhodes on the inside, Janet on the outside, their heads down).  He’s pushing them into the Diner.  He’s looking over his shoulder at the paparazzi.

Text bubble: (Phil) Get lost!

In panel three, the door is closed, and we see Phil in silhouette only through the closed glass door

Text bubble: (Phil) Ya vultures

Page 3: Panel 1:  POV: Widescreen shot from behind Rhodes, Janet and Phil (left to right) with the three of them in the bottom right hand corner, approaching a booth where Number 1 & Number 2 are waiting.  This booth should be in nearly the top right of the panel.  This is the same Diner from issue 1, so it’s the whole ‘50’s diner motif… black and white checked floor, red vinyl seat cushions… etc….  Number 1 and Number 2 are sitting facing us, (1 on our left, 2 on our right, closest to the right edge of the panel) and neither of them look happy to see Rhodes, and particularly, Janet.  On the table should be empty used plates, at it’s obvious that they’ve been done for some time.

Rhodes, Janet and Phil are just walking in together.  Rhodes is turning his head to talk to Phil.

Text Bubble #1: (Rhodes) Hey, thanks, Phil.  Those guys are a pain in the ass.  Phil, this is …

Text Bubble #2: (Phil) Janet Silvia.  Yeah, I know, Ritchie.  Nice to meet you.

Page 3: Panel 2:  POV:  zoomed in to the booth, from just behind and slightly above, so that it’s not a straight shot, but rather an angled view so that we can see #1&2 plainly, and so that we just see the backs of  Rhodes and Janet, who are now sitting down opposite #1&2.  To the left of panel, Phil is still standing, because there’s nowhere for him to sit.  Janet is sitting on the inside, opposite #2 (to the right of the panel) and Rhodes is opposite #1.  We can just see the backs of Rhodes & Janet’s heads.  Number 1 & 2 are looking pissed off, but they kind of look like that all the time, so it’s hard to tell.

Text Bubble #1: (Phil) Um, well, I’ll see if I can get a chair.

Text Bubble #2: (Rhodes) You guys don’t mind if Janet joins us, do you?

Text Bubble #3: (#1) Whatever

Text Bubble #4: (#2) Mm hmmm.

Page 4: Panel 1:  POV: from the side of the table, slightly above, medium widescreen shot of the four of them sitting at the table.  Rhodes picks up a menu and starts reading it.  #1 & #2 look annoyed and impatient.  Janet’s reading the menu over Rhodes’ shoulder.  They look all giddy and happy.

Text Bubble #1: (Rhodes) Man am I starving!  Have you all ordered yet?

Text Bubble #2 (#2) Yeah, Rhodes.

Text Bubble #2 (#1) But you know, it’s nearly lunchtime now… I could order again

Page 4: Panel 2:  POV: 3rd person, straight on close up of Janet and Rhodes, looking at the menu together… their heads are nearly touching as they lean in to share the menu

Text bubble #1: (Rhodes) What are you having, honey?
Text bubble #2: (Janet) I don’t know, sweetie, what are you having?

Page 4: Panel 3:  same shot as last panel, only now they’re nose to nose, grinning like idiots, staring into each others’ eyes over the menu (I like the idea of only seeing them from about the lips up behind the menu)

Text bubble #1: (Rhodes) Well, do you think I’ll need the extra protein?
Text bubble #2: (Janet) Gee, I don’t know… you just might

Page 5: Panel 1:  same shot, only now they’re kissing… not making out, but maybe Rhodes has his head buried in her shoulder and she’s got her eyes closed, a look of pleasure on her face.

Text Bubble #1: (Rhodes) Oh, you’re such a dirty girl

Text Bubble #2: (Janet) And you’re such a bad boy.

Page 5: Panel 2:  POV: same set up for the shot, but now it’s of Number 1 & 2.  Number one has his jaw dropped, a look of disbelief and shock on his face.  Number 2 (right of panel) looks angry, and has his jaw clenched in a frown.  He also has his arms crossed in front of him.

Page 5: Panel 3:  POV:  3rd person, close up of a waitress, filling the panel, looking annoyed, looking slightly down at the table (not in panel)  She’s young, red hair, too much makeup, has her hair done up in a beehive (it’s a 50’s diner) and has horn-rimmed glasses and a blue and white checked dress with a white apron (think durndel).

Text bubble: (waitress) ah hem…. Can I take your order?

Page 5: Panel 4:  POV: 3rd person from behind and above Rhodes and Janet.  Smaller panel size, so it’s zoomed back a bit to fit everything in.  To the left of the panel we can see the waitress looking on.  We see #1 & #2 looking annoyed and angry.  Rhodes and Janet’s heads are both turned toward the waitress.

Text bubble #1: (Rhodes) I’ll have the Special #2, with extra bacon, and a coffee, please

Text bubble #2: (Janet) Can I just get some yogurt, and maybe a low-fat muffin, and some grapefruit juice?

Page 6: Panel 1:  POV:  3rd person from behind and above Rhodes & Janet, leaving room on the left side of this widescreen panel to have Phil setting a chair down in the aisle, beside the booth.  It’s a chair with a back, and Phil is behind it, on the very left of the panel.  This shot should also be slightly to the left, on an angle.  Number 1 & 2 are muttering to themselves… their answers to Phil’s questions are not meant to be heard by all.  Rhodes reacts to Phil’s presence like he forgot he was there.

Text bubble #1: (Phil) So… what’d I miss?
Text bubble #2: (#1) the sordid adventures of bad boy and dirty girl

Text bubble #3: (#2) me regurgitating my breakfast

Text bubble #4: (Rhodes) Oh, hey, Phil!  Pull up a chair.

Page 6: Panel 2:  POV:  widescreen aerial shot of the diner’s floorplan.  On the left there are a couple of booths, then an aisle, and in the centre are a couple of round tables, another aisle, and then on the right,  a couple of more booths, the one on the bottom right is where our heroes are sitting.  This shot should be pretty much symmetrical, and will look interesting because of the checkerboard pattern on the floor, etc.  This is a directly overhead view, so the characters are little more than circles for heads.  Seated around the table (just as a reminder) from bottom right, clockwise, are Janet, Rhodes, Phil (in the aisle) #1 and #2.

Text bubble 1: (Rhodes) Have you eaten, Phil? You should try the spinach omelette – it’s fantastic!

Text bubble 2: (Phil) Thanks, Ritchie… we’ve all eaten.  We were going to wait for you, but…

Text bubble 3: (Janet) Sorry about that.  That’s my fault.  I, um, kept Rhodes up all night

Page 6: Panel 3:  POV: widescreen close up shot of their table from behind and slightly above Rhodes & Janet.  On the left of panel is Phil.  We can see the backs of Rhodes, who is nibbling Janet’s ear, and we see Number 1 & 2’s faces.  Number 1 looks uncomfortable, Number 2 has an annoyed, exasperated look on his face.  Phil looks annoyed as well.

Text bubble 1: (Rhodes) That you did, my love, that you did…

Text bubble 2: (Number 2) ah, fer cryin’ out loud!

Page 7: Panel 1:  POV:  3rd person, close up of Janet & Rhodes from the front.  Rhodes has his head buried in Janet’s neck (Janet left of panel, Rhodes right) and Janet is laughing, big wide open mouth.

Text bubble: (Janet) Oh, stop it, you!

Page 7: Panel 2:  POV: 3rd person close up of the waitress holding plates.  I like the idea of having her hands full of plates that look like they’re jumping out of the page, and overlap into panel 1.  The waitress looks annoyed and uncomfortable, like maybe she’s been standing there watching this for a minute.

Text bubble: (Waitress) ahem….

Page 7: Panel 3:  POV: 3rd person widescreen shot, this time from behind Number 1 & 2, so Phil’s on the right side of the panel, and we can see Janet (left) and Rhodes (right) from above and behind 1&2.  Both Rhodes and Janet are happy and smiling, enjoying their food.

Text bubble 1: (Rhodes) Man, this is some good food.  Janet, remember breakfast at the institute?  And that angry guy? What was his name? Jim? James?

Text bubble 2: (Janet) Yeah, James would complain about everything!

Page 7: Panel 4:  POV: close up of Janet’s head, left of panel, leaving room right of panel for dialogue.  She’s smiling and laughing.

Text bubble: (Janet) Yeah… I must have lost ten pounds while I was there, though.  I could never eat.  I’d ask Simon to pass the milk and he’d piss himself!  The smell made me want to puke!

Page 8: Panel 1:  POV: Close up of Rhodes’ face turning to talk to Phil on the right of panel.  Maybe the edge of Phil’s profile is visible on the right edge of the panel.  Rhodes is laughing at he and Janet’s inside joke, and he’s explaining it to Phil.  Rhodes thinks this is terribly funny.  Phil is annoyed and uninterested.

Text bubble 1: (Rhodes) See, this guy would piss himself whenever he got nervous!

Text bubble 2: (Phil) Thanks, Ritchie, I got it.

Page 8: Panel 2:  POV: Close up of Rhodes’ face, turning to the left of panel, to talk to Janet (three-quarter profile)  Still smiling and laughing

Text bubble: (Rhodes) and then there was Ramon

Page 8: Panel 3:  POV: similar shot as Page 7: Panel 3.  Make sure that Number 1 & 2 are visible (from the back, anyway)  In this shot, Janet (top left) has a sad look on her face…. A pitying look.  Rhodes has a sausage on his fork, and it taking a bite off the end… it creates a phallic image… like he’s smoking a cigar.  Number 2 (bottom left) has his right hand on the table in the shape of a gun (thumb up, forefinger pointed, other fingers curled)  He’s miming shooting himself. Rhodes and Janet are completely self-absorbed and are unaware that they’re completely ignoring and alienating the guys (like all new lovers).

Text bubble 1: (Janet) Oh, that poor man… er, woman…

Text bubble 2: (Rhodes) Poor guy got his bits arranged, and now he want them put back the way they were…

Page 8: Panels 4-6:   POV: close up on Number 2 from the chest up, from the front.  In panel 4, he’s looking down at his “hand gun” – his right hand, and miming loading it with his left hand.  His head is down, eyes closed, concentrating.  In panel 5, he looks up, eyes wide and eyebrows furrowed in annoyance, and puts the “gun” to his head (right hand, so “gun” is left side of panel)  In panel 6, he mimes being dead, head cocked to his left (to right of panel) eyes closed, tongue hanging out… No one notices.

Page 9: Panel 1:  POV: close up of Rhodes, from chest up, still eating his sausage.  Head looking ¾ profile to the right of the panel.

Text bubble: (Rhodes) I tell ya, there were some real wackos there

Page 9: Panel 2:  POV:  3rd person shot of Number 1 from behind and above Rhodes… so we still see Rhodes’ hair in the shot, but mostly it’s just Number 1, and maybe Phil’s side profile on the left, looking at Number 1.  Number one has his right hand up as if to ask a question or place a bid at an auction.  He has a confused, annoyed look on his face in reaction to Rhodes’ last comment.  Maybe a whole “one eyebrow raised” sort of look.

Text bubble: (#1) But…

Page 9: Panel 3: POV: 3rd person shot of Number 1, closer up (no Rhodes in shot) with Phil from the side, reaching over to put Number 1’s hand down.  Number 1 looks frustrated.

Text bubble: (Phil) Don’t bother

Page 9: Panel 4:  POV: same shot, Phil on the left of panel, Number 1 on right.

Text bubble #1: (Number 1) But Phil.. man… he’s

Text bubble #2: (Phil) I know…

Page 9: Panel 5:  POV:  Widescreen shot from behind and above Number 1 & 2, across the table are Janet and Rhodes, with Phil on the end, right side of panel.  We can see the backs of Number 1 & 2’s heads.  Number 2 is miming cutting his wrist with a butter knife.

Text bubble #1: (Janet) Hey, remember that girl “Darkchilde”?.  Boy, did she ever have a thing for you.

Text bubble #2: (Rhodes) Ah, she was just one of those goth freaks that take things too seriously.

Page 10: Panel 1:  POV: Close up of Janet’s face, ¾ profile on the left part of the panel, leaving the right side for dialogue.  Janet’s grinning, teasing Rhodes.

Text bubble: (Janet) Yeah, well, remember that time she told you she wanted to drink your blood?  You took her pretty seriously then.

Page 10: Panel 2:  POV: Close up on Rhodes’ face, ¾ profile on the right part of the panel, mirror image of panel 1.

Text bubble: (Rhodes) Yeah, well, remember that night that we stuck out and…

Page 10: Panel 3:  POV: 3rd person from behind Rhodes & Janet, across the table at 1 & 2.  Number 1 has his hands pressed against his temples, as if trying to hold his head together.  He’s screaming at them.  Number Two is looking on in mild interest, still sawing his wrist with a butter knife.  On the left of panel, Phil’s looking on.  We can just see the back of Rhodes’ and Janet’s heads… maybe they’re not even paying attention… just looking at each other.

Text bubble: (Number 1) ENOUGH!  It’s been what? Six weeks?  You act like you’ve known each other forever!

Page 10: Panel 4:  POV:  3rd person, close up of Janet and Rhodes (Janet left of panel, Rhodes on right, from the front) and Janet’s snuggled up to Rhodes, her head on his shoulder, both of them with lovey-dovey looks on their faces.

Text bubble #1 (Janet) It does feel like we’ve known each other forever, doesn’t it, Pookie?

Text bubble #2 (Rhodes)  Yeah, it really does, Pumpkin

Page 11: Panel 1:  POV: 3rd person widescreen shot from behind Rhodes & Janet.  Number 1 has his head down on the table.  Number 2 is miming shooting himself in the head, tongue out, eyes closed.  Phil is sitting with his arms crossed, looking unimpressed.  Janet’s got her head turned, talking to Rhodes. (we see Rhodes from the back, Janet from the back, her head turned to the side)

Text bubble: (Janet) You know, speaking of Darkchilde, I have a friend whose sister is just like that.

Page 11: Panel 2:  POV:  3rd person widescreen close up of just Rhodes & Janet from the front.   Janet’s got her head on Rhodes’ shoulder.  He’s looking down at her hair.

Text bubble #1: (Rhodes) Yeah?

Text bubble #2: (Janet) Yeah… she cuts herself and everything.  I thought maybe you could meet her… talk to her.  I don’t know, maybe you could help her.

Page 11: Panel 3:  POV:  3rd person close up on Rhodes’s head.  Janet’s head is partially visible on his shoulder.  Rhodes looks uncomfortable with the subject.

Text bubble: (Rhodes) Ah, I don’t know, Janet, I’m no shrink…

Page 11: Panel 4:  POV: 3rd person close up of Janet’s face, looking up at Rhodes, eyes wide and doe-like.

Text bubble: (Janet) Please? For me?

Page 11: Panel 5:  POV: 3rd person, pulled back a bit to fit both Rhodes and Janet in the shot.  Rhodes has his arm around Janet, whose head is on his shoulder.  Rhodes and Janet are both grinning from ear to ear.

Text bubble: (Rhodes) Oh, alright, anything for you, honey.

Page 12: Panel 1:  POV: 3rd person widescreen shot of Janet & Rhodes from about the chest up.  Janet’s smiling and facing head on, as if she’s talking to everyone at the table.  Rhodes is sipping a coffee.

Text bubble: (Janet) Great, well, I’m meeting my friend at a club tonight for a couple of drinks – you can talk to her about her sister then.  Of course, you’re all welcome to come – what do you think?

Page 12: Panel 2:  POV: 3rd person close up of Number 1 with his head down on folded arms on the table.  He’s not even looking up.

Text bubble: (Number 1) Pass

Page 12: Panel 3:  POV: 3rd person close up of Number 2, with his right hand miming shooting himself in the head.  He’s been doing this shit all along and no one has noticed.

Text bubble: (Number 2) Huh? Nah, I’m good, thanks.

Page 12: Panel 4:  POV: 3rd person close up of Phil, maybe from a ¾ angle, facing Rhodes.  He looks anxious/excited.

Text bubble: (Phil) Well, actually, we’re supposed to have a rehearsal tonight…

Page 12: Panel 5:  POV: 3rd person close up of Rhodes’ face, left of panel, from slightly behind Phil (on an angle) so that we see the back/side of Phil’s head in the bottom/right of panel.  Rhodes is talking to Phil.

Text bubble: (Rhodes) Oh, right… No, no… that’s fine.  In fact, I’ve actually got a few songs in my head I’ve been sort of working on that I’d like to try out.

Page 12: Panel 6:  POV: 3rd person pulled back and on an angle, showing the corner of the table, with Rhodes on the left of panel, and Phil on the right.  Phil’s eyes are wide and excited.  Rhodes is fiddling with his fork on his plate.

Text bubble 1: (Phil) Really? That’s great news, Ritchie!

Text bubble 2: (Rhodes) Right, so I’ll just pop in and meet Janet’s friend, have an early drink, and then meet you guys for rehearsal by ten, ten-thirty at the latest.

Page 13: Panel 1:  Scene change.  Rhodes and Janet in Janet’s convertible.  POV: widescreen close up… on an angle so that Rhodes is left of panel, and Janet is on the right, in the driver’s seat, but on a ¾ angle.  Janet is wearing stylish sunglasses and a Burberry hat (I’m picturing something with a small brim and a tartan pattern with pink and cream with maybe some green lines), with a simple white cotton blouse.  Rhodes is dressed up very out of character.  His hair is slicked back, and he’s wearing yellow wrap-around sunglasses, very Bono style, and is wearing a silk collared shirt.  He looks like a dick.  He’s not smiling, in fact, he’s pouting like a little boy.

Text Box: (Top left of panel) That night…

Text bubble 1: (Rhodes) I look like a dick.

Text bubble 2: (Janet) You look fine!  Besides, now no one will recognize us, and we can be left alone.

Page 13: Panel 2:  POV:  3rd person widescreen shot.  Pulled back, Janet and Rhodes pulling up to a club, with a velvet rope style entrance, complete with an awning with “Marquee Club” written on it, and a valet approaching the car.  To the left of the awning is a crowd of people in line to get in, and a bouncer holding them back.  The front of the car is facing the right of the panel, so Rhodes is closest to the “camera”.  Both Rhodes and Janet are in side profile.   In terms of scale, the car takes up about ¾ of the width of the panel, which is full page wide.

Text Bubble 1: (Janet) You ready for this?

Text Bubble 2: (Rhodes) Ready as I’m going to be.

Page 14: Full Page:  POV: 3rd person, from behind and just slightly above Rhodes and Janet, who are at the bottom left of the page, visible from about mid thigh up (from behind.)  Janet is on the left, Rhodes on the right.  Janet’s waving to Chloe at the bar with her left hand.  Janet’s wearing a pair of fitted jeans (designer jeans) and her white cotton blouse (I’m picturing something that looks like it’s wrinkled and distressed) and Rhodes is wearing black pinstripe trousers and his silk shirt.  Rhodes looks like something out of a Duran Duran video circa 1985.  This page shows the bar.  On the right/top right of the page is the bar itself – a nice, classy looking bar, dark wood, lots of glass.  A handsome bartender behind the bar in a tuxedo vest and bowtie (all black, patterned) polishing a glass.  Around the top of the page, standing at the bar, is Chloe, Janet’s friend.  We’ve seen her before, at the end of v 3, when she came to pick up Janet from the clinic.  She’s got a martini glass in her one hand and is waving with the other.  She looks like she’s posing for a picture.  To the left of the panel, in front of Janet and Rhodes and beside Chloe, people are dancing.  There are also a couple of other people standing at the bar.  Everyone is nicely dressed in designer clothes.  This is a very chic bar.  Everyone is between the ages of 25-40.  Chloe should be wearing something that will draw attention to herself.. overly sexy, but not slutty… but Chloe’s just not that attractive, it’s just overcompensating.  Chloe’s very insecure.

Text Bubble 1: (Janet) There’s Chloe by the bar… CHLOE!

Text Bubble 2: (Rhodes) Does she always pose like that?
Text Bubble 3: (Janet) What do you mean?
Text Bubble 4: (Rhodes) Nothing.  Nevermind.

Page 15: Panel 1:  POV: 3rd person widescreen shot of Janet and Chloe from about the shoulders up, doing that “cheek kissing” thing that girls do.  Janet’s on the left of panel and Chloe’s on the right.  Janet’s kissing Chloe’s left cheek, so Janet’s closer to “camera”.

Text Bubble 1: (Chloe) MWAH! Darling, you look fabulous!  This is the man, I assume?

Text Bubble 2: (Rhodes) Yeah! Isn’t he to die for?

Page 15: Panel 2:  POV: 3rd person widescreen shot, pulled back to show the three of them standing at the bar from about their waists up.  Rhodes is on the left, from the side, facing the right of the panel, hand reaching out to shake Chloe’s, who’s on the right facing left.  Between them is Janet, with one hand on each of their shoulders, introducing them, facing “the camera”.

Text Bubble 1: (Janet)  Rhodes, this is my best friend Chloe.  We met at a Victoria’s Secret show, what? Four years ago now? And we’ve been close ever since.

Text Bubble 2: (Rhodes) Nice to meet you

Text Bubble 3: (Chloe) Likewise.  Now let’s get you two some drinks.

Page 15: Panel 3:  POV:  3rd person widescreen shot, pulled back and from slightly above and on an angle.  From left to right, Chloe, Janet and Rhodes and standing at the bar, which is on the right/top right of the panel (so they’re all facing right of panel)  We can see Chloe from top to bottom,  and because of the angle, lesser degrees of Janet and Rhodes, who we may only see from the shoulders up.  They’re all facing the bar, so we’re seeing them from behind/side.  We can see the bartender taking their orders behind the bar.

Text Bubble 1: (Chloe) Can I get a dirty martini… extra olives?

Text Bubble 2: (Janet) Same for me

Text Bubble 3: (Bartender) And for sir?
Text Bubble 4: (Rhodes) Pint of Stella.

Page 16: Panel 1:  POV: 3rd person widescreen close up of Rhodes and Janet from about the chest up, facing “the camera”.  Rhodes is on the left of the panel, taking a sip of his beer, looking uncomfortable, still wearing his yellow Bono shades.  Janet is right beside him, leaning her head toward his, nearly touching, and drinking her martini.  She’s taken her sunglasses off.  She’s smiling, enjoying herself.

Page 16: Panel 2:  POV:  the next three panels have the same POV…. 3rd person shots that are pulled back enough that the full height of the person can fit in the panels, which are thin… each will be about a 1/3 of the width of the page.

In this panel, Janet’s facing the right of panel, facing Rhodes but talking to both of them, a big grin on her face. She’s placing her empty glass down on the bar.

Text Bubble: (Janet) can I leave you two alone here while I go tinkle?

Page 16: Panel 3:  Rhodes, drinking his beer, facing left of panel.  A look on his face that says “don’t leave me here with her”.

Text Bubble: (Rhodes) Yeah, sure.  Hurry back.

Page 16: Panel 4:  Chloe, standing beside Janet, with a sly grin on her face.  Chloe is facing the right of panel, Janet the left.  They’re nearly nose to nose.  The dialogue is presumed to be under their breath, and playful.

Text Bubble 1: (Chloe) Take your time, hon.  Just don’t be surprised if we’re not here when you get back.

Text Bubble 2: (Janet) Bitch.

Text Bubble 3: (Chloe)Slut

Text Bubble 4: (Janet) What’s your point?

Page 17: Panel 1:  POV:  3rd person widescreen shot from behind Rhodes (Rhodes turned slightly to the left, so we see him from rear ¾ profile)  Rhodes is sitting on a barstool.  Chloe, to his left and still standing, is facing to the right of the panel (looking at Rhodes) so we see her in ¾ profile from her right side.  She’s got one elbow on the bar, holding her martini glass (very posed) with her other hand placed on her hip.

Text Bubble 1: (Chloe) So, you’re that Rhodes, aren’t you?

Text Bubble 2: (Rhodes) The one and only.  Why, you like my music?
Text Bubble 3: (Chloe) No.  Do you want to go outside? I need a cigarette.

Text Bubble 4: (Rhodes) Hell yes.

Page 17: Panel 2:  Outside, the POV is a 3rd person close up of Chloe’s face, with a cigarette in her pursed lips, eyes downward.  This should be a sensual shot.

Text Box: (top left of panel) Outside…

Page 17: Panel 3:  POV:  3rd person shot, pulled back a bit to show Chloe from about the waist up.  Chloe should be framed on the left of the panel, leaving room for dialogue on the right.  She’s got her left arm wrapped around her front, her hand under her right elbow.  Her right hand is up in the air, holding her cigarette.  Another pose.  She’s looking annoyed, and she doesn’t hesitate to cut into Rhodes.

Text Bubble: (Chloe) So my sister, she’s this big fan of yours.  Has your posters all over her walls; dresses like Wednesday from the Addams Family…

Page 17: Panel 4:  POV:  3rd person widescreen shot, but pulled back far enough that Rhodes and Janet can be seen from about the knees up.  They should be framed on the far left of the panel, even though it’s a widescreen shot to leave room for lots of dialogue.  Rhodes is standing with his hands in his pockets, kind of looking at the ground, a cigarette hanging from his mouth.  His body language is uncomfortable, but not defensive, while Chloe’s body language is definitely aggressive.

Text Bubble 1: (Rhodes) Right, Janet had mentioned that…

Text Bubble 2: (Chloe) I mean, she idolizes you!  At first I thought she’d grow out of it, you know?  But she’s obsessed with all this morbid shit – writing stories about zombies and death – and they’re good… actually, they’re really good… but they’re also really disturbing, you know?  I mean, that can’t be healthy, right?  So I thought that if you could talk to her, you know…

Page 18: Panel 1:  POV: side profile silhouette of Rhodes smoking a cigarette, looking down (maybe a true black silhouette, but with the yellow sunglasses standing out)  Rhodes’ profile is framed on the left of the panel, looking right of panel, with plenty of room in the panel for a text bubble.

Text Bubble: (Rhodes)  I’m sure it’s just a phase.  I mean, I’m not a morbid or suicidal person – my music is just art, no different than H.P. Lovecraft or Clive Barker… or… Giger – I just like the darker side of things.

Page 18: Panel 2:  POV: mirror image of last panel, only it’s Chloe, on right side of panel looking left of panel, side profile silhouette.

Text Bubble: (Chloe)  I understand that… but kids like my sister, they’re so impressionable.  They don’t know the difference between real and make believe.  I mean, in a way, it’s kind of your fault that these kids get screwed up…

Page 18: Panel 3:  POV: 3rd person widescreen shot, zoomed in on Rhodes & Chloe.  Now Rhodes is angry, and pointing his finger (right hand) at Chloe.  Rhodes is left of panel, from the side, from about the chest up, teeth clenched, eyebrows furrowed.  Chloe is still posing, smoking her cigarette, taking his anger in stride.  Chloe is right of panel, at more of a ¾ profile angle facing “the camera”, as opposed to Rhodes being shot from the side.

Text Bubble 1: (Rhodes) Hey! Don’t put that shit on me!

Text Bubble 2: (Chloe) Look, I didn’t mean it like that – I’m just saying – maybe if you talked to her; showed her that you’re not some dark evil creature of the night; that it’s just an image, then maybe she’d snap out of it, you know?

Page 18: Panel 4:  POV: This is a full width panel (1/3 of the page).  Chloe’s face should be in the far right of the panel, top to bottom, at a ¾ profile, a smug, arrogant smile on her face.  Lots of room on the left of panel for her dialogue.

Text Bubble: (Chloe) Look, I’m not just some pretty face – I majored in Psych at Berkeley.  I know that my sister is just acting out; just struggling for attention.  She’s got all these jealousy issues because of my success.  The truth is, she’s just never been that pretty – so she has to get attention somehow.  I just think that this is the wrong way to do it.

Page 19: Panel 1:  POV:  Close up of Rhodes’ face, full height of panel, in ¾ profile looking front/right, with room on the right side of the panel for dialogue.  He’s looking a little disgusted and trying to hide the fact that he thinks Chloe’s a supreme bitch.

Text Bubble: (Rhodes) Right.  Well, you know… I think I’m going to find Janet.

Page 19: Panel 2:  POV:  3rd person shot of Rhodes walking toward the door of the club, away from Chloe, who’s still posing and finishing her cigarette.  Chloe’s shot from side profile, closer to the “camera” while all we see is Rhodes from the  back as he walks away, nearly full height, as he is walking away.  Chloe’s got a mischievous grin on her face.

Text Bubble: (Chloe) Well, when you’re done with Janet, you know where to find me
Thought Bubble: (Rhodes) Jeez, get over yourself, you narcissistic bitch…

Page 19: Panel 3:   This panel is just a picture of the door to the men’s room.  I’m picturing a nice wood door with a stainless steel rectangular panel for the “handle” and the male symbol in the middle near the top.  (ie, the astrological male symbol)

Page 19: Panel 4:  POV: 1st person view (Rhodes’ POV) of Rhodes washing his hands at a sink, and seeing himself in the mirror.  He looks miserable and unimpressed.  We can see Rhodes from the chest up in the mirror, a sink with running water, and Rhodes’ forearms and hands reaching into the running water.  He’s looking up into the mirror.

Text Bubble: (Rhodes) I look like such a dick.

Page 20: Panel 1:  Back in the main bar area.  This shot is going to be very small, and all that’s important is to establish that it’s Chloe and some stranger sitting at the bar (top left of panel) while Rhodes comes out of the men’s room  (bottom left) and sees them talking.  The POV should be pulled back 3rd person from slightly above it all.  It’s important to have Rhodes in the shot to make it clear that he sees and maybe even overhears them talking.

Text Bubble 1: (Stranger) So, was that really Darke Rhodes with Janet Silvia?
Text Bubble 2: (Chloe) Sadly, yes.

Page 20: Panel 2:  POV: 3rd person, side shot of Chloe and the Stranger sitting at the bar.  The Stranger is left of panel, facing right, and Chloe is sitting beside him, facing left of panel.    Zoomed back enough to fit their whole bodies (seated) in the shot, with room for dialogue.  The Stranger has a tape recorder in his hand, which is resting on the bar.  Chloe’s got another drink in her hand.  She’s positively glowing from the attention, and she’s hunched over conspiratorially as she trash-talks her “best friend”

Text Bubble: (Chloe) Well, everyone goes slumming from time to time I guess.  But I’m not too worried about it.  She’ll fuck him for a while and then get bored and move on.  You know, both of their careers are in the toilet… I wouldn’t be surprised if this whole thing wasn’t just a publicity stunt…

Page 20: Panel 3:  POV:  Widescreen panel, side profile silhouettes facing each other with room in the middle for dialogue.  Stranger on the left, Chloe on the right.  Text bubble in the middle

Text Bubble 1: (Stranger) Really?
Text Bubble 2: (Chloe) Well, yeah… I mean, it’s no great secret that Janet’s this total nympho sexaholic that no one wants to work with anymore.  They met in a rehab center for Pete’s sake!

Text Bubble 3: (Stranger) What was he in for?
Text Bubble 4: (Chloe) Oh, who knows?  He’s probably on every drug known to man… but don’t quote me on that

Text Bubble 4: (Stranger) Oh, of course not

Page 20: Panel 4:  POV: closer shot from the side of the Stranger shaking Chloe’s hand.  He’s standing, she’s still sitting, downing her drink.  (Chloe’s on right of panel facing left, Stranger is on left facing right of panel)

Text Bubble 1: (Stranger)  Well, thank you so much, Miss Skarsgaard.  I think I have enough for my article.
Text Bubble 2: (Chloe) Chloe, please.  And you’re welcome.  Just remember to keep my name out of it.

Text Bubble 3: (Stranger) Of course.

Page 20: Panel 5:  Similar shot as last panel, but pulled back a bit.  Stranger is walking away to the left of panel (facing left as well) with a big smile on his face.  Chloe’s got her head back, downing the last few drops of her drink.

Page 21: Panel 1:  POV: similar shot as the last panel of page 20, only now it’s a widescreen shot and Rhodes is approaching Chloe at the bar from the left of panel (looking to the right of panel).  Also, it should be zoomed in so that they are both visible from about the waist up.   Chloe is starting a new drink, trying to fish an olive out of her glass.  She doesn’t acknowledge him by looking up.  Rhodes looks irritated… he overheard Chloe’s conversation with the Stranger.

Text Bubble 1: (Rhodes) Hey, Chloe.  Who was that guy?

Text Bubble 2: (Chloe) Oh, nobody.  Did you find Janet?

Page 21: Panel 2:  POV: side shot of Rhodes and Chloe, sitting at the bar, looking at each other, with room in between them for a text bubble.  Not the usual side silhouettes, though… more like two busts from the shoulders up looking at each other.  Chloe’s looking bored and arrogant.  Rhodes is looking pissed off.  But he’s containing it well.  More like a clenched jaw, lips held tight, not betraying his anger.

Text Bubble 1: (Rhodes) No, not yet… but I was thinking about your problem.

Text Bubble 2: (Chloe) My problem?

Text Bubble 3: (Rhodes) Yeah, with your sister.  See, it sounds to me like you’re the one with the jealousy issues…

Text Bubble 4: (Chloe) Me? Why would I be jealous?

Page 21: Panel 3:  POV: ¾ side profile of Rhodes at the left of the panel, full zoom on his face, and now he’s angry, but also smiling; enjoying his blasting of Chloe.  Lots of room in the panel for text bubble.

Text Bubble: (Rhodes) Why would you be jealous?  Because all you’ve got is your looks, and let’s face it, you’re not even all that hot.  But your sister, well, she sounds like she’s got talent, and she’ll always have that – in fact, believe me, it’ll only get better with time.  But you, your career’s going to be over with your first wrinkle, and all people will be able to say about you is how pretty you used to be.

Page 22: Panel 1:  POV: widescreen shot, pulled back.  Chloe’s sitting with her arms crossed, an ugly look on her face.  Rhodes is sitting up now and is holding his fingers to his temples like a mind reader.  He’s got a big shit eating, smartass smile on his face now, as if letting that all out was a huge load off of him.  Chloe looks like she would like to spit or maybe cry, or both.

Text Bubble: (Rhodes) Oh wait, I’m getting a glimpse of your future… I’m seeing… I’m seeing… late night infomercials!

Text Bubble: (Chloe) asshole (small type, murmured)

Page 22: Panel 2:  POV: widescreen slice of Rhodes & Chloe from the shoulders up… Rhodes is leaning in toward her (both of them are ¾ profile facing “the camera”).  Janet’s looking ready to kill him, Rhodes’s face is about to split he’s grinning so much

Text Bubble: (Rhodes) I’m sorry, what’s that?  I didn’t hear you.

Page 22: Panel 3:  POV: extreme close up of Chloe’s scrunched up, nostrils flaring, eyebrows furrowed, beet red angry screaming face (it’s not pretty or sexy or lady-like)

Text (not in a bubble, just large angry letters across the top of the panel): YOU’RE A FUCKING ASSHOLE!!!

Page 23: Panel 1:  POV: widescreen shot, pulled back, of the bar, with Rhodes walking away toward the left of panel, a big grin on his face.  The bartender is standing behind the bar looking at Chloe as if she’s gone crazy.  Chloe’s sitting at the bar huffing and puffing and fuming, angry and embarrassed.  Chloe is on the right of the panel.  The bartender is between Rhodes & Chloe, facing the camera/Chloe.

Text Bubble: (Rhodes) Yeah, that’s what I thought you said.

Page 23: Panel 2:  This is a large panel, about 2/3 of the page.  POV:  3rd person from just over Rhodes’ left shoulder.  We see the back of his head in rear ¾ profile in the bottom left of the panel, Rhodes looking to the top left of the panel, where Janet is hamming it up, striking poses for some photographers.  She’s posing melodramatically (ie. Vogue), not seriously.  She’s surrounded by maybe a half dozen photographers, who are more than happy to be taking her picture.

Text Bubble: (Rhodes) Oh, Janet, there you are!

Page 24: Full Page:  Full height shot of Janet and Rhodes, hand in hand, walking away from the photographers, toward “the camera”. Janet’s on the left of panel, looking back and blowing kisses.  Behind them, flashes are going off.  Rhodes is just looking determined to get them out of there.  Janet is smiling and laughing.

We don’t need to actually see any of the reporters behind them… they can be blurred out by the flashes, and so the text bubbles are really disembodied voices.

Text Bubble 1: (Reporter 1) Hey!  Is that?

Text Bubble 2: (Reporter 2) Who is that with you, Janet?
Text Bubble 3: (Janet) Goodbye!

Page 25: Panel 1:  Setting: the same front of the club scene as when they came in.  Janet and Rhodes are standing under the awning waiting for the car to come for them.  POV: zoomed back far enough to have them be full height.  The Awning should be the center of the frame, with a bouncer to the left of panel holding back the people still lined up to get in.  There should likely be some foiliage… most likely palms of one variety or another.

Janet’s hugging Rhodes from the side and kissing him on the cheek, her hand pressed against his chest.

Text Bubble 1: (Janet) My hero.  You wanna get out of here?

Text Bubble 2: (Rhodes) Absolutely!  Where do you want to go?

Page 25: Panel 2:  Similar POV as the last panel, only now the car’s in front of them, and the Valet is standing beside the car, holding the door open for Janet. (so, left to right we have: A crowd of people in line, the bouncer, Janet, the valet, and Rhodes)

Due to fitting the car in the shot, it might be necessary to cut the top of the awning out of this shot.

Text Bubble 1: (Janet) Well… Do you feel like getting away from it all for a few days?

Text Bubble 2: (Rhodes) What did you have in mind?

Page 25: Panel 3:  POV: Zoomed out, with the awning of the club (and the bouncer, valet and patrons) in the top left of the panel, and the car driving away toward the right of panel.

Text Bubble 1: (Janet) Do you mind going for a drive?
Text Bubble 2: (Rhodes) Why not?

Text Bubble 3: (Janet) Alright then… here we go!

Page 26: Panel 1:  Setting: Janet’s car, from the front.  POV: from the front, slightly overhead.  Rhodes has his glasses off, and has his hands in his hair, messing it up thoroughly, giving himself back his Robert Smith hair.  He’s got a satisfied smile on his face.  It’s dark out, so the only light is street lamps.  This can create interesting visuals.  Mainly, it tends to bleach people out… very little colour.  Janet’s driving (right of panel) and is looking very happy.  They’re very much “young lovers” at this point, and spend most of their time looking starry-eyed.

Text box: (top left) Two hours later…

Text Bubble 1: (Rhodes) Ah, there, that’s much better.

Text Bubble 2: (Janet) I’m glad you’re happy, love.

Text Bubble 3: (Rhodes) So where are we going, exactly?
Text Bubble 4: (Janet) Does it matter?

Page 26: Panel 2:  Same POV.  Rhodes is leaning his head toward her and winking and grinning.

Text Bubble 1: (Rhodes) You know, Phil knows I’m with you, in case you were thinking of kidnapping me… oh shit!

Text Bubble 2: (Janet) What?

Page 26: Panel 3:  Same POV.  Rhodes is looking out the window (left of panel) looking a bit upset, mostly with himself.  Janet is looking sympathetic.

Text Bubble 1: (Rhodes) I totally forgot about rehearsal.  The guys are going to be so pissed.

Text Bubble 2: (Janet) I’m sorry

Text Bubble 3: (Rhodes) Nah, forget about it.  What’s done is done.  So where are we going?  I’ve blown off a rehearsal, I’d say I’m entitled…

Page 27: Panel 1:  Half page panel…. Janet behind the wheel, positioned to the right of the panel, with room on the left for dialogue.  She’s got her head turned slightly to her right (left of panel) and is smiling.  We can see the steering wheel, and her hands are at 10 and 2.

Text Bubble: (Janet) Well, I’ve got a friend who has a place down in Venice Beach and she’s away on a shoot, so she won’t mind if we crash at her place for a few days.  Whaddaya say?

Page 27: Panel 2:  POV: close up of Rhodes’ head in his chair, looking disappointed…. or rather, with a look on his face that says that he really doesn’t want to go to L.A.  Not a sour or angry or upset look… just a “blah” look.

Text Bubble: (Rhodes)  I actually really don’t like L.A… It’s too big, too dirty, too crowded…

Page 27: Panel 3:  POV: close up of Janet behind the wheel, looking slightly to her right (left of panel).  She’s not phased, she’s bound on convincing him.

Text Bubble: (Janet) Yeah, but it’s Venice Beach!  We can go for walks alone on the boardwalk and no one will bother us…

Page 28: Panel 1: POV: same as page 26… the two of them in the car from the front.  Rhodes has his head turned to the window (left of panel) but has a smirk on his face.  Janet’s looking hopeful, smiling.

Text Bubble 1: (Rhodes) I don’t have any clothes or anything with me!

Text Bubble 2: (Janet) It’s Venice Beach, Rhodes – we’ll go shopping.

Page 28: Panel 2:  Same POV.  Rhodes is looking at Janet in resignation.

Text Bubble 1: (Rhodes) Well, we’ll have to get some SPF 30, or else I’ll burn to a crisp

Text Bubble 2: (Janet) You’re too pale as it is, you could use the sun.

Page 28: Panel 3:  Same POV.  Janet’s looking at Rhodes with a great big, sly grin on her face (sexy smile).  Rhodes is grinning like a fool, too.

Text Bubble:  (Janet) Or, if you want, we never have to leave the bedroom.  We can fuck like bunnies, order in food, and stay naked for days.  There you go – clothes problem solved…

Text Bubble 2: (Rhodes) That could work.

Text Bubble 3: (Janet) So whaddaya say?

Page 29: Panel 1:  POV:   this is a shot from several metres behind the car, as it drives down highway #5.  So in essence, down the middle of the panel is a road (here’s a perspective shot… the road goes off into the distance) with darkness to the left, and darkness to the right, with some street light to break the darkness. We see the car in nearly the dead centre of the panel, approaching a mile marker, which shows Bakersfield and Los Angeles (have to make up numbers) as well as a “Highway 5” sign (the blue, white and red road marker)

Text Bubble 1: (Rhodes) I say, “Onward, ho!”

Text Bubble 2: (Janet) Who are you calling “ho”?

Page 29: Panel 2:  This shot is a collage with the main backdrop being a road map of California, with the route (Hwy #5) highlighted in red.  There will be text boxes with arrows pointing to various points on the route where events took place.  Kind of a scrap-book type idea.  I’m going to label them as Text Boxes…. (see following notes).  The other parts of the collage will be various receipts, cigarette packages, energy drinks, condom wrapper, McDonald’s waste.

Text Box 1:  Stopped for gas.  Witnessed cops going through some poor schmuck’s trunk and discovering a garbage bag full of weed.  Picked up a pack of Marlboro Lights.  I guess I’m smoking again.

Text Box 2: Stopped for coffee… opted for energy drinks instead.  Hopped up on caffeine and ginsing.. YIPEEEEE!

Text Box 3:  Stopped to have sex on the side of the road.  Took a half hour nap afterward.

Text Box 4:  Stopped for some Mickey D’s

Text Box 5: Stopped to rid body of McDonald’s.  Every fucking time!  Why do I ever eat that shit?

Text Box 6:  Arrived in Venice Beach at around 7 am and went directly to bed…

Page 30: Panel 1:  Setting: A bedroom, close up on the bed, POV, 3rd person from the foot of the bed, from slightly above.  Rhodes and Janet curled up together under the sheets, sleeping.  Looking peaceful and content.  Rhodes is on the left of panel, looking to the right of panel.  He’s spooning Janet, who’s also looking to the right of panel (sleeping).  There should be light coming into the room… that early morning sunshine.

Text Box:  …where we slept until noon.

Page 30: Panel 2:  POV: extreme close up of Rhodes’ and Janet’s faces in side profile, looking at each other (waking up and nearly nose to nose).  Both of them are smiling that warm fuzzy “in love” smile. (Rhodes on left, Janet on right).  Tiny little text bubbles between them like they’re whispers.

Text Bubble 1: (Rhodes) Good morning

Text Bubble 2: (Janet) Good morning

Page 30: Panel 3:  POV:  widescreen shot, 3rd person from the foot of the bed. Slightly above/straight on.  Rhodes is standing naked by the side of the bed (left of panel) with his arms stretched, yawning.  He’s standing beside the bed, and the angle should cover his bits and pieces…  Janet’s sitting up a bit in bed, with the sheets covering her to her waist.  The bed fills up about half of the panel (right half) and on the left half we have Rhodes, and to his right (further left of panel) there’s a night table, with a lamp… classy stuff.

Text Bubble 1: (Rhodes) Have you seen my pants?
Text Bubble 2: (Janet) You took them off as soon as you got in the door.  I’d check there.

Page 31: Panel 1:  POV:  first person (Janet’s POV) of Rhodes walking out the bedroom door, looking back over his left shoulder at her.  This is a widescreen shot of the bedroom wall & the doorway.  Rhodes should be visible from about the back of his knees up (yes, he’s naked.  Have him be scratching his ass with his right hand.  His left hand is up above his head holding the door open.  To the left of the door, on the wall, is a picture.. something classic, like a Monet or Matisse… yeah… a Matisse jazz pic or something.  To the right of the doorway is some weird modern art sculpture.  The walls are a neutral colour.  Rhodes is looking over his shoulder at her and winking.

Text Bubble: (Rhodes) Don’t go anywhere.

Page 31: Panel 2:  POV: first person (Rhodes’ POV) back at Janet, in bed, sitting up and yawning, arms stretched wide.

Text Bubble: (Janet) I wouldn’t dream of it.

Page 31: Panel 3:  The same shot as panel 1, only the doorway’s empty… Rhodes has gone searching for his pants.  But he’s talking to her from out of the room.

Text Bubble: (Rhodes, from out of the room) Hey, I got a message on my phone from Phil.  I bet he’s pissed.

Page 32: Full Page:  Full height shot of Rhodes walking in the open door, pants on, cell phone in one hand (to his ear) and zipping up his pants with the other, a guilty grin on his face.

Text Bubble 1: (Rhodes) Wow am I in so much trouble…

Text Bubble 2: (Phil… message from cell phone) …it’s Eleven O’Clock, and you’re obviously not going to show for the rehearsal – is it such a fucking bother for you to pick up the phone, Ritchie?  Anyway, whatever… we’ll talk about it tomorrow.  I expect to see you at eight A.M. sharp for our meeting with the people from the record company.  They want to discuss plans for the next album and a new tour, and you cannot, I repeat, cannot miss this meeting, Richard…

End.

What is this?  Get more information HERE, or start with Issue 1 HERE

Darke Rhodes – Script 4

Darke Rhodes v4

This issue opens where the last one left off, with Rhodes and Janet being picked up from the clinic.  Rhodes gets in the limo and is accosted by questions from the guys.  They recognized Janet right away.  Here it’s revealed that Janet is a big time model… think swimsuit calendars, lingerie catalogues, and that she’s had her own share of bad publicity, and has been raked through the mud in the tabloids herself.  Phil is nervous, and tells Rhodes he doesn’t think it’s such a good idea for them to get involved.  They’re heading for a hotel, and Phil tells Rhodes that they’ve got a gig planned to make up for all the ones they lost while he was in rehab.  When they arrive at the hotel, there are all kinds of reporters and protesters from M.A.T.T.A.C.K. there, and he has to fight through the crowd to get in the hotel.

Later that day, they have a rehearsal.  Rhodes is distracted, and when his cell phone rings, he takes the call – it’s Janet.  Number 1 & 2 are not impressed, and see that nothing good can come of this.  When they overhear him tell Janet that he loves her, they have all the confirmation they need, and declare that they are totally fucked.

Skip forward to the night of the show, and Rhodes is in the dressing room getting ready.  Phil assures him that the bouncers know not to let anyone near with any blood, fake or otherwise.  Darke Rhodes of the Soul play their show, and Janet is in the front row, of course.  As a final song, Rhodes takes an acoustic guitar and plays “Angie” by the Rolling Stones.  The crowd of goth fans are stunned, and Number 1 & 2 are ready to kill him.

Backstage, Number 1 gives him shit for playing Angie, screaming at him that they are not some AM radio classic rock band, and that no one wants to hear them play Angie.  Number 2 is just staying out of it, his head buried in his hands, murmuring to himself how they are completely fucked.

Janet comes backstage, and asks Rhodes if he wants to go out for a drive with her… Rhodes tells her that usually the guys hang out afterward, but Number 1 tells him to just go, so he does.

They go for a drive down the coast, where Rhodes and Janet talk about “who they are” and does that matter (ie. Their celebrity) and decide that they don’t care… they end up pulling over in Half Moon Bay and making love…. And then the scene shifts to the next morning, the two of them curled up in Janet’s bed, with Rhodes’ phone ringing, the two of them completely unaware; dead to the world.

Page 1 – full page:  Similar shot as last panel of v3…. Only more zoomed in, and Rhodes and Janet are kissing goodbye.  POV: third person from slightly behind.  Keep that “Triangle” shot from the last page of v3.  This might be zoomed in so much that the band and Chloe aren’t really visible behind Rhodes and Janet’s heads.

Page 2: Panel 1:  POV: 1st person, Rhodes POV, widescreen shot of (from the left) Number 1, Phil, Number 2, sitting in the back of a limo (across from Rhodes)  Number One and Number 2, as always, are monotone and neutral (socially awkward)

Text Bubble 1: (Number 1) Um… Hey, Rhodes…

Text Bubble 2: (Phil) Am I crazy, or was that just…

Text Bubble 3: (Number 2) … Janet Silvia

Page 2: Panel 2:  POV: 1st person, the band’s POV, widescreen shot of Rhodes lounging on the seat across from the band.  He’s still got his sunglasses on and is smiling.  He doesn’t look at them when he answers.

Text Bubble: (Rhodes) Oh, you know her?

Page 2: Panel 3:  POV: close up of 1, Phil, & 2, widescreen shot but zoomed in to fill the panel.  Looks of disinterest on 1 & 2’s faces, Phil looking incredulous

Text Bubble (Phil): She’s Janet Fucking Silvia, Ritchie, of COURSE I know her!

Page 3: full page:  this page will be a pastiche of billboards, swimsuit calendars and magazine covers, all featuring Janet Silvia… also, a tabloid magazine with her wearing big Audrey Hepburn sunglasses and hat, trying to hide from reporters.

Text Box 1 (Phil continuing…) “Where the hell have you been hiding that you don’t know who Janet Silvia is?  That’d be like you saying you don’t know who Milla Jovavich or Kate Moss are”

Text Box 2 (Rhodes) Who?

Text Box 3 (Phil) Ritchie, you shithead, you’re winding me up, right?

Text Box 4 (Rhodes) I never heard of her before, Phil… so what?  So she’s famous – so am I – big deal

Page 4: Panel 1:  POV: 3rd person, medium close up on Phil, his hands folded in front of his mouth, leaning in

Text Bubble: (Phil) So… are you involved with her?

Page 4: Panel 2: POV: 3rd person, closer zoom on Phil’s face, looking irritated – one eyebrow raised in concern

Text Bubble: (Phil) Do you really think that’s a good idea, Ritchie?

Page 4: Panel 3:  POV: 3rd person widescreen shot of Rhodes from about the chest up, hands behind head, big smile on his face, sunglasses on

Text Bubble 1: (Rhodes) The name’s Rhodes, Phil.  Darke fucking Rhodes, goddammit, and I’ll do what I want.

Text Bubble 2: (still Rhodes) Now, catch me up to speed.

Page 4: Panel 4:  POV: 1st person, Rhodes’ POV, looking at 1, Phil & 2 across from him.  Phil looking enthusiastic, 1&2 looking blankly out the windows.

Text Bubble 1: (Phil) Well, we’ve got you booked for a show tomorrow night – sort of a good faith thing to make things right with your fans

Text Bubble 2: (Phil again) I mean, Ritchie, um, I mean Rhodes – you couldn’t have picked a worse time to have a breakdown…

Page 5: Panel 1:  POV: close up of Rhodes’ smiling face, filling the right side of the panel, leaving room on the left for dialogue.  He’s looking like he’s had a religious conversion.

Text Bubble: (Rhodes) Nothing happens by accident, Phil – call it fate, call it cosmic forces; whatever.  I was right where the universe wanted me to be, and I met my lady love, and all is right with the world.  Nothing could bring me down.

Page 5: Panel 2:  The next 2 panels are going to be seen from outside the limo, through the windows, which are tinted glass.   So there should definitely be the frame of the car window visible to indicate this, and then the guys’ heads are seen in silhouette, from the side, Phil and the guys on the left, Rhodes on the right of the panel.  Rhodes should be a very distinctive silhouette, crazy hair and all.

Text Bubble 1 (Phil) A few of the venues are threatening to sue

Text Bubble 2 (Rhodes) You’ll work your magic, Phil.  That’s why we pay you.

Page 5: Panel 3:  Same shot… maybe have Phil leaning in…

Text Bubble 1: (Phil) The label’s screaming for a new album

Text Bubble 2: (Rhodes) When I’m ready.

Page 6: Panel 1:  Similar shot, only pulled back a bit more.  This shot and the next one may be difficult to portray, but I’d like a little more transparency to the window… they’ve stopped, and there are all kinds of protesters, reporters, etc outside the car (we can’t see them – and here’s the tricky part – but we can see reflections of signs, etc in the window of the limo)  One sign has a picture of Rhodes with a circle with a slash through it around him (the old No-Smoking sign), another may have RHODES GO HOME! Or something.

Rhodes is on the right of the panel, inside the car with his face and right hand pressed up against the glass, sunglasses off, eyes wide, looking out.  On the left of the panel, sitting across from Rhodes, Phil and the band are looking out curiously.

Text Bubble (Phil): Oh yeah… and those freaks from M.A.T.T.A.C.K. really capitalized on your recent behaviour and subsequent hospitalization.  They’ve been calling for your head on a plate.

Text Bubble (Rhodes) Gulp.

Page 6: Panel 2:  Same as above, only closer shot, Rhodes looking scared.

Text bubble 1 (Phil) Are you ready for this?
Text Bubble 2 (Rhodes) yeah….sure.

Page 7: Full Page: Full page POV: 3rd person from slightly behind/overhead.  Rhodes stepping out of the limo (limo at bottom of page, we see Rhodes from the back, cut from about mid-back up (the rest is obscured by the car)  At the top of the page is the front of a hotel.  Between him and the hotel doors is a crowd of people, some fans with cameras flashing, some reporters, some protesters with signs: RHODES = EVIL, M.A.T.T.A.C.K., RHODES GO HOME! Etc… Rhodes has his left arm up blocking himself and head down and to the right.  Faces in the crowd – angry moms side by side with reporters and camera-people with microphones, side by side with adoring fans all clad in black and such.

Text Bubbles (not necessarily bubbles, just words rising from the crowd) RHODES! MARK DAVIS, Channel 9 News!

RHODES WE LOVE YOU!

YOU’RE A MONSTER!

Page 8: Panel 1:  Widescreen shot, POV third person of Rhodes with his back against closed glass doors (he’s inside the hotel). Behind him (outside) we can see two security guards (from the back) standing outside and holding back the crowd, who we can see as well.  Rhodes is centred in front of the doors with his sunglasses in his hand and his eyes bugging out of his head in shock.

Text bubble (Rhodes): Bunch’a crazy fuckers…

Page 8: Panel 2:  Widescreen close up of Phil and Rhodes from the shoulders up, Phil putting his arm around Rhodes’ shoulder, steering him… (Phil is on the left of panel, Rhodes is on the right.

Text bubble 1: (Phil) That they are, Ritchie, that they are.  Now let’s get some chow, and then get to the rehearsal space I’ve booked for us.

Text bubble 2: (Rhodes) Yeah, sure.  Good idea.

Page 8: Panel 3:  Widescreen shot, POV: third person, pulled back to fit all four in the shot – from the left, facing the “camera” Number 1, Phil, Rhodes, Number 2.  Phil still has his arm around Rhode’s shoulders, leading him

Text bubble 1: (Phil) You feel like sushi?
Text bubble 2: (Rhodes) Why not.

Page 9: Panels 1-3: This page should have loose arrangement of panels, especially at the bottom of the page.  Almost like the panels are snapshots placed on a scrapbook or something… this motif has been used before on previous pages, so it’s an established look for the series. This page will be shots of the guys practicing… but remember, they’re not on stage… so they’re just in regular clothes, no make-up.  I like the idea that Number 1 and Number 2 don’t really look all that different… it’s Rhodes who’s the big poser and gets all glammed up.  Number 1&2 just wear jeans and tees, Rhodes is dressed similarly for practice – but these “snapshots” catch them all in rock star poses.  In panel one, Rhodes is shot from the side, full height shot, screaming into a microphone, both hands on the mic (visually, I picture Trent Reznor from NIN).  In panel two, Number 1 (bass player) is shot from about the waist up, filling up the panel – close up shot – so the head of his bass might not be in the shot… his head is bend over, looking at his left hand (on the neck of the bass).  In panel three, we can just barely see Number 2’s head behind the drum kit… make sure the DRS logo is on the kick drum.  At the top of the page will be the text box

Text box: Later that night

Page 9: Panel 4:  Not so much a panel, but open space where there will be three pictures of  a cell phone.. .staggered across the bottom of the page; spaced out, with the words BEEP BEEP or RING RING or something placed between them.  On the cell phone display will be the words UNKNOWN CALLER.

Page 10: Panel 1:  Close up of Number 1’s face, looking annoyed

Text Bubble : what the hell?

Text: BEEP BEEP (or RING RING, whatever)

Page 10: Panel 2: Close up of Number 2’s face, pissed off.

Text Bubble: whose cell is that?

Text: BEEP BEEP, etc…

Page 10: Panel 3: widescreen shot, pulled back, showing band set up… so all three of them in panel.  POV, from the front, slightly overhead.  In the middle of the shot is Rhodes, and have a big circle with a picture of a ringing cell phone in it (like it’s a magnifying glass) with arrows pointing to it (so the cell phone is in larger scale than the actual picture… drawing attention to it)

Text bubble 1: (Number 2 – drummer) Rhodes, is that you?

Text bubble 2: (Number 1 – bassist) No one but us is supposed to have that number, Rhodes.

Page 10: Panel 4:  POV: third person, close up of Rhodes from about the waist up, from the front-to ¾ side, fumbling in his pocket to pull out the cell phone.  He’s smiling sheepishly.

Text bubble: (Rhodes) Sorry, guys

Page 10: Panel 5: POV: third person close up side profile of Rhodes’ head with the phone in his hand held to his ear (the ear facing us – left ear – Rhodes is facing the left of the panel)

Text bubble: Hello?

Page 11: Panel 1: POV: similar shot as the last panel, only Rhodes’ face is now in ¾ profile, turning toward “the camera” a bit.  He’s smiling more

Text bubble: Who?

Page 11: Panel 2: POV:  pulled back quite a bit to show Rhodes walking away from the microphone, walking to the right of panel (so now, the hand with the phone in it is away from “camera”) and he’s plugging his right ear with his other hand – so he’s walking with both hands up to his head, slightly bent over… shot from about the knees up.

Text bubble: Oh, Janet, hey! No, no, it’s fine; not a bad time at all!

Page 11: Panel 3:  widescreen shot, POV: third person from slightly behind Rhodes and over his shoulder.  On the left of the panel, we see the back of his head close up, and see that he’s holding out the cell phone toward the guys and has one hand over the mouthpiece.  In the centre to the right of panel, we can see the band (drums in centre, bass player and amps to the right of panel) and they both are looking annoyed.

Text bubble: (Rhodes) Sorry, guys… gotta take this.  Take five, okay?

Page 11: Panel 4: POV: pulled back widescreen shot so that Rhodes can fit full height in the panel.  Rhodes is on the far left of the panel, hands to head, talking on the phone.  In the background, filling up the rest of the panel, further back, we can see the drummer and the bassist smoking and talking to each other, annoyed looks on their faces

Text bubble 1 (Rhodes) I’m glad you called… I miss you already, too…I’d really like that…

Text bubble 2 (Rhodes) (at the bottom of the panel) okay, I’ll see you tomorrow, then….. I love you, too…

Page 12: Panel 1:  POV: third person medium close up of Number 2 (drummer) with a shocked look on his face, sitting behind his drum kit.

Text bubble (Number 2) Did he just say…

Page 12: Panel 2: POV: third person, medium close up of Number 1 (bassist) with concerned, exasperated look on his face, head cocked slightly to the left of panel (his right)  He’s still holding the bass, but likely only the body of it is visible in the shot.

Text bubble (Number 1) … “I love you”?  Yeah…. Yeah he did.

Page 12: Panel 3:  POV: third person, pulled out to show Rhodes from the side, from about the waist up, walking in front of the band, facing right, looking down at his cell, smiling like a fool.  Behind him, we can see Number 1 & Number two, Number 1 should be pretty much full height.  They’re looking at each other, and share a text bubble:

Text bubble (Number 1&2) We are SO fucked!

Page 13: Panel 1:  This page will be interesting visually.. it’s Rhodes sitting in his dressing room, with his back to the “camera” but he’s looking into a mirror, so we see both the back of his head, and part of the front of his face.  In panel 1, it’s a widescreen shot, with the back of Rhodes head being to the left of panel, about half the height of the panel, putting on makeup – white facepaint.  He’s looking into the mirror, and there’s a bottle of Jack Daniels on the counter.

Text box: The next night

Page 13: Panel 2:  POV: still from behind, Phil comes in and puts his hand on Rhodes’ shoulder.  Really, we just see part of Phil’s body from behind, to the left of the panel.  Maybe we see some of him in the mirror, but in this panel, most of the space will be taken up by their backs and dialogue.

Text bubble: (Rhodes) You’re gonna be fine,  Ritchie.

Page 13: Panel 3:  POV: similar shot as the last panel, only panned more to the right… we see less of Phil’s body and more of Rhodes’ face in the mirror as he applies black lipstick.  He’s looking arrogant and psyched up.

Text bubble:  (Rhodes) Of course I’m gonna be fine, Phil.  I’m Darke fucking Rhodes.

Page 13: Panel 4: POV: similar to panel 1, only now Phil’s standing there over Rhodes’ left shoulder.  We can’t really see the finished product of Rhodes’ makeup because of the text bubbles

Text bubble #1: (Rhodes) Did you tell the security guards?
Text bubble #2: (Phil) Yeah, they all know, Ritchie.  No blood, fake or otherwise.  Near the front rows anyway.

Text bubble #3: (Rhodes) Great, thanks.  Oh, and Phil…

Page 14: full page:  POV:  1st person from Phil’s POV.  Rhodes turns around in his chair, and we see the “finished product” that is Darke Rhodes.  Hair all wild and big and spiky, white face with black circles around the eyes, black lipstick.  To the top left of the page, we can see Phil’s reflection in the mirror, as if he’s standing over Rhodes’ right shoulder.  Rhodes is topless… another opportunity to show the tattoos, etc….  Rhodes is looking up at Phil with a sneer.

Text bubble: (Rhodes) … The name’s Rhodes.

Page 15: Panels 1-4:  More “snapshot” style layout – with a backdrop of the screaming audience, arcane symbols, etc… layered images…. Maybe some music symbols here  and there.  In panel 1, a shot of the bass player… I like the idea of having these shots be poorly centred… like the guy’s face is only half in the shot… as if it were a Polaroid taken by a fan in the audience.  Have the panels overlap each other where possible.  Panel two is the drummer, doing his thing… panel three is Rhodes with a guitar strapped across his chest (not the white Gretsch obviously… find him a new cool guitar… I’m thinking a sunburst Gibson Les Paul, or maybe an SG – think Angus Young from AC/DC’s guitar) standing in front of the microphone, slightly from the side… this is nearly a full height shot.  In panel 4, we have a shot of the crowd at the front of the stage, and Janet is there, wearing all black but not all goth-ed out as far as make up, etc… she stands out but only because she’s beautiful, and not a pimply faced, mad at the world, homely looking teenager that hasn’t grown into their nose yet.  In this shot make sure she’s the focus of the shot, as if all the other people around her don’t exist.  This is meant to be from Rhodes’ POV, so the shot should be at an angle as if he’s looking down at her.  The shot should be framed at the bottom by a bit of the stage.

Pages 16-17:  two page spread, POV: third person, from the middle of the audience, two page wide shot of the stage, over the heads of a sea of people, chanting RHODES RHODES RHODES, and WE LOVE YOU, etc… CLAP CLAP CLAP…..

On stage are big tall amplifiers,  the drums up on a platform, maybe a mixing table in the back.  Rhodes is just off centre (so that he doesn’t need to be split by the page!) to the left (page 16), while the drums are just off centre to the right (on page 17) and then the bassist is to the right (p17).  Lots of detail in this panoramic shot, both of the stage and band, but also the audience – have some really interesting characters, maybe some fights, etc..

Text Bubble: (Rhodes) Thank you!  Thank you all for coming! We love you all!  I’d like to do something a little different right now for someone very special to me that’s in the audience tonight.

Page 18: Panel 1: Half page shot of Rhodes (on the right of panel) at the front of the stage behind the microphone, playing an acoustic guitar.  The shot is pulled back a bit and at such an angle so that you can see Janet at the front of the stage, as well as a few people around her.  Janet’s got a big smile on her face, while the three or four people around her are looking shocked and unimpressed; stunned.

Text bubble #1: (Rhodes) Well, I don’t know any songs called “Janet”, so, I hope you like this one instead…

Text bubble #2: (Rhodes singing.. so put in a musical note) Angie… Aaaan-gie

Text bubble #3: (crowd member, small bubble) this is a joke, right?

Text bubble #4: (crowd member 2, small bubble) dunno

Page 18: Panel 2: POV: close up of Number 2 (Drummer) behind his drum kit, looking at Number 1 with an angry look

Text bubble: Fucking hell! Is he singing…

Page 18: Panel 3: POV: full height shot of Number 1, holding his bass and leaning in toward the drummer, head turned to look at him, with an equal look of disgust on his face

Text bubble: Angie?  Yeah, it would seem so…(smaller type, as if he’s muttering under his breath) goddamn Rolling fucking Stones… (normal type) we are SO fucked!  He follows this up with Wild Horses and I’m gonna break my fucking bass over his gothic fucking head!

Page 19: Panel 1:  POV: third person, from directly behind Rhodes.  We see him from mid back up, looking out at the audience, who’s looking mostly stunned and unhappy.

Text bubble: (Rhodes)  Thank you!  Good night everybody!

Page 19: Panel 2:  POV: third person shot, widescreen shot, Number 1&2 sitting on a couch backstage.  Number 1 is on the left, Number 2 on the right.  Number 1 is drinking a bottle of water, Number 2 has his head in his hands.

Text box: Backstage…

Text bubble (Number 2) we are so completely fucked.

Page 19: Panel 3:  POV: third person shot of Number 1 & 2 on the couch, only moved to the right of the panel for this shot, as Rhodes walks in from the left, shown from mid waist up, maybe toweling off, from the side.  Rhodes’ makeup is smeared and he looks a mess. Number 1 is looking at Number 2, who still has his head in his hands

Text bubble 1: (Rhodes) Good show, guys! Sounded really great out there.

Text bubble 2: (Number 1 – to Number 2) Do you want to?

Text bubble 3: (Number 2) No, you go ahead.

Page 20: Panel 1:  POV: Extreme close up of Number 1’s screaming face, widescreen shot, with large letters across the bottom:

Text: WHAT THE HELL WAS THAT SHIT???!!!!

Page 20: Panel 2:  POV: widescreen shot, Rhodes and Number 1 from about the waist up, both in side/front profile, Rhodes kind of looking like he’s been slapped, Number one wildly talking with his hands, face going red, eyebrows knitted…

Text bubble #1: (Rhodes) What? I just wanted to do something different.

Text bubble #2: (Number 1) Different?  Different’s fine, Rhodes.  Throw in an old Cure song, fine.  Toss in a couple of lines from an old Smiths tune, even, I don’t care.  But Angie?  Fucking Angie?

Page 20: Panel 3:  POV: close up of Rhodes’ face, looking a bit defensive, in ¾ profile, looking to the right of panel

Text bubble: What’s wrong with the Stones?
Page 20: Panel 4: POV, close up of Number 1’s face, mirrored to panel 3 (3/4 profile, looking to the left of panel) looking exasperated.

Text bubble: Are you fucking kidding me, Rhodes?  Look out there!

Page 21: Panel 1: POV: first person of Rhodes looking out a door (as if he’s the one who opened it and is peering through a crack in the door…) so there should be a door frame on the right of the panel, and part of the door on the left of the panel, and then in between, a crowd of goth-rock fans still hanging out, looking stunned.

Page 21: Panel 2:  POV: third person, same shot only pulled back to show the backs of Rhodes & Number 1 looking out the door.  Rhodes is on the left, Number 1 on the right.

Text bubble #1: (Number 1) Does anyone out there look like they came to hear fucking Angie?

Text bubble #2: (Rhodes) You really don’t like that song, do you?

Text bubble #3: (Number 1) You’re fucking killing me, Rhodes.  Do you know that?

Page 21: Panel 3:  POV: third person widescreen shot, pulled back.  To the left of the panel are Rhodes and Number 1, at the door they were looking out.  Rhodes now has his head turned to see Janet entering from the right of panel.  In between them is the couch where Number 2 is still sitting with his head in his hands, muttering to himself.  Janet’s on the far right of the panel, looking fabulous.

Text bubble #1: (Rhodes) Janet!

Text bubble #2: (Janet) Rhodes!

Text bubble #3: (Number 2) (small type) we are so completely fucked. Game over, man…. Game over

Page 22: Panel 1: Extreme close up of Rhodes and Janet kissing.. you know, just their faces filling the panel.

Page 22: Panel 2:  Pulled back, widescreen shot similar to Page 21, Panel 3, only now Rhodes and Janet are at the far left, Number 2 is still on the couch in the middle, and Number 1 is exiting to the right of the panel, in a disgusted hurry.  Janet and Rhodes are captivated with each other and aren’t paying attention to him or Number 2.

Text bubble #1: (Janet) That was so sweet of you to play that song for me!  How did you know I love that song?

Text bubble #2: (Number 1) Oh you’ve got to be fucking kidding me!

Page 22: Panel 3:  Zoomed a bit closer in, but still fitting everyone in the shot – Number 1 is still storming off to the right of the panel, Janet is now looking over her shoulder at him with a frown.  Rhodes is looking at Janet, ignoring Number 1.  Number 2 hasn’t moved.

Text bubble (Rhodes) Never mind him… he’s had a bad day or something… I’m so glad you could come.

Page 23: Panel 1:  widescreen shot of Rhodes and Janet looking at each other in mirrored profiles (this has been used in previous pages) Rhodes on the left of panel, Janet on the right, with space between for text bubbles

Text bubble: (Janet) So, I was wondering if you might like to go for a ride with me tonight.

Page 23: Panel 2:  widescreen shot, with Rhodes and Janet’s heads at the left of the panel, in the forefront.  To the left of the panel, behind them, is Number 2 on the couch, head back, eyes closed, a towel over his head.  Rhodes is nearly head on, head turned slightly to the right of panel (his left).  Janet is nearly side profile, looking at Rhodes (to the left of panel) with a hopeful, smiling look on her face.  Rhodes is looking weary, as if he’s going to have to say no, but he doesn’t want to.

Text bubble #1 (Rhodes) Well, actually, after shows, me and the guys usually…

Text bubble #2 (Number 2) (smaller type) just go, man…. Just fucking go…

Page 23: Panel 3:  same shot, only now Rhodes is smiling, and Janet’s kissing his cheek.

Text bubble #1: (Rhodes) all right then…

Text bubble #2: (Janet) I’ll pull around back

Text bubble #3: (Rhodes) I’ll be there… just give me 10 minutes to clean up.

Text bubble #4: (Number 2) (small type) we are so royally fucked..

Page 24: Panel 1:  half page shot, POV 1st person from Rhodes’ POV, of Janet, pulled up in a convertible Porsche Boxster, red with tan interior.  The car is facing to the right of the panel, so the passenger side is closest to view.  The shot should be from slightly above, and not directly from the side… as if he’s seeing it from steps or something… Janet has to turn her head to her right to see him – maybe she’s got her right arm around the passenger seat, waiting for him.

Text Box: Ten minutes later…

Text bubble: (Janet) You ready?

Page 24: Panel 2: half page, POV, third person, from directly behind the car.  We see the back of the car, (tail lights) their heads just above the headrests, the windshield, and the cityscape layed out in front of them… a skyline in silhouette (it’s night after all)

Page 25: Panel 1: half page, POV, third person, from right behind Rhodes’ head.  His head is right in the bottom corner of the panel (still in car).  They’re driving along the waterfront in San Francisco, approaching the Golden Gate Bridge (this doesn’t have to be detailed, and it’s night, so the point here is the contrast of the darkness of the night and the water and the orange/red of the bridge across the top of the panel.

Page 25: Panel 2: half page, POV: aerial shot, directly above, of a coastal road winding from top left to bottom right of the panel.  On the left of this road will be rocks and trees (in the dark) and on the right is the dark ocean.  (this can actually be pretty blurry and abstract… that might be interesting… very little detail, almost impressionistic….

On the road , in the bottom right on the panel, is the little red convertible, shown from far above (I picture the car being about a centimeter or two long, to give you an idea of the scale of this shot.)  The car is red so it stands out.  Everything else can be non-descript for this shot.  There will be text bubbles shooting up from the car.

Text Bubble:

Rhodes: So how come you never told me who you are?
Janet: I did tell you who I am

Rhodes: No, I mean, I know who you are, but I didn’t know who you were

Janet: Hmmm… does it make a difference?  I mean, it doesn’t matter to me that you’re Darke Rhodes.

Page 26: Panel 1:  POV: widescreen shot, 3rd person, of the two of them in the car, as if the camera were on the dashboard, between them and the windshield.  Like an old 60’s movie shot, where they’re sitting in the car on a movie lot and they put in the background later… Rhodes is on the left of panel, looking at Janet with a smirk.  He’s looking nearly back to normal (makeup gone, maybe some eyeliner remaining)  Janet’s behind the wheel, smiling, with the wind whipping her hair around.

Text bubble #1: (Rhodes) Bullshit!  You knew who I was the first day you met me.

Text bubble #2: (Janet) Yeah, maybe at first it was exciting – I am a fan – but I don’t care about that now.  Is it a big deal that I’m a model?

Page 26: Panel 2: POV: same shot, Rhodes looking out the passenger side (left of panel)

Text bubble: (Rhodes) Of course not.  In fact, I’m flattered.  The guys tell me you could have anyone you want.

Page 26: Panel 3: POV: same shot, Rhodes still looking out the window… Janet not smiling anymore…

Text bubble: (Janet) Yeah, see, that’s the problem – everyone always tells me that I could have anyone I want, and so…

Page 27: Panel 1:  POV: same POV as last page, but zoomed in on Janet behind the wheel.  Rhodes isn’t in the shot.  She’s looking a bit shamed, eyes looking to the right of panel, away from Rhodes.  Janet should be more to the right of the panel, leaving room on the left for a text bubble.

Text Bubble: (Janet) So… I’ve had everyone I’ve ever wanted.

Page 27: Panel 2:  POV same POV as last shot, only the mirror opposite.. zoom in now on Rhodes, still looking out the window, a bit of an awkward, worried, jealous look on his face.  He’s positioned more to the left, leaving room on the right for text bubble

Text Bubble (Rhodes) I don’t think I wanna know.
Page 27: Panel 3:  Same shot as panel 1, only now Janet’s turned more toward Rhodes and is smiling with her whole face….

Text bubble: No, probably not.. but I’m all done with that now that I’ve met you.

Page 28: Panel 1: POV – back to the shot of both of them in the car.  Rhodes is looking more relaxed.  Janet is beaming.

Text Bubble #1: (Rhodes) Well, that’s good, then….

Text Bubble #2: (Janet)  I love you, Rhodes.  You’re the only man for me now.

Page 28: Panel 2-3: POV: extreme close up on Rhodes, ¾ – to side profile, looking to the right of panel, looking very happy and content  The next panel (p3) will be the mirror image with Janet’s ¾ to side profile looking to the left of panel.  The text bubbles will be between the two panels.

Text Bubble: (Rhodes) I love you , too, Janet.  It’s a little weird, though…

Text Bubble #2: (Janet) What’s that?

Page 28: Panel 4:  POV: same as panel 1.  Rhodes is looking like he’s about to burst out laughing.  Janet’s smiling, looking curious.

Text bubble (Rhodes) Well, the other day, I think I caught Number 1 jerking off to one of your pictures in Maxim.

Page 29: Panel 1: POV:  same POV as the last panel for all three panels on this page… that Hollywood “we’re sitting in a car” shot.  In panel one, both Rhodes and Janet are laughing hysterically…. I picture Janet as the type who laughs so hard that she cries.

Text: HA HA etc….

 

Page 29: Panel 2: POV: same.  Rhodes and Janet trying to compose themselves.  Janet wiping a tear from her eye, both of their faces red from laughing.

Text bubble: (Janet) Well… that’s sweet, isn’t it?

Page 29: Panel 3: POV: same.  Rhodes turning to look at Janet, who’s still glowing and smiling.

Text bubble #1: (Rhodes) So where are we going?
Text bubble #2: (Janet) I’m just looking for someplace nice.  I want to show you something.

Text bubble #3 (Rhodes) Am I going to like it?

Page 30: Panel 1: POV: same as last panel.  Janet turns her head a bit to look at Rhodes with a sly look on her face.  Rhodes is grinning.

Text bubble: (Janet) Well, I haven’t heard any complains so far.

Page 30: Panel 2:  POV: another aerial shot, only not as small a scale.  The car’s maybe 2 inches long.  Same winding style road, with the ocean at the top of the panel, and moonlight reflecting across the water… there’s obviously a spot to pull off the road here.  The road itself should be more toward the bottom of the panel to make room for a really nice parking spot/beach at the top of the panel (the road’s on a diagonal from top left to bottom right).  Again, the car is red, so it stands out, and while the previous aerial shot was more non-descript, this one should give detail, portraying the beach and the waves and the moonlight beautifully. (This is northern California, so no palm trees here… it’s not that kind of beach.)

Text bubble (Janet, from the car) There… that looks like a nice place.

Page 31: Panel 1:  POV: 3rd person from directly behind their seats – Janet leans over and kisses Rhodes… so this is pulled back a bit, so we see them from about mid-seat up.  They’re parked facing the water, so this can have a cool shot of the horizon in front of them with the moonlight coming across the water… this should be a really beautiful shot, contrasting the darkness of the night with the moonlight. (that’s amore, people… that’s amore)

Page 31: Panel 2:  POV: close up of them kissing… but it’s a widescreen shot, so it doesn’t have to be extreme close up, and can still incorporate some of the moonlight around them…. (like halos or something)

Page 32: full page: POV: overhead aerial shot “from the ceiling” of Rhodes and Janet in bed, her on the left of panel with her leg  and arm over Rhodes, both of them sleeping.  The room is light… it’s obviously morning..  this is Janet’s place, so make it look like a classy place.  The shot shouldn’t be so zoomed in that all you see is the bed, but the bed IS the majority of the shot.  On a nightstand is an alarm clock that reads 10:18am… on a chair next to the nightstand (or something) Rhodes pants are hanging, and we can see the cell phone sticking out, and it’s ringing.  The two lovers are blissfully unaware.

What is this?  Get more information HERE, or start with Issue 1 HERE

Darke Rhodes – Script 3

Darke Rhodes v.3

This issue opens with Rhodes being introduced to the group therapy circle, each person in it stranger than the next, and complaining that he doesn’t belong there; that he’s not about to confess his darkest secrets to these “crazies”.  The facilitator of the group tells Rhodes that he’s safe there, and that everyone knows about his fear of blood, and that they all accept him.  Rhodes protests, but then has an epiphany via flashbacks and kind of snaps for a bit.  He gets another visit from Janet (the “nurse”), they have sex, and then Janet tells him again to keep it a secret.  She’s being all mysterious, but Rhodes is beginning to like her.  Janet has a secret – she’s a famous model, who’s used to having people fawn over her just because of her celebrity – and the fact that Rhodes doesn’t even recognize her thrills her.

Janet leaves, and later, it’s time for group again.  During this session, it’s revealed that Janet is a Sexual Compulsive (big surprise) and she blurts out, confessional style, that she had sex with Rhodes… which just blows everything up.  The facilitator, Ruth, is just flustered and tells them that they can’t be doing that, that co-dependency is bad, and that it’s not healthy for them to get involved.  She makes them promise to stay away from each other.  They promise, and then we cut to the next scene where they’re blatantly breaking their promise.  Afterwards, laying in bed, they talk, and plan their escape from the clinic.

Two weeks later we see them leave the clinic, hand in hand, where Phil & Number 1 & 2 are waiting for Rhodes, and a model friend of Janet’s (later revealed to be Chloe, Janet’s “best friend”) is waiting for Janet.  The next issue will open up right here.

Page 1: FullPage:  full page third person shot of the group therapy circle.  Rhodes is seated at the bottom of the page… the “camera” should be behind him, from slightly overhead, but maybe close enough that Rhodes is nearly a silhouette.  In order to distinguish that it is Rhodes, make sure he’s got that wild, Robert Smith hair.  He’s still in the hospital type gown and paper slippers, while everyone else around the circle is in two piece pajamas, much like scrubs, except for the counselor, who’s sitting across the circle from Rhodes.  The counselor is a late-thirties to early forties black woman wearing a smart business suit, kind of olive-tweed or something.  She’s thin and attractive, wearing her hair up in a bun, with chopsticks or a pen or something through it…. Maybe a piece of jewelry?  She is all smiles and sunshine – so much so it’s a bit much.  Think Tyra Banks meets Oprah but with all the patronizing psycho-babble bullshit of Dr. Phil.

The room is brightly lit, with warm colours – it feels like they’re sitting around a big dinner table (without the table).  There are three people sitting to Rhodes’ left, and three on his right.  Add the counselor and Rhodes for a total of eight.  The following is a description of each person, with a bit of back-story for the purposes of characterization.  Only Janet Silvia will be an ongoing character at this point, though who knows?

Starting on Rhodes’ immediate left and moving clockwise, we have:

Simon Page – thin, awkward-looking man, early twenties, shaky… smiling seems to be forced for him.  Looks like he hasn’t had a good night’s sleep in a long time.  His pajamas are disheveled, and possibly stained with various things – milk from his breakfast, jam, urine, etc…  He has several neuroses, such as a nervous twitch and a tendency to stutter and stammer, but none as embarrassing as his nervous wetting – he pees himself when he’s nervous.. like say, when he meets new people.  I picture him as a shaggy-haired redhead with a face covered in freckles.  He’s a nice enough guy; one of those guys you feel so sorry for, because he can’t help his neuroses.

Next on the left is James Browning – A stern, angry looking man with his arms crossed – body language is all contempt.  His pajama top is neatly tucked into his bottoms, and his hair is slicked back and impeccably groomed.  He looks disgustedly at everyone around him.  He insists that he doesn’t belong there; that there’s nothing wrong with him, this is all a big mistake.  He has very big anger management issues, and is there by court order after beating his wife nearly to death when he discovered she had spent $2.50 on coffee without asking him.  I picture him as mid-forties, working class man… big hands, overweight but solid… the kind of guy who has no neck… a square head, sharp, angular jaw, rosy cheeks – a heart attack waiting to happen.

To his left we have Janet Silvia – an instantly loveable, very attractive character who makes even the pajamas look good.  Janet is a model who has a bit of a sex addiction.  She’s got Sexual Compulsive Disorder.  Will play up the phoneme SCD/STD.  Janet has striking features, a great body, and shortly cropped brown hair.  She’s very possessive, and uses sex the way a dog marks its territory.  Ergo, she can become very bitchy and it’s most likely this compulsive behaviour that landed her in the clinic (we can have “one time…” type episodes where Janet recounts her sexcapades… this can be funny)  However, Rhodes will start to tire of it and start cutting her off, saying that he really doesn’t need to know.  Janet has an oral fixation, so be sure to remember this – she will smoke, chew gum, suck a lollipop, bite her fingers, etc….

Janet’s case is rather simple…. She has Daddy issues… daddy never gave her enough love etc etc… so she substitutes sex for affection.  Try not to paint her as a whore, though… make the audience sympathetic, despite the fact that she’s done some pretty crazy shit.  At the end of the day, the character must be interesting as well as likable.  Perhaps have her show remorse for the things she does…. And an interest in NOT doing them anymore.

To Janet’s left is the counselor, Ruth Simmons (see above description)

Next around the table, to Ruth’s left, is Marcus Vogel – a junkie.  Marcus is twitchy and sweaty and uncomfortable.  He can’t sit still, but instead will shift positions in his chair, and bite on his knuckles.  Marcus has very European features, is likely of German or Nordic descent… he has short, dirty blond hair, high cheekbones and is very, very thin.  Nearly anorexic thin.  So his eyes kind of have that bugged out look all the time.

Next to Marcus is Ramon/Ramona Cruz – a post-op transsexual Latino who is traumatized by the loss of his/her penis… s/he thought that the operation would make him/her feel better, but now it’s gone and s/he just wants it back.  Effeminate yet masculine – five o’clock shadow, but all the mannerisms of a woman.  Maybe has long, painted fingernails and finds humour in the others’ stories of woe.  Is trying to cope with being a woman, though he now realizes that he was never meant to be.

Next around the table (to Rhodes’ immediate right) is Susan Bloom, or Darkchilde as she demands to be called.  Susan is the 17 year old daughter of a famous televangelist couple (who, incidentally, are big protesters again Rhodes’ music) and is, in fact, (as evidenced by her chosen name) a huge fan of the Dark Roads of the Soul.  Susan is dark and moody, and cuts herself.  This will come up in therapy, and when she realizes who Rhodes is (hard to tell out of context – no face make-up, he’s introduced as Richard, etc…) she explains that she was only following instructions from his songs (come up with some lyrics that might vaguely suggest cutting ones’self)  Of course, this infuriates Rhodes, who refuses to be held responsible for some nut job who cuts themselves.  (site horror movies, etc..)  Susan will look like one of Rhodes’ devotees, only in pajamas.  Hair dyed black and cut so that it hangs in her face (see EMO).  Skin pale, but with no makeup (they won’t let her have it in the clinic.)

Which brings us back to Rhodes.  In this panel, we just see him from the back.  Rhodes’ state of mind is now one of confusion, and feeling a bit betrayed.  He thought that he was simply in a detox clinic, and that the only problem that was going to be addressed was his drug abuse, so he is in no mood to discuss anything else, and in fact, he insists that there is no problem – he was just all messed up from the drugs, and all he wants to do is get clean and get on with his life.

Text Box #1:  They ambushed me. (Top left?)

Text Box #2:  The fuckers ambushed me.

Text Box #3:  All I want to do is get myself clean.  I don’t want any of this sharing and caring, touchy-feely bullshit.

Text Box #4:  And what’s more, I don’t need it.  Not like these people.

Page 2:  Page two and three will be similar; POV first person from the eyes of Rhodes, looking down first the left side of the room, and then on page three, the right side of the room.  Though these panels might be divided, they are essentially a full page view of what Rhodes sees, split only to differentiate between the characters.  The edges of the panels might not be solid, ie, the person from panel 2’s head might extend into the bottom of panel 1, etc…

Page 2: Panel 1:  1/3 of the page, Janet Silvia in ¾ profile, with room at the right of the panel for a text box.  Janet is smiling sheepishly at Rhodes.

Text Box:  So, in case you haven’t figured it out; she’s no nurse.  From what I can tell, Janet’s a complete nympho, and hey, I’m no doctor, but is that really so bad?

Page 2: Panel 2:  James Browning in ¾ profile, arms crossed, jaw clenched… looks like he’s taking a shit.  Again, leave room on right for text box.

Text Box:  This piece of shit beat his wife half to death with a frying pan, but claims he has no idea why he’s here, or what they think is wrong with him.  James, my man – you’re a fucking psycho, that’s what’s wrong with you.

Page 2: Panel 3:  Simon Page in ¾ profile, trying his best to remain calm, and to cover himself to hide the fact that he’s wet himself.  Room on right for text box.

Text Box:  You know; Simon seemed like a nice enough kid.  A bit skittish, but an otherwise likeable guy.  And then he pissed all over the floor.  These paper slippers aren’t waterproof, either.

Page 3: Panel 1:  Marcus Vogel, wide-eyed and sweaty, knees pulled up against his chest. ¾ profile.  Leave room on left for text box

Text Box:  Marcus is a fucking junkie.  Need I say more?  NEXT.

Page 3: Panel 2:  Ramon/Ramona Cruz, ¾ profile, checking out her nails… big, ostentatious nails in gaudy colours.  I picture Ramon/a as someone who plucks out all their eyebrows and then draws them on.  Ramon is NOT a pretty transvestite…  For some reason, Ramon/a has her makeup, and has eye shadow and blush and lipstick on.  This will be a bone of contention with Susan (next panel) who isn’t allowed to have her makeup, at her parents’ request. Leave room on left for text box.

Text box: What can I say about Ramon… or rather, Ramona… with a straight face?  I shouldn’t laugh; it’s actually kind of sad.  Fuck, it’s a Greek tragedy.  Let’s just say that if you’re a man and you think you may want to be a woman – well, you better be damn sure about that.  There are just some things that just can’t be undone.

Page 3: Panel 3:  Susan “Darkchilde” Bloom ¾ profile.  Sallow looking child with black hair… androgynous, 17, sulky.  Lip pierced several times, silver rings on it.  Looking angry and disinterested.  Leave room on left for text box

Text box:  I’m supposed to feel responsible for this one – this “Darkchilde” as she calls herself.  Like it’s my fault she cuts herself.  I don’t recall ever claiming that I do drugs because of some rock song, and I didn’t hang myself just because Ian Curtis did, so fuck her and all the little confused posers like her.  Take some fucking responsibility for yourselves!

Page 4: Panel 1:  POV: ¾ to side profile of Rhodes,  facing right of panel, close up just on his head, hands over his face.  Perhaps beside him, out of focus, you can see Simon and maybe a bit of James.

Text Box #1:  (top left) And then there’s me

Text Box #2:  (bottom) I still don’t know why the hell I’m here.

Page 4: Panel 2:  POV: same shot in reverse of counselor (Ruth Simmons) facing left of panel.  Looking to Rhodes

Text Bubble #1: top of panel (Ruth) Richard?

Text Bubble #1: bottom of panel (Ruth) Richard, is there anything you’d like to share.

Page 4: Panel 3:  POV: third person from slightly above and behind Rhodes.  We see everyone’s head turned looking at Rhodes, and we only see the back of his head.  This whole scene should be set slightly to the right of the panel to leave room for narrative in the form of text boxes.  Above Rhodes’ head, effectively in the empty space in the middle of the circle, is one text bubble, simply stating:

Text Bubble: no.

Text Box #1: (top of panel)  Their silent faces plead with me to confess to something

Text Box #2: (starting down the left side of the panel) Did I like young boys?

Text Box #3: Did my father ever touch me?

Text Box #4:  Did I ever get the urge to cover myself with pudding and dance the Watusi in the middle of Times Square wearing only a pair of six inch stiletto heels?

Text Box #5: Well that one time, but…

Text Box #6:  Come on!  What was I supposed to say?

Page 5: Panel 1:  POV: widescreen shot, Ruth from the front,  centred in the shot with room on either side of her for text bubbles

Text Bubble #1: (left of panel) (Ruth) That’s okay, Richard.  I just want you to know that this is a safe place, and you can say anything you like.  We have no secrets here.

Text Bubble #2: (right of panel) (Ruth)  Everyone here accepts you, Richard.  They already know about your haemaphobia, and they accept you.

Page 5: Panel 2:  POV: close up, full panel, of Rhodes’ face, look of shocked anger on his face

Text Bubble: My WHAT?

Page 5: Panel 3:  POV: pulling out a bit, we can see Simon on the right of the panel and Susan on the left of the panel.  We can see Rhodes from about the waist up, arms spread in surrender… his face is flustered and embarrassed

Text Bubble: I’m not a homophobe!  I’ve got nothing against…

Page 5: Panel 4:  POV:  pulling out and up – aerial view from above of the circle, with Rhodes at the top of the panel shouting up at the “ceiling”, eyes closed, mouth wide in frustration – comical anger…  The rest of the people around the circle are looking alternately amused or nervous, depending on their personality again.  Again, this is an opportunity to create character by posture and positioning of the characters around the circle… just to make it visually interesting.

Text Bubble:  I DID A DUET WITH ELTON JOHN!!!

Page 6: Panel 1:  POV: Close up Side – to – ¾ of Ramon/a, smirking, murmuring out of the side of his/her mouth to Susan,  who we can see in side profile in the bottom right of panel.

Text Bubble: (Ramon/a) The lady dost protest too much, methinks

Page 6: Panel 2:  POV: third person from slightly behind and above Rhodes, also, slightly to his left, so that we can see in the shot: the back/side of Rhodes’ head, and Susan and Ramon/a, who are looking amused/exasperated.  Rhodes has his hands spread, palms turned upwards

Text Bubble:  (middle of panel) (Rhodes) This is ridiculous!  I’m not…

Page 6: Panel 3:  POV:  1st person, from Rhodes’ viewpoint – Susan (Darkchilde) turning her head (from about her bust up) and sneering at him

Text Bubble #1: (top left) (Susan) Relax, man.  She said haemaphobic.

Text Bubble #2: (bottom left) (Susan) Not homophobic.

Page 6: Panel 4:  POV: close up front of Ruth’s face, smiling in a patronizing way.

Text Bubble:  It means you have a fear of blood, Richard.

Page 6: Panel 5:  POV: third person widescreen shot of Rhodes from about mid-waist up, arms spread – the tips of his fingers should reach each side of the panel.  He has a crazy smile on his face, laughing nervously.

Text Bubble: (Rhodes) Do you know who I am, lady?  I’m not afraid of anything!

Page 7: Panel 1:  POV: third person widescreen shot, from slightly behind and above Rhodes, but from over Rhodes’ left shoulder, so the whole group is visible, but the three to the right of Rhodes are more directly in view..  Ruth is looking at Rhodes and speaking. Again, with a group shot like this, there is opportunity to characterize the other patients.  Counter-clockwise starting at the top with RUTH and moving to her right, we have Janet, who may be leaning in and taking a concerned interest in Rhodes.  James doesn’t care, and may have a self-righteous smirk on his face…. May be leaning back, have his chair pushed slightly out of the circle.  Simon, because of the angle, may not have his face visible, or he may be looking intently at Ruth, so we only see the back of his head.  Then Rhodes, back to side of head.  To Rhodes’ right, continuing counter-clockwise we have Susan, who’s looking at Rhodes, smiling encouragingly (well, as best as her gloomy face will allow without imploding).  She will have dialogue.  Next to Susan is Ramon/a, who’s head is turned, speaking to the back of Susan’s head.  Next to Ramon/a is Markus, and he’s still twitchy and in withdrawal.  There should be enough space in the middle of the circle for dialogue.

Text Bubble #1: (Ruth) A phobia is nothing to be ashamed of, Richard.  It’s usually caused by some repressed childhood trauma.  Think of it as a scar on your psyche.

Text Bubble #2: (Susan) Scars are cool.

Text Bubble #3: (Ramon/a) Not all scars, honey

Text Bubble #4: (Rhodes) I do not have this phobia.

Page 7: Panel 2:  POV: third person from the side, widescreen.  Essentially, in this shot, we see roughly half of the group.  In the bottom left of the panel, we see Rhodes in side profile looking towards the right of the panel, and then the top part of the panel are the three people to his left: Simon, James & Janet, looking on, followed by Ruth in side profile, looking at Rhodes on the left of the panel.  Rhodes is looking skeptical, Simon has pissed himself and is looking embarrassed, James is still sitting with his arms crossed, shutting it out, angry, and Janet looks sympathetic.  There should be room in the centre for dialogue.

Text Bubble: (Ruth) In your case, the sight of blood triggers memories of this trauma; memories that you’ve pushed down so deep that you aren’t consciously aware of them, and the result is…

Page 8: Panel 1:  POV: widescreen shot of Rhodes in side – to ¾ profile on the left, Simon in the middle and James on the right, turning to yell at Rhodes, with a superior smirk on his face… like a high school bully (which he probably was)

Text Bubble: (James) You faint like a little bitch!

Page 8: Panel 2:  POV: large third person shot of the circle, pivoted this time as follows, clockwise: Rhodes in bottom left corner of panel, to his right, Simon , James and Janet, who should be top centre of panel, followed by Ruth in the top right hand corner…. So that Rhodes and Ruth are again across from each other, followed by Markus, Ramon/a and Susan – Markus and Ramon/a might be out of the panel….they might not fit, and that’s ok.. just show their legs or something for continuity.  Ruth has her head turned to scold James, the others all look annoyed with him.  Rhodes looks angry for many reasons.  Room in centre for dialogue

Text Bubble #1: (Ruth) James, really!

Text Bubble #2: (Rhodes)  WHAT ARE YOU TALKING ABOUT?

Page 9: Panel 1:  This page is a flashback, so the panel lines can be blurred.  For instance, I like the idea of the very shape of Rhodes’ sprawled body and guitar in the first panel to be the outline of the bottom of the panel.  In this panel, the POV is third person close up of the edge of a stage at a concert, where there are two girls on the left of the panel in the front row that are covered in fake blood (apparently this is the sort of thing that goes on at Darke Rhodes shows) and Rhodes is sprawled out face up at the edge of the stage, passed out, his guitar sprawled out, back side up, his right arm underneath it.  His guitar then, the edge of it, and his arm, and maybe even his legs extend down into the bottom panel as it’s’ “edge”.

Text Box: And suddenly…

Page 9: Panel 2:  Flashback to the hotel room with Rhodes passed out, and the two girls trying to wake him up.  POV:  third person from the bottom of the bed, slightly above.  One girl on either side of him, trying to shake him awake.  They’re all covered in blood.

Text Box: (bottom of panel) …it all becomes…

Page 10: Panel 1:  Flashback to the theatre, with young Rhodes passed out in the aisle, with a crowd of people standing over him.  This will be a dark shot, POV from above, and behind.  In the chair beside Rhodes (who’s laying on the floor of the theatre, passed out) we can clearly see the head with the hole blown through it.  People are gathered around him, some calmly trying to wake him, maybe another waving arms hysterically.  Not too many people in the shot, don’t want to crowd it… maybe 4 or 5….

Text Box: …a little clearer.

Page 10: Panel 2:  Close up of Rhodes’ face, filling the panel, or mostly, anyway.  I’m thinking that the edges of this and the next three panels, at least the top edge, should be dripping blood (kind of oozing itself down onto Rhodes’ face, which has a look of wide-eyed realization on it bordering on catatonic.  He’s about to shut down for a little bit in order to process this – and he IS coming face to face with it.

Text Bubble: (Rhodes) (small type)  oh my god.

Page 11: Panel 1:  POV: third person straight on from the side – to – ¾ of Rhodes sitting at a table having lunch cafeteria style.  There may be other people there, but they’re not in focus.  This should be a medium close up.  Rhodes is seated, maybe we see him mid-to right in the panel from about the knees up. Rhodes is sitting with a blank expression on his face – shut down.  Again, blood oozing from the top of panel.

Text Bubble (Rhodes) omygodomygodomygod…

Page 11: Panel 2:  POV: third person straight on from the side, a TV room.  On the left of the panel is Rhodes sitting in a big comfy chair, same catatonic look on his face.  To the right is a sofa, on an angle, with a couple of people sitting on it, watching TV, ignoring Rhodes. Still blood dripping from top

Text Bubble (Rhodes) omygodomygodomygod…

Page 11: Panel 3:  POV: close up of Rhodes on his side in his bed, knees curled up into chest (fetal position) same bug-eyed look on his face.  Rhodes from feet to head should take up width of panel.  Blood still oozing

Text Bubble: (Rhodes) omygodomygodomygod…

Page 12: Panel 1:  Flashback’s over, Rhodes is in bed, morning has come.  POV: widescreen shot of Janet coming in through the door on the left, with Rhodes in bed, on his side, facing “the camera”, still sleeping.

Page 12: Panel 2:  POV: full height shot of Janet, in the two piece pajamas.  Make sure that the tops are like gown style, hanging down low.  She’s looking at Rhodes (not in shot.. she’s looking to right of panel) with concern and lust? (dunno what that looks like, but whatever…)

Page 12: Panel 3:  POV: close up of Rhodes’ face, lying on his left side, his right eye open… (he’s awake, but just barely.)

Page 12: Panel 4:  POV:  close up of Rhodes sitting up in bed, from the side, on the right side of the panel,  and Janet beside him on the left, leaning in (she’s ‘behind’ the bed)  Rhodes looks apprehensive, Janet is, well, happy and horny.

Text Bubble #1: (Janet) Hi

Text Bubble #2: (Rhodes) Um… hello…

Page 13: Panel 1:  same POV, Rhodes turning head slightly away from “the camera” towards Janet, while Janet is pulling down her pants, so she’s leaning slightly in toward the bed.

Text Bubble #1: (Rhodes) So, you’re not a nurse, then?

Text Bubble #2: (Janet)  No.  No, I’m not, am I?

Page 13: Panel 2:  same POV, maybe a little closer shot, Janet straddling Rhodes.  This is a side shot, so they’re both in side profile.  Since Janet’s on top of him, she’s looking slightly down at him.

Text Bubble #1: (Rhodes) Are you, um, you know…

Text Bubble #2: (Janet) Crazy?

Page 13: Panel 3:  POV: from behind Janet, over her right shoulder – she’s still on top, and we can see Rhodes’ face over her shoulder.  Just a note at this point – due to their hospital-style pajamas, we don’t see anything X-rated here.  I like the idea of keeping the sex sexy but not obscene.  In all these shots it should be noted that the two characters pretty much fill the space.

Text Bubble #1: (Rhodes) I was going to say dangerous, but…

Text Bubble #2: (Janet) No, I don’t think so…

Page 13: Panel 4:  POV: same as last shot, maybe pull back a bit, so we can see Janet’s naked leg and Rhodes’ hand on it.

Text Bubble #1: (Janet) Are you?

Text Bubble #2: (Rhodes) Crazy?  I don’t know.  I don’t think so…

Page 14: Panel 1:  POV: similar shot, but now it’s a larger, widescreen shot, and now Janet has turned herself around “reverse cowgirl” style, and has her hands spread, grabbing the bedrails.  From behind her we can see Rhodes over her shoulder, both of them very much enjoying themselves from the expressions on their faces.  Again, due to the angle and the pajamas, at most we see Janet’s legs

Text Bubble #1:  (Janet) No… I mean… are you…

Text Bubble #2: (Rhodes) Dangerous? No… I’m just… fucked up.

Page 14: Panel 2:  POV: widescreen shot from the side.  Now Janet has her hands on the foot of the bed “doggy style” for lack of a better way to describe this, and Rhodes is behind her, assuming the position.  Depending on how close the shot is, this can be done tastefully and sexily without being pornographic – that’s not the intention. Using the pajamas to advantage, the most we see here is some of Rhodes’ ass, which we’ve seen before, no big deal.  Strategic nudity can be hot, and can be funny, and can be artistic.

Text Bubble #1: (Janet) Me, too, I guess

Text Bubble #2:  (Rhodes) Well, maybe that’s not such a bad thing.

Page 15: full page:  POV: overhead aerial shot, full length shot of Janet & Rhodes lying in bed, post-coitus, heads at the top of the page. Rhodes on the right of panel, lying flat on his back, a blissed-out smile on his face.  Janet is lying on her side, one leg thrown over Rhodes, covering his junk, a contented smile on her face as well.

Text Box: God, I want a cigarette.

Text Bubble #1: (Janet) Actually, I think being fucked up is just fine… underrated, really.  I think everyone should be a little fucked up…

Text Bubble #2: (Rhodes)  Shhh… don’t talk…

Page 16: Panel 1:  The next three panels on this page, and then the three panels on page 16 all have the same POV:  widescreen close up of Janet & Rhodes lying in bed, just headshots. Janet on left, Rhodes on right

Panel 1: Janet tilted toward Rhodes, eyes closed, yawning.  Rhodes looking away, awkward look on his face

Text Box: And now what?

Page 16: Panel 2:  Both Janet and Rhodes’ heads tilted toward each other, but not quite looking at each other.

Text Bubble #1: (Rhodes) So…

Text Bubble #2: (Janet) So…

Text Box: I mean, I haven’t even had my coffee yet, and she… she…

Page 16: Panel 3:  Janet looking away, eyes closed, waiting for the letdown.  Rhodes face is neutral, serious, interested.. .hint of a smile.

Text Bubble: (Rhodes) So who are you, Janet?  I mean, who are you at home?

Text Box:  Who is this woman?

Page 17: Panel 1:  POV continues…  Janet’s face goes wide with surprise and joy.  Her head is slightly tilted toward Rhodes, who’s looking puzzled and honestly without a clue as to who Janet is.

Text Bubble: (Janet) You mean you really don’t know?

Text Box: I have no idea, but for some reason I’m not kicking her off the bed and out the door like I usually do.

Page 17: Panel 2:  Janet stares at ceiling, giant smile of relief on her face, maybe even teary-eyed, her hand over her mouth or something.  Rhodes is looking confused, but not in a bad way… just in an awkward ‘okay, so what’s going on here?’ type of way.

Text Bubble: (Janet) Oh, God, that’s refreshing!  You have no idea how nice that is, Richard!

Text Box:  I was just about to correct her and tell her not to call me Richard…

Page 17: Panel 3:  Janet is planting a big kiss on Rhodes’ lips.. so they’re both in side-profile, eyes closed… I mean, this is a passionate kiss… Janet’s hands are pulling his head into hers.

Text Box: …but then she actually kissed me for the first time…

Page 18: Panel 1:  Same POV as the last few panels – both heads lying flat on the pillow, facing up, eyes closed, contented looks of lust/love on their faces

Text Box: It was a good kiss

Text Bubble: (Rhodes) Call me Rhodes…

Page 18: Panel 2:  Same POV, only pulled back a bit, and the panels are half the size.  Rhodes on his back, Janet on her side, nibbling at his ear.  Rhodes has a look of pleasure on his face

Page 18: Panel 3:  Same shot as panel 2, but Janet’s stopped nibbling.

Page 18: Panel 4:  Same POV as panel 1.  Close up of Janet’s side profile and Rhodes’ front face.  Janet’s just looking casual, neutral expression.  Rhodes’ face has gone joyless, nearly a freaked-out look

Text bubble: (Janet) So… blood, huh?

Page 19: Panel 1:  POV: third party widescreen zoom – from the side, Rhodes sitting up in bed, (on the right of the panel) with a puzzled, stunned look on his face, and Janet is beside the bed pulling up her pants, getting ready to head out the door.  So Rhodes is in the forefront, closest to “the camera” , shot from about the chest up, and directly past him to the left of panel, we see Janet.

Text Bubble: (Janet) I gotta go

Page 19: Panel 2:  POV: similar pov as last shot, only focused in a smaller area – just around Rhodes’ head in side profile, with Janet leaning down and kissing his right cheek (the cheek that is turned away from “the camera”.)  Rhodes looks slightly annoyed, but mostly confused.

Text Bubble: (Rhodes) Yeah, fine, whatever.

Page 19: Panel 3:  POV: third person full height shot of Janet leaving through the door, backing out so that she’s facing “the camera”.  At the bottom of the panel, we may see the bottom edge of the bed.  Janet has a serious look on her face

Text Bubble:  (Janet)  I had a nice time, Rhodes.  But please don’t tell anyone about this.

Page 20: Panel 1:  POV:  widescreen shot from the side of Rhodes sitting up in bed… pulled back shot showing the empty room… he’s sitting up against the right side of the panel, small and speaking to the empty room.  There’s a clock on the wall that reads 7:55 (not a digital clock, a clock with hands)  For continuity sake, remember that he should have a table beside his bed with get-well cards etc… maybe the flowers are dead..

Page 20: Panels 2-5:  POV: close up of the clock face

Panel 2: 8:25

Panel 3: 9:05

Panel 4: 9:35

Panel 5: 10:00

Page 20: Panel 6:  POV: same shot as panel 1, only now, Dr. Irving has stepped in with a big obnoxious smile.  Rhodes looks unimpressed.

Text Bubble #1: (Dr. Irving) Good morning, Richard!  I trust you’re feeling a bit better this morning?

Text Bubble #2: (Rhodes) Hmmph.  Can I have a cigarette?

Text Bubble #3: (Dr. Irving) Great! Well, get up, sleepyhead!  It’s time for Group!

Page 21: Panel 1:  POV: big shot from behind, slightly above and to the left of Rhodes standing by his chair in the therapy circle, scratching his ass.  Everyone else is already seated, but the focus here is on Rhodes.  The entire circle doesn’t even need to be in the frame, this is just the setting – the background.  Rhodes’ body should be slightly to the right of the centre of the panel, and this should be a full body-height shot, with Rhodes’ head reaching about 2/3 of the height of the panel.  So, obviously, the entire circle will not be in the panel.  Keep the seating arrangements the same, it’s just easier.  Leave space for text box narrative in the bottom left of the panel.

Text Box #1: (top left) Ah, Group…

Text Box #2: (middle right) I don’t belong here

Text Box #3: (middle left, moving down into the bottom left corner)  I just need rest, that’s all

Text Box #4: I don’t need anybody running sticky fingers through my dusty memories.

Text Box #5: Ooh, that’s good.  I should write that down!  Sticky fingers through …

Text Box #6:  Ah, what the hell…

Page 21: Panel 2:  POV: extreme close up of Rhodes’ face… I mean, CLOSE UP… mostly the lips, sipping coffee from a Styrofoam cup.  His lowered eyelids might be visible at the top of the panel, with some strands of hair hanging down.

Text Box: …at least there’s coffee.

Page 22: Panel 1:  POV:  widescreen shot, third person of Ruth (therapist) turning to Janet on her right (left side of panel).  Ruth is smiling and asking Janet a question.  Janet looks ashamed, head down, eyes closed.

Text Bubble: (Ruth) So Janet, why don’t you start off today? Last time you were telling us about the problems you were having at work because of your SCD.

Page 22: Panel 2:  POV: close up side profile of Rhodes from the shoulders up, spitting out his coffee explosively, choking.

Page 22: Panel 3:  POV:  pulled back third person from slightly behind Rhodes and to his right, Rhodes bent over, Simon patting him on his back, with Susan (Darkchilde) looking on with concern on his right side.

Page 22: Panel 4:  POV:  widescreen panel pulled back shot from slightly behind and above Rhodes – the whole circle here, on an angle so that Rhodes is situated in the bottom left corner of the panel and Ruth in the top right.

Text Bubble #1: (Ruth) Richard, is something the matter?
Text Bubble #2: (Rhodes) No, I, um, I just would have thought that STDs were, you know, off the table for discussion.

Page 23: Panel 1:  POV: same shot as last panel, only larger.  Make sure there’s space in the middle of the circle to put a text bubble

Text Bubble: (Ruth) Well, Richard, we have no secrets here.  If Janet wanted to talk about any Sexually Transmitted Diseases she might have, well, she certainly could.  But I said SCD, as in Sexual Compulsive Disorder.

Page 23: Panel 2:  POV: third person – slightly pulled back shot of Rhodes sitting in his chair (shown from the front) shrugging, with his hands on his knees.  To the left of the panel (on Rhodes’ right) we can see part of Susan – maybe she’s leaning in.  To the right of panel (Rhodes’ left) we can see Simon, same thing….  Further down the panel is blank.  Empty space.  At the bottom of the panel, there will be a disembodied text bubble coming from Ruth, off panel.

Text Bubble #1: (Rhodes) So… what?  So she’s a nympho?

Text Bubble #2: (Ruth, off panel) Really Richard!  Please try to be respectful.  SCD is a very serious issue…

Page 23: Panel 3:  POV: close up of Rhodes’ smirking face., maybe from the shoulders up

Text Bubble: (Rhodes) Seems to me like maybe she’s just a little fucked up, you know?

Page 24: Panel 1:  POV: extreme close up on Rhodes’ face.. should fill the whole panel, mostly… so long as his eyes, nose and mouth are all there.  He’s winking with his left eye (to the right of panel) at Janet, and still smirking.  At the top of the panel should be some messy strands of hair.

Text Bubble: (Rhodes) (bottom of panel?)  And I don’t think being a little fucked up is such a bad thing, do you?

Page 24: Panel 2:  POV: extreme close up (slice style, like in previous issues) of JANET’S eyes – maybe establish that Janet has brown eyes while Rhodes has blue eyes… dunno…. Make them feminine eyes.. eyeshadow, something… Janet’s winking with her right eye (left of frame)

Page 24: Panel 3:  POV: extreme close up of Ruth’s face, widescreen style shot where her face, at ¾ profile, fills right half of frame.  Her glasses might be fogged up in exaggerated anger, she’s visibly upset.  Leave room on the left half of the panel for text bubble

Text Bubble:  Yes, well… Perhaps we should hear if Janet wants to be “effed up” as you so delicately put it.

Page 25: Panel 1:  POV: close up of Ruth’s face as a ¾ profile in the right side of the panel (cropped by the bottom and right side of the panel) leaving room in the left side of the panel

Text Bubble: (Ruth) Janet, honey?  How have you been coping?

Page 25: Panel 2:  POV: mirror from panel 1, with Janet’s profile coming from the left of the panel, cropped by the bottom and the left side)  to Janet’s left we see Ruth, looking calm and concerned.  A text bubble will go in the bottom right corner of the panel, most likely over where Ruth’s chest/midsection would likely go.

Text Bubble: (Janet) Not so well, actually… um… just yesterday, I gave Richard a blowjob…

Page 25: Panel 3:  POV: full panel shot of Rhodes from the waist up, hands pulling at hair in frustration… look of shocked anger on face.

Text Bubble: (Rhodes) WHAT?!  SHE MOUTH-RAPED ME!

Page 25: Panel 4:  POV: 1st person view (from Rhodes’ pov) of Janet, head whipped around at him, look of hurt anger on her face.  Because Simon is in Rhodes’ line of sight, part of Simon might be in the shot…. In fact, this shouting might be making him nervous… and when Simon gets nervous, he tends to pee.  He might be looking rather embarrassed.

Text Bubble: (Janet) Well, I didn’t hear you complaining!

Page 26: Panel 1:  POV:  widescreen close up of Rhodes, similar to the “lady do you know who I am” shot from page 5.  Rhodes with his arms spread, hands stretching to each side of the panel in exasperation.  His face has a look of utter disbelief – he can’t figure out why she, who told HIM not to say anything, is saying this.

Text Bubble: (Rhodes) I WAS HANDCUFFED TO THE BED!!

Page 26: Panel 2:  POV:  widescreen, pulled back, slightly behind and above Rhodes.  To Rhodes’ right, we see Susan and Ramon/a, and Ramon/a is leaning into Susan to talk.

To Rhodes’ left, we have Simon and James, and, just visible at the top left of the panel, Janet is bent over her knees, crying

Text Bubble: (Ramon/a) Now that’s fucked up.

Page 26: Panel 3:  POV: widescreen, extreme close-up of Janet’s side profile – her face will fill the left half of the panel, looking to the right side of the panel.  The profile should start at the bottom just below her lips, and end at the top, just at her hairline.  She’s looking slightly downward, eyes closed, lips pursed… and she’s crying, but not sobbing.

Text Bubble (Janet) (right of panel in open space) And then this morning, we made love… it was beautiful…

Page 27: Panel 1:  POV: widescreen, extreme close up of Ruth’s face, front view, on the right of panel, leaving left half blank for dialogue.  Ruth has her eyes closed, glasses off, and is rubbing the bridge of her nose with her left hand.  She’s looking like she’s about to lose her patience.

Text Bubble #1: (Ruth) ENOUGH! Okay. Now… what have we said about co-dependency among people in recovery?
Text Bubble #2: (Ruth) Yes, Simon?

Page 27: Panel 2:  POV: third person, from the front, slightly above.  Rhodes seated in top/centre with Simon on his left (right of panel) with his hand up, like it’s grade school.  To Rhodes’ right (left of panel) is Susan, looking bored.

Text Bubble:  (Simon)  Um, people in recovery need to be able to stand on their own two feet before walking a mile in someone else’s shoes

Page 27: Panel 3:  POV: extreme close-up of James’ face, red with fury… spittle might be flying.

Text Bubble: IT MEANS YOU CAN’T BLOODY WELL HAVE A RELATIONSHIP WHEN YOU’RE FUCKED IN THE HEAD!!!

Page 28: Panel 1:  POV:  same as page 26, Panel 1… close up widescreen shot of Ruth’s face, ¾ profile.  Glasses back on, looking more composed, professional, clinical.

Text Bubble #1: (Ruth) Yes, James… essentially, yes, you’re right.  You cannot be in therapy and start a new relationship.

Text Bubble #2: (Ruth) Now, Janet; Richard… do you understand that these rules are for your own good?

Page 28: Panel 2:  POV: similar to page 25: panel 3 – Janet’s face in extreme close up side profile on the left of panel, looking up, though, eyes open, solemn.

Text Bubble:  (Janet) Yes, of course, you’re right.

Page 28: Panel 3:  POV:  flipside of last panel.. Rhodes’ face in extreme close up from the right side of the panel, ¾ profile.  Again, solemn, serious

Text Bubble (Rhodes) Yeah, sure, no problem.

Page 29: full page:  POV: full height shot from behind, Rhodes standing in front of his bed, pajama shirt on, trousers dropped, with Janet’s naked legs up in the air, her feet dangling over his shoulders… so that’s most of what we see of Janet… maybe a flailing arm or something, but mostly just Rhodes from behind.

Text Box: The next morning…

Text Bubble: (Janet) Oh Rhodes!

Page 30: Panel 1:  POV:  overhead, widescreen shot of Janet and Rhodes lying on their backs in bed, post-coitus, shot from about the waist up. Janet on the left of the panel, and Rhodes on the right.  Janet is naked, but Rhodes still has his pajama shirt on.  Janet should be well-built (she’s a model, but we don’t know that yet) and thin….. I’m thinking she looks like Milla Jovavich, only not as thin – and with dark hair and bigger breasts.

Both Janet and Rhodes have that “just been laid” goofy smile on their face, and are sweaty.

Text Bubble #1: (Janet)  Are we crazy, Rhodes?
Text Bubble #2: (Rhodes) Nah

Text Box #1: (bottom) Maybe being a little fucked up was okay

Text Box #2: Maybe NORMAL was over-rated.

Page 30: Panel 2:  POV:  Close up of Janet and Rhodes looking at each other in side profile, Janet on left and Rhodes on the right.  This will create an interesting space in between them for dialogue (make sure there’s a large space between them… there’s a bunch of dialogue)  Rather than single text bubbles, I think we’ll just make one big bubble with multiple arrows back and forth… hence the big open space can be white, like they’ve got their heads both on a big pillow.

Text Bubble: 1: (Rhodes) If you think all you are is crazy, maybe that’s all that you’ve been told

2: (Janet) Maybe, but, I mean, you don’t really know me..

3: (Rhodes) But I know that you to me are so much more than a strait jacket could hold

4: (Janet) Wait! Rhodes, stop…  those are lyrics to one of your songs

5: (Rhodes) Really?
6: (Janet) Yeah… Crazy Love

7: (Rhodes) Seriously?
8: (Janet) You’re such a jerk

9: (Rhodes) Shit.  You wanna get out of this place?
10: (Janet) Where do I sign?

Page 31: full page:  POV:  full page shot of Janet & Rhodes from behind, holding hands, leaving the hospital.  They are at the bottom of the page, taking up about ¾ of the height of the page.  With Janet on the left and Rhodes on the right, with their arms out, holding each others’ hands, their arms form a “V”, wide enough, though, to see what’s in front of them – they’re not obscuring the view, instead, they frame, or bookend it.  Janet’s body should be to the far left of the panel, likewise, Rhodes’ is on the far right, and their hands meet in the middle, forming a V that will actually be the bottom of a triangle.  At their shoulders, ahead of them, is the line of the curb, where Rhodes’ band mates and Janet’s friend are waiting.  This line of the curb will form the top of the triangle.  To the left, by Janet’s head, Number 1 & Number 2 & Phil are waiting in front of a black limo. Phil is smiling, Numbers 1&2 are neutral.  On the right, by Rhodes’ head, stands Chloe, Janet’s friend.  She’s standing in front of a red convertible, which is parked behind the limo.  Chloe looks like she’s bored and would rather be somewhere else, but she only looks this way because she’s had years of practice looking this way – it’s a modeling pose.  She can’t turn it off.  Chloe is ALWAYS in modeling mode, posing, making every gesture something for the cover of Vogue magazine.  She’s wearing big Audrey Hepburn sunglasses and a sundress, and is smoking a cigarette.  She’s attractive, but not even in the same league as Janet, which is why, while she’s Janet’s “best friend”, she actually hates Janet and bad-mouths her to everyone behind her back.

The four people waiting are far enough in the distance that they can fit full height on the page.  So this is definitely a perspective shot.  Rhodes & Janet large in the foreground, the band and Chloe smaller (not terribly small, but smaller than R&J) in the background, and yet still the centre of the page is this downward pointing triangle formed by the curb at the top and R&J’s arms at the bottom.

I’m not trying to be terribly symbolic or anything, though I suppose you could interpret it that way… I just think it will be a visually interesting picture.

Text Box: (at the top) Two weeks, ten phone calls, $50,000 and two rubber stamps later…

What is this?  Get more information HERE, or start with Issue 1 HERE

Darke Rhodes – Script 2

Dark Rhodes, episode 2

Now that we’ve introduced Rhodes, this issue delves into why he freaked out, and where we’re going from here.  This issue opens up with a flashback to Rhodes’ childhood, where we learn that as a young boy, he saw a man commit suicide right in front of him in a movie theatre.  This is where his fear of blood comes from, as his face was splattered with it.

Rhodes wakes up from dreaming about this, and is in strange surroundings.  He wonders how he got there, and muses that it wouldn’t be the first time he’d been in a hospital.  Flashback to both the day of the movie theatre incident, where a young Rhodes ran screaming from the movie theatre, as well as to the day that adult Rhodes ran screaming from the diner, and was captured by police and ambulance attendants and loaded into the back of an ambulance and brought to the clinic he is currently lying in, handcuffed to the bed.

It’s early morning, and he wakes to the sight of a beautiful nurse looking over him.  She takes his vitals, and then, surprises him with a blowjob.  Rhodes puts up a little bit of a fight, but he’s handcuffed to the bed and disoriented.  He sees a tattoo on her lower back that is the band’s insignia: DRS in some sort of gothic font, and he realizes that she’s a fan.  We get the idea that this sort of thing happens all the time.  The nurse tells Rhodes not to say anything about it, as she’d get in trouble, and Rhodes doesn’t know what to say. He still doesn’t even know where he is or why he’s there, and this nurse has no answers for him.

Flashback to young Rhodes in therapy, in denial… has repressed the memory of the movie theatre, and claims that he doesn’t know why he’s there (in therapy).  This is mirrored in Rhodes’ denial of why he’s where he is now.  (He kind of “went to the zoo” as they say, and doesn’t remember what happened).  At the apex of this memory, Rhodes is again interrupted, by a different nurse this time… she’s not so “hands on” so to speak, who brings him his lunch and tells him that he’s got visitors…. The band.  Rhodes demands to know why he’s there, and Phil tells him that he’s there to get clean, to detox, and to get his mind right.  He tells him that he found all the “bloody” sheets stuffed into his guitar case, and asks him what that’s all about.  Rhodes doesn’t want to talk about it, and flashes back to a teenage Rhodes who’s terrified of having sex with his girlfriend because she has her period, but he doesn’t know why…. And then flashes back to the day where the groupies covered him in fake blood, and then returns back to the present moment, where he yells at Phil that he doesn’t want to talk about it.

Phil leaves him with a brochure of the clinic he’s in, and assures him that everything’s going to be all right, that he (Phil) is going to take care of the press and everything, and they leave.

A nurse comes in to give him some medicine; something she says will help him sleep, and to get through the withdrawal symptoms. It doesn’t help much, and we see Rhodes go through the whole range of emotions, tossing and turning and having nightmares about drugs and cigarettes.  No matter how much he begs, he can’t get a cigarette.

Finally, it’s morning, and a young, idealistic looking doctor comes into the room and introduces himself, and takes Rhodes to a group therapy session, where we see the “nurse” from the beginning of the issue smiling and waving at him, and it’s obvious that she’s not staff, but rather, a patient herself.

Page 1: Full page:  POV: first person, sitting in a dark movie theatre, near the back.  Theatre seats and people are silhouettes.  One head in front of viewer (young Rhodes) obscuring view.  Everything is *black and white*… even movie screen is grainy colour at best, depicting a masked killer chasing a bimbo with a chainsaw.

Page 2: Panel 1:  POV: first person close up of seat in front of Young Rhodes, with silhouette head almost completely blocking his view of the picture.  Rhodes’ foot stretched out kicking the back of the guy’s chair.  Foot is bright red Converse All-Star canvas shoe (only thing in colour)

Page 2: Panel 2:  Black/Red burst, with large text:

Text: BANG

Page 2: Panel 3:  POV: first person, same shot as Panel 1, but no foot.  Only now, there’s a hole clear through the silhouette’s head (you can see the movie through) and the only colour is bits of red gore on the back of the head (and maybe blood spats, as if blood splattered on the “camera”)

Page 2: Panel 4:  POV: third person close up full front of young Rhodes’ face, splattered in gore… innocent looking kid, maybe 13 or so, PRE-Goth…. “normal” looking kid.  Look of catatonic horror on his face.

Page 3: Panel 1:  POV: third person widescreen shot, flash forward to today, Rhodes wakes up, sitting up straight in a hospital bed, same look of fear on his now adult face, which is clean of all make up… he looks naked and pale… stubble – about three days growth.  Wearing blue hospital gown… it’s very early in the morning, so the whole panel is a dimly lit blue/grey.  Beside the bed we see some cards and flowers.  He’s handcuffed to the bed rails.

Page 3: Panels 2-4:  POV: first person close up of the items beside his bed.  Panels 2-4 might be framed as if they were shards of broken glass.. jagged edged frames, maybe open and spilling out at the bottom.  A lamp, a vase with flowers, a couple of get well cards, a telephone… all hazy and muted, but with spots of colour standing out (ie. Red)

Superimposed over these panels are text boxes of narrative:

Text Box 1:  Where am I?

Text Box 2:  Am I in a hospital?

Text Box 3:  Wouldn’t be the first time.

Page 4: Panel 1:  POV:  side-to-front view (as if he’s running more or less to the left, but turned slightly toward the “camera” so we can see his face and front better) widescreen shot of Young Rhodes, running to the left of the frame, face still covered in gore, crying and running away from police (scared).  I picture Young Rhodes as an awkward, if otherwise normal-looking kid.  Gangly and thin, wearing faded blue jeans and those red canvas sneakers, with a three-quarter sleeve rock t-shirt… the kind that was black for the chest and had the white three-quarter sleeves.  On the black part is IRON MAIDEN and, of course, the snarling face of “Eddie”, the skeletal figure that is that band’s mascot.  Of course, his shirt is somewhat covered in gore as well, but it blends well with the t-shirt.  Behind him we can see the marquee of the movie theater he’s running out of.  The Marquee reads “Friday the 13th film festival ALL DAY”, and there are other people running out of the doors as well.

Page 4: Panel 2:  POV: SAME shot as the last panel, only flash-forward to grown up Rhodes, running out of the restaurant from last issue, dressed only in the white housecoat and fuzzy slippers, running screaming down the street, being chased by cops (instead of the Movie Theatre in the background, have it be a Restaurant sign, with a sign reading “Friday’s Special: Tuna Melt. Breakfast served ALL DAY”)  I think it would be a great visual if a translucent image of Young Rhodes could be running behind him (the same image from the last panel).  These two panels should almost blend into each other… as if, if you laid one over the other, they would line up.

Page 5: Panel 1:  POV: third person, cops & EMTs shoving Rhodes into the back of an ambulance, kicking and screaming.

This, and the next panel, should be all skewed, diagonal, etc..

Text Box:  Well, I hope I wasn’t any trouble this time…

Page 5: Panel 2:  POV: third person, slightly overhead, aerial view, Rhodes being handcuffed to the hospital bed, while 2 orderlies hold him down and a nurse gives him a sedative shot

Text bubble: (Rhodes) NO MORE BLOOD! NO MORE BLOOD!

Page 5: Panel 3:  POV: third person, medium close up of Rhodes, passed out, drooling in the hospital bed….   The edges of this should be pretty blurry… mimicking the effects of the sedative.

Page 6: Panel 1:  POV third person widescreen shot, pulled back. On the left we can see the door, full height, with a large square window and the silhouette of a woman’s head, looking in  – hair cropped chin length, kind of a bob. Closer to “the camera”, mid panel to the right edge of the panel, we have the bed, and Rhodes lying awkwardly on his side, so that his face is facing “the camera”. His right arm should be pulled back over his body, as he’s handcuffed to the rails.  He’s sleeping.  It’s still early morning, but a little bit brighter.

Page 6: Panel 2:  POV: third person, straight on – full top to bottom frame shot of nurse, dressed in green scrubs, top is v-neck, short sleeve.  She’s attractive, slender.  She has a stethoscope dangling over her neck.

Page 6: Panel 3:  POV: close up shot of Rhode’s face on it’s side, while the nurse’s face peers over him from behind (so she’s obviously bent over, or kneeling or something, taking a look at him.)  The nurse is grinning, almost hungrily.

Page 6: Panel 4:  POV: close up of Rhodes’ face on it’s side, waking up, startled.

Page 7: Panel 1:  POV:  same shot as Page 6: Panel 1, only Rhodes is sitting up the best he can in bed (kind of half-way sitting up) and the nurse is standing beside his bed facing “the camera” with one hand up his shirt, listening to his heart with a stethoscope. So she’s behind the bed from our perspective – the bed cuts her off at the waist/hips.

Text bubble 1: (nurse) I’m sorry, did I startle you? (top left)

Text bubble 2: (nurse) I’m just here to check your vitals (top right)

Text: Ba-Bump

Ba-Bump (heartbeat. Small this panel)

Page 7: Panel 2:  POV:  full height, third person shot of the nurse standing behind the bed, with her left hand up Rhodes’ shirt with the stethoscope, and her right hand reaching down the front of his pants.  All that’s visible of Rhodes in this shot is from just below his groin to about just below his nipples.  His arms are straining against the handcuffs, but it’s doing him no good.

Text: Ba-Bump

Ba-Bump (a little bigger this time)

Page 7: Panel 3:  POV: close up profile of Rhodes, filling nearly the entire panel – looking surprised and a bit worried.

Text Bubble: HEY! What are you…

Text: BA-BUMP! BA-BUMP! (larger)

Page 7: Panel 4:  POV: close up ¾ overhead of the nurse’s head in Rhode’s lap.  Make it obvious but not vulgar as to what’s going on.

Text Box: …doing? (top right, almost between or overlapping panels 3&4

Text: BA-BUMP! BA-BUMP! (larger now… in fact, these words might be used to give the scene a little … discretion)

Page 8: Full Page:  POV:  third person, from behind the nurse, who’s bent over the rail with one hand up Rhodes’ shirt, the stethoscope still in her ears, her listening to his racing heartbeat (BA-BUMP-BA-BUMP-BA-BUMP-BA-BUMP).  Her other hand is buried in his crotch… we don’t see anything, but we know what’s going on.  Rhodes’ hands are clenching the rails and his head is back, grinning, but his eyes are looking down at her exposed lower back.  Bent over, her pants are riding down and her shirt is riding up, and we can see the “DRS” (Dark Roads of the Soul) tattoo right above her thong.  Make this very obvious.  Maybe a good idea to incorporate this logo into the title of the magazine – *DRS* [logo] – Dark Roads of the Soul so that it’s instantly recognizable.

Text Bubble: (Rhodes) Always nice… to meet a fan…

Page 9: Panel 1:  POV: third person, similar to Page 7: Panel 2.  Nurse wiping mouth with back of arm, looking at Rhodes (to the right of the panel)

Text bubble 1:  (Nurse) I’m your biggest fan

Text bubble 2:  (Rhodes, from the right) I see.

Page 9: Panel 2:  POV: same shot. Nurse fixing hair/taking stethoscope out of ears.

Text bubble 1: (Nurse) Please, you can’t tell anyone about this, okay?

Text bubble 2: (Rhodes, from the right) I won’t, I…

Page 9: Panel 3:  POV: third person, widescreen shot similar to Page 6: Panel 1.  Nurse walking out door, looking over shoulder at Rhodes, sitting up in bed with shocked look on his face.

Text Bubble 1: (Nurse) Gotta go!

Text Bubble 2: (Rhodes) Hey, wait!  What’s wrong with me?…

Page 10: Panel 1:  Close up profile of Rhodes, slightly angled upward, facing to the left side of the panel.   Looking upset.

Page 10: Panel 2:  Close up profile in EXACT symmetry of Panel 1, close up of Rhodes at 13, facing to the right (mirror image)  in between these two panels will be a text bubble, with trailers leading to both mouths (this should be a pretty cool shot)

Text bubble: WHY AM I HERE?

Page 10: Panel 3:  POV: Widescreen third person.  To the left of the shot is Young Rhodes, lying on a couch, his feet stretched out to the right of the panel, lying on his back, facing up.  This is a psychiatrist’s office.  To the right and slightly behind the couch is the doctor sitting in an upright, high-backed chair, taking notes.  He’s about 55 or so, but is still good looking – still has all his hair – has an air of athleticism about him – he looks good because he takes good care of himself.  He has a short trimmed beard, reddish/auburn hair with only a few white hairs in his beard.  He’s wearing a pair of brown slacks and a white Polo shirt, short sleeved.  In the background, we can see a large marine fish tank surrounded by bookshelves.

Text bubble:  (doctor) Well, Richard, your parents thought that maybe you’d like to talk to someone about what happened last week.

Page 10:  Panel 4:  POV: from the side, a profile of Young Rhodes, coming out of the bottom left corner of the panel, leaving open space for dialogue. Rhodes looks blank.  Not upset, not happy, just BLANK.  This panel and the next should be split interestingly… like a diagonal zig-zag, bottom left to top right.

Text bubble:  I dunno… I went to school, I played some Nintendo, I went to see a movie…

Page 10: Panel 5:  POV: close up, front/slightly to the right of the doctor’s face, looking clinical, detached, objective.

Text bubble: Anything unusual happen?

Page 11: Panel 1:  POV: third person, close up of Young Rhodes’ face, his right cheek on the couch cushion (head on a slight angle)

Text bubble:  Nothing I can think of.

Page 11: Panel 2:  POV: third person straight on shot of doctor sitting in chair, pulled back shot – see doctor from knees up.

Text bubble:  Richard, a man killed himself in the movie theatre that day.

Page 11: Panel 3:  POV: third person, side profile of Young Rhodes in the bottom left of the panel, with the doctor’s chair visible in the background in the top right of the panel.

If possible, have the shot be like a camera’s focus… ie. Young Rhodes’ face is in focus, while the doctor’s chair is out of focus.

Text bubble:  Yeah, I read about that – that’s messed up, huh?

Page 11: Panel 4:  POV: third person close up on half of the doctor’s face (his head, fills the panel from top to bottom, but is situated to the right of the panel, with the left half of his face cut off by the edge. Leave room, then, on the left of the panel for dialogue.)

Text bubble:  You don’t remember being there, Richard?  You were there that day.

Page 11: Panel 5:  POV: similar to panel 1, in this panel, Young Rhodes looks upset… eyes closed, face scrunched up…. Maybe even sucking his thumb?

Text bubble: No, no, I wasn’t there!  I don’t wanna talk about it!

Page 11: Panel 6:  POV:  similar to panel 4, and I’m thinking that it shouldn’t be straight on, but almost a three quarter profile type thing, like the doctor’s got his head turned slightly to the right (left of panel)

Text bubble: Why do you think you’re here, Richard?

Page 12: Panel 1:  POV: third person, side profile, widescreen shot.  Young Rhodes face, on a slight angle (as if he’s lying on a pillow on his back) facing the top/top-right of the panel.  So the bottom left part of the panel is his head.   His face should take up about 1/3 to 1/2 of the panel, with face in focus and background blurry.  He’s scared and upset and yelling.  This panel is a type of mirror image of the bottom panel.  In the middle, between the two panels, will be a text bubble with the two figures, Rhodes young and old, sharing speech:

Text bubble: I DON’T KNOW WHY I’M HERE!!

Page 12: Panel 2:  POV: third person, side profile, widescreen shot.  Rhodes face (now) on a slight angle… this time, his head originates from the bottom right panel, so he’s facing up and to the left.  In fact, these two profiles are almost side profiles, they’re just both looking slightly upward, as they’re both reclining in bed/on a couch.  Rhodes looks more upset than afraid… feels helpless; and as an adult, feeling like a helpless child is enough to make him upset.

Page 13: Panel 1:  POV:  third person, widescreen shot from the side.  Rhodes in bed, eating lunch on a tray on his bed on the right side of the panel.  On the left, a nurse pokes her head in through the door.  This nurse is homely looking.

Text box: Later that day…

Text bubble 1: (Nurse) Mr. Rhodes, you have visitors

Text bubble 2: (Rhodes) Hmph.  What happened to the other nurse?

Page 13: Panel 2:  POV: third person close up of the back/side of the nurse’s head walking out the door

Text bubble: (Nurse) I’m sure I don’t know, sir.

Page 13: Panel 3:  POV: third person close up of Phil walking in the door (from shoulders up), with Band Members 1 & 2 following behind (methinks it’s time they get names, no?)

Page 13: Panel 4:  POV: third person widescreen shot from the side, Rhodes sitting up in his bed with his lunch tray, with 1, 2 and Phil standing at the side of the bed (“behind” the bed – the bed is closest to the “front” of the panel)

So, from left to right: Band Member 1, Band Member 2, Phil, Rhodes.

Text bubble: Hello Phil.  Boys.

Page 14: Panel 1:  POV:  Extreme close up of Phil and Rhodes, profile to profile; face to face, with Rhodes fists visible at Phil’s neck (basically, he’s grabbed him and pulled him close so he can yell at him.)  This has the potential to be a very visually interesting and artistic shot.  Consider spatial relationships, and the shapes that can be created when two profiles look at each other.  Play with sharp vs smooth angles.  Can the space between them be made sexy? Or angry looking?  Also, consider that Rhodes is scared and angry, and may have spittle and food flying – he’s also just reached over his lunch tray to grab Phil, so it may be messy.  Rhodes = furious, Phil = surprised.   Maybe mirror image their facial expressions.  This should be a very cool shot.

Underneath this panel, I’ve left room for the following text, which should be loud, large and angry.

Text:  WHAT THE FUCK AM I DOING HERE, PHIL?!

Page 14: Panel 2:  POV: third person, straight on, medium close up of Phil from the waist up, brushing himself off, looking annoyed.  (oh, don’t forget to give him a wacky, tacky tie)

Text bubble: (Phil) Easy! Easy!  Do they need to put the handcuffs back on?

Page 14: Panel 3:  POV: third person, medium close up (maybe from about the knees up) of Thing 1 & Thing 2 (Ha ha… is that funny, or might that actually work? I’ve already established that they both look similar – shaven headed, tattooed, pierced, both have the DRS tattoo on their arms… why not give them black t-shirts with a white 1 or 2 on the front – kind of an existential gimmick – that whole morose “lack of identity” thing.  I mean, off stage they have names, yes, but as far as the world knows, they are Thing 1 and Thing 2… or maybe Number 1 and Number 2)

1&2 are standing near the end of the bed, looking morose and uncomfortable.

Text bubble 1: (1) Dude, you totally whigged out.

Text bubble 2: (2) Totally.

Page 15: Panel 1:  POV: third person widescreen, from the side.  From the left: 1, 2, Phil, Rhodes.  Rhodes is looking confused.

Text bubble 1: (Rhodes) What are you talking about?  I didn’t… I don’t…

Text bubble 2: (Rhodes) (lower right corner) I don’t remember

 

Page 15: Panel 2:  POV: third person close up of Phil’s face leaning over the bed… maybe Rhodes’ face is visible in profile at the bottom right/side of panel.

Text bubble: (Phil) Yeah, see, Ritchie, that’s the problem.  You’re here to get clean, and to get your mind right.

Page 15: Panel 3:  POV:  close up of Rhodes, side profile, with hands over his face in shame and frustration.

Text bubble: (Rhodes) Oh, god, the tour…

Page 15: Panel 4:  POV: close up of Phil’s face, looking stern but sympathetic.  It’s not like he really cares about Rhodes as a person, but he has a lot of time and money invested in him… also, he’s kinda Phil’s meal ticket.

Text bubble: (Phil) …will wait

Page 16: Panel 1:  POV: similar shot as page 15:panel 3, but his hands aren’t in front of his face.  He’s looking exhausted.

Text bubble: (Rhodes) And the press?

Page 16: Panel 2:  POV: close up of Phil’s face, looking like the cat that ate the canary.  Dealing with the press is what he does best.  He’s got a smarmy smile on his face

Text bubble:  (Phil) Let me worry about the press.

Page 16: Panel 3:  POV: big shot, third person, widescreen… a press conference.  Phil is standing behind a podium and on either side of him are Number 1 and Number 2.  At the bottom of the panel are reporters, asking questions, and holding out microphones…. Cameras are flashing, etc. (this should almost be that “dreamlike/flashback” look as well, as it’s unclear that it is actually happening or if that’s just what Phil visualizes)

Text bubble:  (Phil) … and we thank you for all your prayers and support during this time of crisis.  Mr. Rhodes desperately wants to get back on tour as soon as the doctors say that he’s okay, and he sends all his love to all his fans.

Page 17: Panel 1:  POV: third person from the side.  A little closer in, but all are still visible in the shot (back in Rhodes’ room).  Rhodes is turning toward “the camera” and away from his manager and band mates, eyes cast downward.

Text bubble: (Phil) So, I opened up your guitar case, Ritchie.  Um, you wanna tell me about all that “blood” (maybe have Phil doing air-quotes with his fingers in this shot)

Page 17: Panel 2:  POV: close up side profile of Rhodes, eyes closed.

Text bubble: (Rhodes) I don’t wanna talk about it.

Page 17: Panel 3:  POV: close up side profile of a younger Rhodes, this time about 17 or 18 (maybe give him different hair or something to make it easily distinguishable)  In this profile, he’s looking down, looking a little upset, even freaked out a little.

Text bubble: (teenage Rhodes) I don’t wanna talk about it.

Page 18: Panel 1:  This whole page is a flashback, so take that into consideration with the edges/colours, etc…  POV: third person, straight on, slightly overhead, widescreen shot on about a 45 degree angle.  Setting: a girl’s bedroom… a teenage girl, who’s recently re-invented herself as a goth girl, but you can still see remnants of the “Strawberry Shortcake” side of her from only a few years before… so some pinks, some rainbows… all mixed in with the blacks and gloomy stuff.  At the bottom left of the panel, teenage Rhodes is sitting on the foot of her bed, maybe bent over, topless (but with no tattoos yet, or maybe just one… and instead of being so thin, maybe he’s still got a little baby fat around the middle or something.  He’s tried pot at this point, but hasn’t done any of the hard drugs that have given him such a severe, used up look.  On the bed behind him is “the girlfriend”, holding a pillow on her lap, covering up the fact that she’s naked underneath, except for black and white striped stockings.  She’s got dyed black hair in pigtails, and a sulky, angry look on her face.

Text bubble: (the girlfriend) So I’ve got my period, so what?  I’m horny as hell, Ritchie! What are you, some kind of fag?

Page 18: Panel 2:  POV: extreme close up on teenage Rhodes’ eyes, a painful look in them, tears welling up.

Text box: (above the eyes, teenage Ritchie speaking) I DON’T WANNA TALK ABOUT IT

Page 18: Panel 3:  POV:  same shot as Page 2: panel 3, only smaller, to fit space (flashback to head with hole blown through it)

Across the bottom three panels (starting with this one) are the words, split into three text boxes:

Text box 1: I DON’T

Text box 2: WANNA

Text box 3: TALK ABOUT IT!

Page 18: Panel 4:  POV: same shot as Page 2: panel 4, only smaller. (flashback to young Rhodes’ face, covered in blood.)

Page 18: Panel 5:  POV: zoom in shot of young Rhodes face (from the last panel) only so close that it’s basically just a blood spatter, as if it were a Rorschach ink blot test.

Page 19: whole page:  POV: overhead third person aerial view of “WHAT ACTUALLY HAPPENED” from the last issue, ie. Girls pouring blood all over him, etc, only now, with a full page, you can really go nuts with it.

Text: (large letters, chaotic) I DON’T WANNA TALK ABOUT IT!!!

Page 20:  Panel 1:  POV: third person shot of Rhodes in the hospital bed, holding his pillow over his head, with Phil leaning in to talk to him, smiling nervously.  To the left of the shot are Number 1 & Number 2, looking at each other and shrugging their shoulders.

Text bubble:  (Phil) Look, they’re never going to let you out of here unless you start talking, Ritchie.  I mean, us?  We know you’re just an asshole, right? But them?

Page 20: Panel 2:  POV: same shot, only focused more on Phil and Rhodes.  Number 1 & Number 2 are in the far left of the shot, maybe even cut off.  Phil is in the centre of the panel, with his hands turned up in a shrug, with a look of resignation on his face.  Rhodes still looks exhausted and confused.

Text bubble 1: (Phil) They think you’re crazy.

Text bubble 2: (Rhodes) Them who?  Where am I?

Page 20: Panel 3:  POV: close up of Number 1 to the right of the panel.  With these two bottom panels, create symmetrical images of Number 1 & Number 2, reinforcing their “lack of their own identity”… there’s only room for one ego, and it’s Rhodes.  In this panel, have Number one “leaning in” to the left from the right edge of the panel, shot from about the waist up. (Make sure he’s wearing his black t-shirt with the number 1 in white)

Text bubble:  (#1)  Looney Bin

Page 20: Panel 4:  POV: close up of Number 2 to the left of the panel, “leaning in” to the right from the left edge of the panel. (again, he’s wearing the black t-shirt with the number 2 in white)   These images should be damn near symmetrical.

Text bubble:  (#2) Nut Hatch

Page 21: Panel 1:  This page’s background (behind the panels) should be the colour of a hospital wall.  Some sort of light pastel “soothing” colour, as if the panels were pictures stuck on that wall.  The first two panels will be “free floating” (see layout) so that there is free space to let the pastel-ly goodness shine through.  This first panel is actually a plaque; the kind you’d find in a hospital wing or wherever, with the name of the hospital and it’s mission statement.  Above this panel is a text box that is Phil speaking:

Text box: You’re in good hands.  Here, read the brochure.  I’ve got to go do some damage control.

Plaque reads:  Francis Newburg Center for Rehabilitation and Addiction Crisis Intervention

Dedicated to the well-being of body, mind and soul.

F.N. C.R.A.C.I. established 1989

Page 21: Panel 2:  POV: third person widescreen close up of Rhodes with the brochure in front of his face.  We can see his eyes and forehead over top of the pamphlet, which is stretched out from edge to edge of the panel accordion style (like a leporello).  Really, we can just see the top of the pamphlet as well, but it’s very important that the writing on the back of the pamphlet is visible.  On each fold is an initial or initials, depending on how many folds you do and how much room, but across the back of the pamphlet are the initials: F.N. C.R.A.C.I.

Thought bubble:  You’ve gotta be F.N. kidding me

Page 21: Panel 3:  POV: third person widescreen shot of Rhodes from the side with his knees up, sitting up in bed reading the pamphlet.  It’s darker now, obviously night-time.  To the left of the panel, a nurse has come into the room with a tray of medicine and a cup of water (a paper cup)  It’s the same homely nurse from before.

Text bubble (nurse) Time for your medicine, Mr. Rhodes.

Page 22: Panel 1:  POV:  third person close up side-to ¾ profile of Rhodes, looking down at the tray that’s been shoved in his face.  On the tray are a paper cup with water and a smaller paper cup with a bunch of mulit-coloured pills in it.

Text bubble: (Rhodes) What’s this?

Page 22: Panel 2:  POV:  third person close up of front of Rhodes, downing the cup of water.  We see him from about the chest up.  From “off camera” comes dialogue:

Text bubble: (nurse) Just something to help you through the night.  Trust me…

Page 22: Panels 3-11:  These panels can have a variety of POVs and should basically depict small little vignettes of panic and withdrawl (after all, Rhodes hasn’t had any drugs, not even so much as a cigarette in how long now?)  these panels SHOULD have borders, I think, and I like the idea of framing them as if they were Polaroid pictures.  I’ve put 9 boxes on the panel layouts, but if those are too small, it can be reduced.  And I don’t think that they should be side by side neatly like that.  If they are Polaroid pictures, then they can be skewed and overlapping.  Some suggestions of “theme” for the images: sketchy, sweaty, twitchy, crying, angry, sick, dizzy, tossing, turning. (like dysfunctional Seven Dwarfs, ha ha) Somewhere in the midst of this is a text box.

Text box: … you’re going to need it.

Page 23: Full Page:  all the culminating mania from the previous page results in a full page scream, however, I want it to be broken up and abstract.  I’ve laid out the page layout for this page with alternating vertical strips.  What I am looking for on this page is a full page picture of Rhodes screaming maniacally, but then take that picture and cut it into strips and then break them up, almost like a mosaic.  Maybe go even further than strips, and have it broken up like shattered glass.  And in the spaces between the image, have spiders and other creepy crawlies “crawling up the walls” as it were.

Page 24: Panel 1:  POV:  Overhead aerial view medium zoom widescreen shot of Rhodes lying on his back in bed (from about the chest up) looking absolutely exhausted and wired… soaked through with sweat, etc.  In his left hand, he’s got a paging device and is pushing the button to call the nurse.

Text bubble: God, I need a cigarette.

Page 24: Panel 2:  POV: Side shot silhouette of the door opening on the left of the panel, with a nurse poking her head in.  Along the bottom and to the right of the panel we see the silhouette of Rhodes lying in bed.  I think these shots will look great if it’s done in solid shadow silhouettes, with a stark beam of light shining in from the barely open door.

Text bubble 1:  (nurse) Yes?

Text bubble 2:  (Rhodes) (weakly) may I please have a cigarette?

Page 24: Panel 3:  POV: same shot, still silhouettes, but the door is shut, so no more beam of light.  We see the silhouette of Rhodes flipping the middle finger at the closed door.

Text bubble 1: (nurse, from behind closed door) No.

Text bubble 2: (Rhodes) FUCK!

Page 25: Panel 1:  POV: more side silhouettes, but close ups, this time.  The nurse standing beside his bed, Rhodes head close to hers (the homely nurse, not the other nurse)  The door is closed, so it’s dark.

Text bubble 1: (Rhodes) May I please…

Page 25: Panel 2:  POV: same shot

Text bubble: (nurse) NO

Page 25: Panel 3:  POV:  side profiles, widescreen.  Now the door is wide open as the nurse storms out, a stern look on her face.  The light shines into the room, and they’re no longer silhouettes.  We see both of them from about the waist up, Rhodes sitting up in bed to yell at her as she walks out the door.  She’s facing away from him, so they’re both facing to the left of the panel.

Text Bubble 1: (nurse) NO!

Text Bubble 2:  (Rhodes) You don’t even know what I was going to ask you!

Page 25: Panel 4:  POV: extreme close up of Rhodes’ eyes, pleading.

Text bubble: Please?

Page 25: Panel 5: POV: extreme close up of Nurse’s lips, teeth clenched.

Text bubble: NO

Page 26: Panels 1-4:  POV: aerial overhead medium close-ups (full length of the bed for each panel) of Rhodes 1) laying spread-eagled on his back; 2) on his side; 3) in the fetal position; and 4) stretched out on his stomach, his back to “the camera”, looking very uncomfortable.

Text box 1:  My name is Darke Rhodes

Text box 2:  I am the…

Text box 3:  I am the Dark Lord of…

Text box 4:  I wanna go home.

Page 27: Panel 1:  POV: side widescreen silhouette/profile of Rhodes, facing the top of the panel, sleeping, with thought bubbles trailing to the bottom panel.

Page 27: Panel 2:  POV: various.  Dream of “Smoking theme”… beautiful women smoking, blowing smoke rings… surreal and abstract… cigarettes everywhere… people made out of cigarettes, etc…

Page 28: Panel 1:  POV:  third person straight on – Rhodes sitting up in bed, having awoken from his dream of smoking.  Daylight pours in from the right of the panel.

Text bubble:  Damn.

Page 28: Panel 2:  POV: third person close up of a new face – a doctor – standing in the open doorway.  We see part of Rhodes in the bottom right of the panel.  The doctor is young and idealistic.  He’s got an optimistic grin on his face as he talks to Rhodes

Text bubble 1: (Dr. Irving) Good morning, Mr. Rhodes!  I’m Dr. Irving.  I’d like to take you for a walk if you’re feeling up to it.

Text bubble 2:  (Rhodes)  Doc, I’d run a marathon if there was a cigarette waiting at the finish line. Whaddaya say doc? Just one?

Text bubble 3: (Dr.) No.

Page 29: Panel 1:  POV:  third person from behind.  Dr. Irving and Rhodes walking down a hallway.  It looks clinical, but not like a hospital, per se.  More like a nursing home.  The doctor and Rhodes are centered in the shot, with the doctor on the left, and Rhodes on the right, his hospital gown opening at the back, giving us the unwelcome sight of his uncovered bottom.

Text bubble: (Rhodes) So, uh, where are we going, doc?

Page 29: Panel 2:  POV: same shot, further down the hall.

Text bubble 1:  (doctor) Well, we call it our ‘circle of trust’.  It’s a forum for sharing.

Text bubble 2:  (Rhodes) Uh, doc, I’m not so sure I’m ready to share just yet.

Page 29: Panel 3:  POV: third person from behind, close up on the back of the doctor & Rhodes’ head and shoulders.  In front of them we can see an open door with bright light coming from it (like he’s entering the door of a spaceship or something).  The doctor has his arm around Rhodes’ shoulder.

Text bubble: (doctor) Hello everybody!  This is Richard

Page 30: full page:  POV:  third person from just behind and slightly above the doc & Rhodes’ heads (at the bottom of the page).  In front of them we see a circle of chairs.  At the top of the page, at the “Head” of the circle, is a woman who is obviously the counselor – in fact, everyone else at the circle (maybe three people on either side of her) is in a hospital gown, like Rhodes, so that they are all OBVIOUSLY patients.  Have fun developing different looks for all these people.. give them back stories, brainstorm why they might be there… their stories will likely come out next issue?  But pay special attention to one of these patients, who will be waving frantically to Rhodes, a giant smile on her face – it’s the “nurse” that gave him the blowjob in the beginning of the story.

Text bubble: everyone…this will be in the middle of the circle:  HI RICHARD!

End.

What is this?  Get more information HERE, or start with Issue 1 HERE

Appetite for Destruction (the first Darke Rhodes Story)

Maybe it was the fact that I’d been on the road for three weeks, or that I’d been popping god knows what and not even I know how much to stay awake all that time, or maybe I’d just seen The Wall too many times, but something must have been compelling me to trash my hotel room. I had woken every morning for the last week in a different hotel room, and always in a state of demolition. I’d like to tell you that I try to avoid the rock star clichés, but it seems that in addition to the self-destructive drug abuse, I’ve also unconsciously joined the ranks of the Angry Tantrum-Throwing Asshole Celebrity Kooks (A.T.T.A.C.K., if you will).

Yesterday I woke up alone, and yet there were at least three pair of pants, half a dozen shirts, a couple of pair of underwear (women’s) and a bra on the bed. All of which would suggest some sort of sexual escapade, and yet I awoke fully clothed. At the end of the bed, on the floor, was a 42 inch plasma, smashed to pieces, which someone had covered with the bedspread.

The day before I had woken up to a fire alarm, and jumped out of bed to find that someone had started a fire in the hotel room, using the end-tables for fuel.

The day before that I had woken up on the floor, soaking wet, and discovered that someone had smashed the toilet into tiny porcelain shards, and the water was flooding everywhere. But none of this was alarming as today, when I had woken up covered in blood.

There was a hammering at the door that just wouldn’t stop, and as I opened my eyes, the mid-afternoon sun burned me like holy fire, and I buried my head deeper into my pillow and murmured something unintelligible, hoping the knocking would stop.

“Mr. Rhodes,” a voice said calmly, then the pounding started again, and then stopped after a half-dozen brain-shattering raps. “Mr. Rhodes, it’s past two. Time to check out, sir.”

“Fuggofff,” I roared, slurring my words; slipping violently in and out of consciousness. “Leameealone”.

The rapping continued, drawing me out of my slumber. Slowly the colour began seeping back into the world, and I was aware of something not right. There was a coppery, alkaline smell that I couldn’t quite place, and the sheets were all wet. At first I thought it might be booze, or vomit, or hell, maybe I’d decided to take a midnight swim fully clothed like I had that night in Toronto.

“Please, Mr. Rhodes, we need to clean the room,” the voice pleaded.

“Alright, I’m up, hang on a minute,” I said, and threw back the covers.

My first thought was that it must be some sort of joke – someone had seen The Godfather too many times and thought it might be funny to hear me scream at what I saw when I woke up in the morning. Well I wasn’t screaming. In fact, I could barely breathe, and had to repeat myself when I told the voice behind the door that I’d be out in a minute. I threw the bedclothes completely off the bed and jumped off on to the floor, and stared at the mattress, splattered in blood; but no body. No horse’s head, either, despite my first hypothesis.

I stood naked beside the bed for what seemed like forever, staring into the void, until the knocking started up again, calling me back to reality.

“I said, just a fucking minute!” I yelled, and frantically balled up the bedding, trying to think of: a) a reasonable explanation for all this blood; and b) a quick way to get rid of what could only be evidence of some crime. The reasonable explanation part never came, but as I scanned the room, I caught sight of my guitar case and inspiration struck me. I opened up the case, and ran my fingers over the frets lovingly, already regretting what I was about to do; what I had to do.

“FUUUUUCK!” I yelled, and, swinging the big white Gretsch over my head, buried my guitar into the television, producing a loud BANG! POP! “Stay the fuck out of here you goddamn fucking son of a motherfucking goat!”

I slammed the guitar into the wall a few times, and then threw the remains at the door with a smash. Then I quickly proceeded to stuff the bloody bed sheets into my empty guitar case. I snapped the guitar case shut and looked at the bed. The mattress still had blood on it, but I’d managed to get the worst of it, so I flipped the mattress over, knowing that wasn’t a long-term solution, but all I had time for. The knocking on the door had now become pounding and yelling, something about calling the police, I don’t know, I couldn’t hear him over the roar of the shower spray, and besides, my mind was racing, trying to remember anything about the night before; anything that might explain how I got all that blood on me.

I jumped out of the shower and toweled off quickly, and looked around for my clothes, which were nowhere to be found.

Fuck it, I thought, and threw on a hotel robe, grabbed my guitar case, and, like Lot’s wife, took one last look behind me before opening the door and stepping out. I gave the porter a nervous grin and walked down the hall, ignoring his under-his-breath mutterings; something about fucking celebrities or something like that. I was around the corner and moving a little more quickly when I heard him yell “SHIT!” as he surveyed the damage to the room.

I pushed the button on the elevator, holding my guitar case so tightly my knuckles were white, and waited. I heard a door open behind me and turned to see my manager looking at me with disgust. He came over to me, grabbed me by the arm and threw me against the wall.

“What the fu-,” I started, and he slapped me, and then reached up with his two fingers forked and pulled down my lower eyelids and put his face right in mine, the grilled onions he’d had for lunch making me gag.

“Listen, you little prima donna shit,” he spat, spraying me as he yelled. “If you wanna destroy your brain, that’s fine by me. You snort, smoke, shoot, drop whatever the hell you want. Just do it in your hotel room, and stay the fuck out of the special effects gear! I don’t even wanna know what the hell you and those bimbos were up to; what sick fantasies you were indulging. I don’t care – I don’t have time for this shit. Where the fuck am I going to get ten gallons of fake blood in this podunk backwoods piece of shit town? What are we going to do for the show’s finale now? You’ve completely fucked us over, Rhodes… you’ve completely destroyed us.”

Darke Rhodes – Script 1

English: Marilyn Manson at the Eurockéennes of...

English: Marilyn Manson at the Eurockéennes of 2007 (Photo credit: Wikipedia)

Darke Rhodes of the Soul – Issue One

Syopsis:

This is the story of Darke Rhodes, a mid-to-late thirties goth rocker who is in many ways the rock cliché…. Drugs, sex, bad behaviour, self-absorbed, controversial.  In this first issue, we are introduced to him and his bad behaviour – his music leans toward the darker themes, and uses arcane symbols and imagery as a gimmick…. Like Alice Cooper, only not as cartoony.  More like Bauhaus or, a modern example, Marilyn Manson.  We see that he draws in young, impressionable girls as groupies, and that he’s something of a controversial figure, not unlike Marilyn Manson, and has his own protest group with their own comical acronym of M.A.A.T.T.A.C.K.  In the opening pages, we see that his behaviour lately has been erratic to say the least, and it’s not unusual for him to engage in various states of debauchery, including group sex, drug binges, etc… and that this has various tragic/comic consequences.  He’s trashed his share of hotel rooms. He’s been known to wake up and not know where he is, wake up soaking wet, wake up on fire, and then, on this particular morning, when our story begins, he wakes up covered in blood.

Obviously, he’s freaked out, and when the hotel staff come to tell him that it’s time for him to check out, he’s in a bit of a jam.  He obviously can’t let them come in and see all the blood.  He’s alone, and can’t remember what happened the night before, and so runs through scenarios in his mind as to how all the blood got there.  In order to stall the hotel staff, Rhodes starts throwing a loud angry tantrum, including smashing his guitar and throwing it at the door, all the while trying to round up the bloody sheets and stuff them into his now empty guitar case.  He quickly showers, dresses himself in a hotel housecoat and wraps a towel around his head, grabs his guitar case full of bloody sheets, and then exits the hotel, blowing past the bewildered cleaning staff and heading to the elevator.

He takes the elevator down to the hotel lobby, where he’s meeting the other band members for breakfast (we’ll learn that this is something of a tradition with them).  Here we meet the other band members, who will always and only be known as Number 1 and Number 2…. also part of the gimmick… right down to the fact that they have t-shirts that have their respective numbers on them.  These two are morose looking, and are nonplussed by Rhodes showing up in a housecoat and towel.  We get the idea that stranger things have happened.  Rhodes is looking more freaked out than usual this time, and nervously tries to gather information from them as to who he might have been with or what he might have been doing the night before.  They think he’s just bragging about how hot the girls he was with were, and, annoyed, they brush him off.  Enter Phil, the band’s manager, who joins them for breakfast, and reveals that they are in a bit of a jam, as (and here comes the punchline) someone broke into their FX locker and stole all their fake blood.
Here we have a flashback to WHAT ACTUALLY HAPPENED, and we see that Rhodes and a couple of groupies are in his bed, and that they are splashing fake blood all over themselves and smearing it all over Rhodes’ chest.  Rhodes looks terrified, and passes out.  Back at breakfast, this realization makes Rhodes freak out and run screaming from the restaurant.  It will be revealed in the next issue that Rhodes has a deep seated fear of blood (which is really ironic, considering his persona as this dark gothic type).  The issue ends with Number 1 and Number 2 merely shrugging their shoulders and agreeing that it’s time for Rhodes to go to rehab.

Page One – Full Page:  Point of View (POV): Stage Left , full page, Darke Rhodes, a thirty-something goth rock singer, too thin, dressed in tight black pants, black boots with silver buckles (maybe a skull?), shirtless… thin…. Ghastly thin… think Iggy Pop meets Ian Curtis of Joy Division… and pale…  Black unruly hair – Robert Smith hair.  Face makeup? Face bleached white with black lipstick, or maybe just black lipstick & heavy on the eyeliner.

Standing on the stage in front of the microphone stand (maybe stylized with skulls, etc… the more goth-cliché the better)  arms spread like he’s being crucified, or getting ready to embrace the crowd, a look of ecstasy on his face.  The stage should be dark and should have various arcane symbols, ie. Pentagrams, etc… maybe candelabras on stands, like at a funeral.  He has his guitar around his back.  Also on the stage are a bass player and a drummer… both dressed all in black, shaven-headed, tattooed, pierced; skeletal. (have fun with the body-art and piercings)

The audience can be seen clamouring at the front of the stage (it’s a club, but it’s a big club)  Most of the fans are fetishists, all dressed in black… vampires, Goths, emo kids…

Again, have fun with the audience.  You might want to have a fight breaking out in the middle of the crowd… the devil’s in the details.

Text Box 1:  My name is Dark Rhodes.

Page Two and Three:  similar to page one, but two page spread, showing the whole band.

Text Box 1:  As in, The Dark Roads of the Soul

Text Box 2:  I am the Dark Lord of the back road Goth club circuit.

Page Four – Panel One:  POV: close up on fans at the front of the stage… fetishists… vampires, Goths, emo kids… skull jewellery, the whole shebang… ¼ page? (top left)

Text Box 1:  Goths, vampires, even whiney emo kids, they all love me

Page Four – Panel Two:  POV:  full on – show a crowd of picketing women holding protest signs… maybe a picture of Rhodes with devil horns or something… but have one sign read:

M.others

A.gainst

A.ngry

T.antrum

T.hrowing

A.sshole

C.elebrity

K.ooks

¼ page? (top right)

Text Box 1: Mothers hate me

Page Four – Panel Three:  POV: view of the front row of the crowd from the stage.  Heavily eye-shadowed pale girl with black hair lifting up her shirt, exposing her breasts… and they’re nothing to look at.  ¼ page (bottom left)

Text Box 1:  Probably because it’s their daughters in the front row flashing me their tits.

Page Four – Panel Four:  POV: side – to – ¾ view of Rhodes and three groupies.   Dark shot… Rhodes drinking a beer, head bent all the way back, downing it… (perhaps Rhodes is a silhouette?)  while three young Goths/vamps (one of them the girl from the last panel that was flashing her breasts) are standing in front of him, big red lips smiling crazily.. the kind of look generally reserved for the enraptured religious or the mad.  Make sure they’re all vamped out….. one of them wearing an Ankh, like Gaiman’s Death character.

¼ page (bottom right)

Text Box 1:  Later, backstage, she tells me her name is Akasha.  She tells me she wants me to drink her blood.

Text Box 2:  And so do her friends

Page Five – Panel One:  POV: straight on (from slightly above?) of a bedroom, from the foot of the bed.  Flashback to Rhodes as a teenager, laying on his bed with big old 80’s headphones on, connected by a big long curly cord to a RECORD player.  He’s a goth kid himself, black lipstick, maybe a mesh shirt…. Black nailpolish, black jeans.  His wall is adorned with posters of Bauhaus, Siouxsie & The Banshees, Joy Division, The Cure… here might be a good idea to mix drawing with actual pictures… layered.  Record sleeves on the bed… Bauhaus Vol. One. ½ page (top, possibly fading into bottom panel)

Text Box 1:  I listened to a lot of Bauhaus as a kid

Text Bubble: (coming from either the headphones or the record player… maybe not in a bubble at all, but “Bela Lugosi’s dead” with music notes, indicating what he’s listening to)

Text Box 2:  I always dreamed of one day becoming a pale-skinned god, like my heroes

Page Five – Panel Two:  POV:  same as panel one, only now it’s present day, and Rhodes is in bed with the three groupies… Rhodes should be in more or less the same position as the teenage Rhodes in panel one… be creative with the sex for this panel, suggestive/obvious, but not vulgar – in fact, almost comical… lots of fishnets and PVC/leather & such.

½ page (bottom)

Text Box 1:  And here I am; on top of the world

Text Box 2:  But even when you’re on top of the world…

Page Six – Panel One:  POV: bottom of the bed, to the right (bed is in left of frame, with Rhodes on the floor, with his legs still in the bed, as if he’d fallen out in the night and never woke up).  More or less ground view, but you can see the various clothes and underwear, etc, strewn across the bed.  Rhodes is quite obviously out of it… but still has his pants on.  From what we can see of the room, it’s a disaster (bottles of booze, drugs? Pizza boxes, cigarette butts)  1/3 page (top – widescreen type shot… shouldn’t be a close-up on Rhodes, but rather a “slice” of the room, with Rhodes just there as another piece of the mess.

Text Box 1: …sometimes you end up on the floor…

Page Six – Panel Two:  POV: floor level… Rhodes rolling on the floor, putting out a fire (have his pants on fire or something…)  show a fire/smoke in the background, again, hotel room is trashed.  1/3 page (middle – same panoramic type shot of the room)

Text Box 1:  …or on fire…

Text : large letters BEEEP! BEEEP! (or something indicating a fire alarm)

Page Six – Panel Three:  POV: floor level, outside a bathroom, perhaps on an angle where you can see some of the room; see that there’s water all over the floor, flooding out into the room, and Rhodes is collapsed in front of the toilet (which is not shattered, but maybe the seat has been pulled off and is around his neck or something)… make this as disgusting and pathetic looking as it sounds.

1/3 page (bottom)

Text Box 1:  …or in the toilet.

Text Box 2:  But you never expect…

Page Seven – Panel One:  POV: straight on, slightly from the left, perhaps a little from above.  Full page shot of Rhodes sitting up in bed, covered only to the waist, his hands turned upward, him staring at his blood covered hands in shock and disbelief.

Text Box 1: …to wake up covered in blood.

Page Eight – Panel One:  POV: extreme close up of a pillow (Rhodes’ head is buried under it).. note that there are odd, indistinguishable red marks on the pillow… in this shot, it should be obscure… maybe the reader doesn’t even quite know what they’re seeing.

Please refer to page layout file for approx. sizing.

Page Eight – Panel Two:  POV: dark, blurry, nothing…. Maybe just black out, or maybe some blurry image.  Imagine what it looks like when you open your eyes and your head is covered with a pillow.

Text: BANG BANG (or KNOCK KNOCK) in large block letters, almost filling the panel… really abrasive colour, to match the annoying sound.

Page Eight – Panel Three:  POV: still dark, but show a bright slit of light (slightly open eyes)

Page Eight – Panel Four:  POV: widescreen shot of room, with bed on right, window/blinds on left letting in bright sunshine.  Room is a disaster… littered with CDs and bottles & pizza boxes… but don’t give away the blood just yet… maybe slight traces on the pillow (Rhodes’ head still buried in pillow, covered in blankets.)

Text: KNOCK KNOCK KNOCK

Page Eight – Panel Five:  POV: close up of the pillow, with Rhodes’ hand pulling it over his head, burying himself in it.  NOW show bloody handprints on the pillow

Text: groan (murmur, something unintelligible.. maybe it’s not even a word, but a random string of letters!)

Page Eight – Panel Six:  POV: straight on – the hotel room door.

Text Bubble 1:  Mr. Rhodes? (top left of panel?)

Text : KNOCK KNOCK

Text Bubble 2: Mr. Rhodes, it’s past two. Time to check out, sir (bottom right?)

Page Nine – Panel One:  POV: close up of the pillow, like Page Eight – Panel Five, but start pulling out so there’s more in the panel – see that the room is brightly lit.

*** see page layout for approx. sizing

Text Bubble: Fuggoff!  Leameealone!

Page Nine – Panel Two:  POV: same shot, but pulling out more… maybe show more blood on his hand/arm.

Text Bubble: (Thought) What the…. Why am I all wet?

Page Nine – Panel Three:  three images blending… 1st (top left)… Rhodes & various people on the bed, dousing themselves in champagne 2nd(top right)… Rhodes throwing up all over himself in the bed… then the 3rd (bottom) is really two images… on the left, show from above (top view, maybe a 45 degree angle so you can get some of the background in…) Rhodes face down in a swimming pool (Dead man’s float) at night, fully clothed… I’m picturing interesting lighting here, with maybe buildings silhouetted in the background (hell, if we want to keep it Toronto, put the CN tower in silhouette… but not necessary) … then on the right… show an ambulance and Rhodes on the deck of the pool, being resuscitated by the ambulance crew.

Now, this panel should be open concept… these three(four) images more or less blending into each other, like a dream bubble… Rhodes is just running these ideas through his mind.  No hard border on the panel…if any at all… perhaps the border could be “spattered wetness”.. water, booze, vomit, blood? Dunno… just a thought.

Page Ten – Panel One:  POV: Mid-Zoom shot from the bed to the door.  Edge of bed barely visible in bottom left of panel, with door taking up half of the panel on the right side  *** please note page layout.

Text Bubble: Please, Mr. Rhodes, we need to clean the room

Page Ten – Panel Two: POV: pulling back from the last frame, now about half of the top of the bed is visible, with the door now in the distance.  Maybe show the pillow, with Rhodes’ bloody arm reaching out toward the door… (almost like in a zombie movie)

Text Bubble: Alright, I’m up, hang on a minute

Page Ten – Panel Three:   Panels one and two are at about a 1/3 page height, which leaves some space between 1&2 and the bottom (4)… I think this is where you do your magic to have some transitional background art, considering what the next shot will be..

Or maybe just crazy screaming text… you know, AAAAAAAAAAAAH or something, or a mix of both (I like the “mix of both” idea)

Page Ten – Panel Four: POV: similar shot as Page Five, only instead of being covered to the waist, the covers are thrown back, and there’s a horse’s head in the bloody bed, like in The Godfather.  This shot will be the first of two, so when creating this, be able to take out the horse’s head.  I think that the horse’s head should be a mixed media event…. Maybe a real horse’s head, but with a cartoon tongue hanging out and the eyes X-d out – kinda silly-like.

Text: if no scream in Panel Three, do we put a scream in here? Yes/no?

Page Eleven – Panel One:  POV:  similar shot as previous panel, only have Rhodes rubbing his eyes with his bloody fists in disbelief…

You know, the more I think about this, the more I think that you should TOTALLY have fun with how bloody he is.. ie. Everytime he touches anything, blood is left behind… like when he rubs his eyes, in the next shot, have bloody rings around his eyes.  It’ll make his later plight more comical… I mean, sure, he’s rounding up the bed sheets, but what about everything else he’s touched… so if it WERE real blood, he’d be screwed, but we know better.

Page Eleven – Panel Two:  POV: same shot as Page Ten-Panel Three, only with no horse’s head, just the blood – and as I mentioned in the previous panel.. maybe he’s got bloody rings around his eyes from rubbing them.

Page Twelve – Panel One:  POV: Rhodes naked from behind, standing looking at the bloody bed, scratching his ass with one hand, running his other hand through his hair.  Sort of a medium shot… not close up, but see what works.

Page Twelve – Panel Two:  Text:  KNOCK KNOCK (top to bottom, full frame, loud, obnoxious)

Page Twelve – Panel Three:  Text:  I SAID… (equally loud and obnoxious, but different font, colours..)

Page Twelve – Panel Four:  POV: Medium close up of Rhodes, with balled-up bloody sheets in his hand, screaming, eyes closed… (I picture Eric Cartman from SouthPark when I visualize this)  his back is to the bed, and we can see the door in the background over his left shoulder (on our right) Leave room at the top of the frame for large type:

Text: JUST A FUCKING MINUTE!!! (fill width of frame)

Page Thirteen – Panel One:  POV: from the side, pulled back, full view.  Rhodes naked, holding a bundle of bloody sheets, running to the left, frantic.

Text bubble: OHSHITOHSHITOHSHIT! (trailing behind him)

Page Thirteen – Panel Two: POV: same as last panel, only Rhodes is now running to the right

Text bubble: OHSHITOHSHITOHSHIT! (trailing behind him)

Page Thirteen – Panel Three:  POV: extreme close up on bloodshot eyes (almost Manga-style, but not Manga-style art)

Text bubble (small):  oh shit.

Page Thirteen – Panel Four:  POV: looking across the room to the window, pulled back full frame, first person view (through Rhodes’ eyes), we see Rhodes’ guitar case among the other wreckage of the room.

Page Thirteen – Panel Five:  POV: first person, zoom in on the guitar case, full frame… maybe even zoom so close that only the “body” of the case fills the frame (but make sure that the edge of the case is visible.. .like a silhouette – guitar cases have a sexy shape) but the “neck” goes out of frame at the top.  Guitar case should have stickers and decals all over it… faded and worn.  More arcane symbols as well?

Page Fourteen – Panel One:  POV: extreme close up on part of the guitar’s neck in the open case, with Rhode’s bloody fingers in the shot, caressing the strings (give the frets some nice pearl inlay or something…. But have it be EVIL inlay, like crossed bones or something – ha ha)

Text Bubble:  oh, baby…

Page Fourteen – Panel Two:  POV: third person, Rhodes from the side holding the guitar by the neck like a baseball bat, with it raised over his head, ready to swing (not OVER his head, but like a baseball bat or an axe?)  Full body shot might be funny, but might not be enough room in the panel, what with the guitar and all.  Also, remember he’s nude and covered in blood.  Mid-waist shot?

Text Bubble: …I’m so sorry

Page Fourteen – Panel Three:  POV: widescreen side shot… here’s where you can have the whole body shot, either showing the full monty, or creatively hiding it… I think both options can be funny.  Rhodes smashing the guitar (white Gretsch full hollow-bodied electric with f-holes like a violin) into the TV.  Shrapnel flying everywhere.

Leave room at the top for large text:

Text 1:  FUUUUUUUUUCK (large, loud letters at the top of the panel)

Text 2: some sort of BANG/SMASH by the TV? Yes/no?

Page Fifteen – Panel One:  POV: close up on door

Text 1: KNOCK KNOCK POUND POUND BANG BANG

Text Bubble: MR RHODES!

Page Fifteen – Panel Two:  POV: close up on Rhodes’ face, screaming:

Text Bubble: Stay the fuck out of here, you…

Page Fifteen – Panel Three: I think this page (and the next) should have chaotic layout.  The first two panels are side by side, but then the next two almost break out of their borders… set panel three diagonally, with debris spilling out onto the “blank space” of the page, while panel four might actually overlap panel three on the corner or something.  Panel three shows a close up of the guitar hitting the wall and smashing… mix it up over the next few panels with Rhodes and the guitar.

Text Bubble: GODDAMN

Page Fifteen – Panel Four:  see notes for last panel.  If we see Rhodes in one panel, show the guitar only in the next… in this panel, show Rhodes… make him look crazy… he is, after all, naked, covered in blood, and swinging a big guitar into things.

Text Bubble:  FUCKING

Page Sixteen – Panel One:  see notes for last couple of panels.  In this panel, maybe the guitar connecting with a lamp, shrapnel flying everywhere (Guitar should be looking pretty ragged by now… this should be a nice widescreen shot.)  Again, on this page, the panels shouldn’t be nice and neat… maybe some crazy angles, overlapping, bleeding into each other… maybe some blood splatters as part of the background artwork…

Text Bubble: SON OF A

Page Sixteen – Panel Two:  POV: third person, Rhodes medium zoom, with the guitar over his head, ready to throw it at the door, which we can see in front of him/beside him? Again, I like the idea of this panel being either on an angle, or even overlapping one or both of the other panels.  (the angle of the actual shot, though is TBD.. not crucial… suggestions?)… looking crazier than ever, hair dishevelled from the workout…. Drooling a bit?

Text Bubble 1: MOTHER (top left?)

Text Bubble 2: FUCKING (bottom right?)

Page Sixteen – Panel Three:  POV: med close up of the door, with the guitar exploding against it… or what’s left of it anyway

Text Bubble: GOAT!

Page Seventeen – Panel One:  POV: third person – behind and slightly to the right, Rhodes full height, with the empty guitar case on the bed, stuffing the sheets into it

Page Seventeen – Panel Two:  POV: first person, slightly overhead, Rhodes looking at the blood-stained mattress.

Page Seventeen – Panel Three:  POV: third person, same angle as panel one, Rhodes flipping mattress (from behind, still nude & bloody) I figure having his arms raised with the mattress up on an angle will do the trick.

Page Seventeen – Panel Four:  POV: full frontal Rhodes, covered in blood, looking at himself… or maybe in a full length mirror… might be an interesting visual… looking at his upturned hands.

Page Seventeen – Panel Five:  centre of page, happening while all this is going on… just text: BANG BANG… MR. RHODES!

Page Eighteen – Panel One:  POV: third person, side view, close up of Rhodes’ head over toilet bowl, retching.

Page Eighteen – Panel Two:  POV: first person, “aerial” overhead view, close up of toilet, flushing.

Page Eighteen – Panel Three:  POV: first person, close up of faucet running.

Page Eighteen – Panel Four:  more text, banging and screaming from outside the room.

Page Eighteen – Panel Five:  POV: third person, from the side… Rhodes in the shower… frosted glass to the waist, silhouette, but head visible in spray… maybe have the water droplets on the glass be mixed with blood.  Text bubbles trailing from his head on to the next panel – the next two panels on this page, plus the first two on the next page are his thoughts.

Page Eighteen – Panel Six:  POV: third person – from just behind Rhodes.  Rhodes, nude, stabbing people… exaggerated and gory – blood splattering everywhere, victims’ arms and legs flailing

Page Eighteen – Panel Seven:  POV: third person – Rhodes from the front, nude, but with a garbage bag strategically placed, loading body parts into the bag.  These panels should definitely have a surreal element to them.

Page Nineteen – Panel One:  POV:  third person, widescreen shot.  Rhodes in an elevator with the doors open (so the shot is pulled back… framed by the walls on either side of the elevator door).  Frontal view of Rhodes, he’s got a bathrobe on, and maybe even those fuzzy hotel slippers.  The collar of the bathrobe is stained with blood.  He’s got a nonchalant look on his face, hands in the pockets of the bathrobe,  lips pursed – whistling a tune… on the floor on either side of his feet are two big garbage bags, and there’s blood leaking out onto the floor of the elevator.

Page Nineteen – Panel Two:  POV: third person, widescreen shot.  A parking lot in the middle of the night, Rhodes on the left of the panel, from the side, throwing a garbage bag into an open dumpster (on the right) Thought bubbles leading from this, the last of the thought panels, to the next panel…

Page Nineteen – Panel Three:  POV:  third person side close up on Rhodes’ head in the shower spray, shower head on the left, Rhodes’ head on the right, facing left, face in the spray, with the thought bubbles going to his head.

Second set of thought bubbles coming from head to bottom right of panel

Thought Bubble: Nah!  Couldn’t have been me!

Page Twenty – Panel One:  POV:  third person front view, Rhodes with a towel around his waist, hands over head, with towel, drying hair.

Thought bubbles: 3 thought bubbles Clothes?  Clothes?  Clothes?

Page Twenty – Panel Two:  POV: first person – see clean bathrobe hanging on hook, maybe see Rhodes’s hand reaching for it.

Page Twenty – Panel Three:  POV: third person, from behind ¾ view, see Rhodes from about the waist up.  Full widescreen view, we see Rhodes in a bathrobe, with his hair up in a towel, carrying his guitar case (which has pieces of bedsheets spilling out through the lid) and heading for the door, which we can see over his right shoulder on the right side of the panel.  This is a nice big picture, more than a half-page.

Text Bubble: Fuck it.

Page Twenty-One – Full Page:  POV: first person – the view of the room from the door.  Bed stripped to nothing, quilt/comforter/duvet (whatever) on the floor… still traces of blood, maybe even some handprints on the walls… smashed bits of T.V., lamps. Guitar.  Blinds torn down, hanging by a thread, sun coming in through open windows. Bloody chaos, to sum up.

Page Twenty-Two – Panel One:  POV: third person, but right over Rhodes shoulder.  All we see of Rhodes is maybe the white edge of the shoulders of the bathrobe, and part of the back of his towel-wrapped head.  Over his shoulder we see the open door and the pimply faced hotel employee giving him a snotty look.  Put him in a tacky hotel uniform.

Page Twenty-Two – Panel Two:  POV:  third person, side head shots.  Rhodes from the side with a nervous grin, passing in front of the porter, who’s entering the room, mumbling

Text Bubble: fucking celebrities (small font, under his breath)

Page Twenty-Two – Panel Three:  POV: third person, from behind, widescreen shot.  Another big shot, more than half page.  Watching Rhodes walk down the all toward a corner (where he will end up turning RIGHT).  At the bottom left of the panel is the open hotel room door.  Rhodes is carrying his guitar case, and bedsheets stained with blood are trailing from it.

Page Twenty-Three – Panel One:  POV: same view, (smaller panel) except that Rhodes isn’t in the picture.  He’s around the corner already.  So basically, it’s an empty hallway.  From the doorway comes a large text bubble:

Text Bubble: SHIT! (large angry letters)

Page Twenty-Three – Panel Two: POV: close up on elevator buttons (^ and V), with the down button lit up.

Page Twenty-Three – Panel Three:  POV: third person – frontal of Rhodes in the elevator, holding guitar case, nervous look on face (sort of the same shot as from Page 19, panel one, only not widescreen)

Page Twenty-Four – Panel One: POV: closed elevator doors, ground level.

Page Twenty-Four – Panel Two: POV: frontal of open elevator doors, Rhodes stepping off, eyes wide and nervous, looking ill.  Other elevator passengers looking frightened? Yes/no?

Page Twenty-Four – Panel Three:  POV: third person, but looking over Rhodes’ right shoulder.. part of his head, shoulder, maybe part of the guitar case sticking up as silhouette? Or just blurry.. focus on table (booth style, padded seats) a bit in the distance, as Rhodes approaches his bandmates having breakfast at a Denny’s style restaurant. (diner style, complete with red & white-checked tablecloth, etc…)

Four seat booth – two bandmates sitting across from each other, on the inside… so there are two seats open “in the aisle”

Page Twenty-Five – Panel One:  POV: third person, 45 degree angle on the table.  Rhodes sits down facing “the camera”, looking nervous and sketchy.  His band mates are completely without reaction.  They’re like robots.  They look pretty much the same as they do on stage – black shirts, shaven heads… maybe wearing black skull-cap type hats.. yeah, that might look good.  The thing with these guys is that they’ve put up with Rhodes’ shit for so long that nothing phases them.  Even when they react to him, it’s very unemotional.  They don’t even look up from their food when he sits at the table.  In fact, they don’t even look up from their food at all.  For the next few panels, have them move as little as possible, despite the fact that a lot of crazy shit is about to happen.  Rhodes, on the other hand, should be sweating and wide-eyed, frazzled and twitchy.  This is a widescreen shot, but the frame should be filled up with Rhodes on the far left and his band mate sitting next to him (with one sitting across – most likely only see him in profile, or ¾ profile) on the far right of the frame.

Page Twenty-Five – Panel Two:  POV: extreme close up shot of Rhodes’ bloodshot eyes, darting to the left of the frame.

Page Twenty-Five – Panel Three:  POV: same as last, eyes now darting to the right of the frame.

Page Twenty-Five – Panel Four:  POV: third person, full front/slightly to the left view of Rhodes, eyes looking to the right of panel, sitting at the table at the right of the panel.  Over his right shoulder, at the left of the frame, the waitress approaches and says:

Text Bubble:  Can I take your…

Page Twenty-Five – Panel Five:  POV: third person close up of Rhodes, maybe even just his face, screaming, startled.

Text: AAHHH!

Page Twenty-Six – Panel One:  POV: third person, widescreen shot.  To the left of the panel, the waitress is walking away, looking annoyed and startled.  On the right half of the panel, Rhodes has his head down on the table, and his two band mates, completely un-phased, are still eating their breakfast. (see previous notes)

Text Bubble: (from waitress) O.K., I’ll come back later

Page Twenty-Six – Panel Two:  POV: third person, widescreen shot, 45 degree angle, pulled back a bit so that we get all three people in the shot, with room for a text bubble between Rhodes and band mate #1 (sitting beside him) with band mate #2 (sitting across from band mate #1) in profile or ¾ profile.  They’re still just eating, but Rhodes is looking up, sweaty and nervous looking

Text bubble: Say, did you guys see who came back to my room last night?

Page Twenty-Six – Panel Three:  POV:  third person, close shot, over band mate #2’s shoulder, of band-mate #1.  Rhodes not in shot.

Text bubble:  (Band Mate #1)Yes, we saw them. You’re the Dark Lord. We’re not worthy.

Page Twenty-Six – Panel Four:  POV: same shot as last panel, or maybe slightly more focused on Band Mate #2

Text bubble: (Band Mate #2) And if anyone asks, as usual, “Yes, I’m sure they were over 18”

Page Twenty-Seven – Panel One:  POV:  full front of Rhodes (slightly angled), shaking his head, maybe rubbing his temples with his hands or some nervous gesture.  To the left of the panel, maybe blurry, we can see the waitress overloaded with dishes, getting wobbly (about to crash)

Text bubble: No, no, I mean, did you see…

Text (across two panels – see layout) CRASH

Page Twenty-Seven – Panel Two:  POV: same angle, pull back a bit to see smashing dishes, etc… Rhodes has a startled look of horror on his face

Page Twenty-Seven – Panel Three:  POV: widescreen close up of Rhodes screaming.. full face, eyes closed, mouth open… background can be just about anything like this frame doesn’t even take place at the restaurant – like he’s out of body…

Can be abstract, nothing specific.

Page Twenty-Seven – Panel Four:  POV: widescreen, pull back.  To the left of the frame, we see a new character approach – their manager, Phil.  Phil is in his mid forties, slightly overweight, balding, round face.   Dresses conservatively, except prone to wearing silly ties.  For example, today, he’s wearing khakis, a white shirt and a tie with a print of jelly beans all over it. (or M&Ms or whatever strikes your fancy… make a funny, colourful tie) In this shot, we have Phil on the left, approaching the table.  We have Rhodes’ head down on the table, and Band Mates #1&2 are eating, eyes on their plates, no reaction.

Text bubble 1: (Phil) What’s his problem?

Text bubble 2: (Band Mate #1) Dunno.  Have a seat.

Page Twenty-Eight – Panel One:  POV: extreme close up of Phil’s face, as if it’s right in the “camera”, full frame – he’s trying to wake up Rhodes, so his expression is sort of annoyed, but not terribly angry.

Text bubble: Hey Richie!

Page Twenty-Eight – Panel Two:  POV: close up of Rhodes, looking up over his folded arms (he had his head buried in his arms on the table) Maybe only showing us the top of his face, like he’s murmuring into his arms.

Text bubble:  Don’t… don’t call me that, Phil.

Page Twenty-Eight – Panel Three:  POV: widescreen shot from the side.  On the left, Rhodes, on the right, Phil.  Between them, in the background, we can see Band Mates #1&2, again, not even looking up.  Rhodes is still half buried in his arms, Phil looks annoyed, but is smiling a mocking smile

Text bubble 1: (Phil) Oh, I’m sorry, Your Infernal Majesty, Mister Dark Rhodes, Mister…  God, what’s wrong with you, Richie? You look terrible!

Text bubble 2: (Phil – bottom of panel) Do we need to have another intervention?

Page Twenty-Eight – Panel Four:  POV: third person, slight angle, looking over Phil’s left shoulder at Rhodes, who’s now sitting up and looking nervous.  Only Rhodes & Phil (in rear ¾ profile) in shot

Text Bubble: (Rhodes) No, no, I’m fine, it’s just…

Page Twenty-Eight – Panel Five:  POV: same shot, slightly different expression on Rhodes’ face… maybe talking with his hands…

Text Bubble: (Rhodes) Listen, Phil, did you see who I was with last night?

Page Twenty-Nine – Panel One:  POV: widescreen shot, this time on an angle over Rhode’s right shoulder – so we see Rhodes in rear ¾ profile, side/frontal of Band Member #2, and frontal of Phil (Band Member # 2 speaks) leave room for text.  Even though Band Member #2 is annoyed, and speaking, he still doesn’t look up.

Text Bubble: (Band Member #2) Fer fuck’s sake, Rhodes, will you give it a rest? Yes, they were hot, we’re all jealous. Now could you shut the fuck up about it so I can eat my breakfast?

Page Twenty-Nine – Panel Two:  POV: close up of Rhodes’ face, looking nearly sick with anxiety.

Page Twenty-Nine – Panel Three:  POV:  ¾ front profile of Phil, Band Member #1 in background. Phil rolling his eyes…

Text Bubble: (Phil) Moving right along…

Page Twenty-Nine – Panel Four:  POV:  slightly overhead, behind Phil, and to the right, so that we catch Rhodes full on, and Phil’s rear-to-side profile.  Phil and Rhodes are at the far left of this widescreen panel, and while the table and the other band members will fill up the right half of the panel, a large text bubble will be covering them up.

Text Bubble:  I hope one of you has an idea for tonight’s finale, ‘cause if not, we’ve got a big problem.  Last night, some wanker broke into the FX trunk and ransacked our shit.  Where I’m going to find ten gallons of fake blood by tonight I have NO idea!

Page Thirty – Panel One:  POV: close up on Rhodes’ face, a look of confusion on his face.

Thought bubble: Fake?

Page Thirty – Panel Two:  POV: close up on Rhodes’ face, a blank look of realization on his face… thought bubbles leading down to the next panel

Page Thirty – Panel Three:  POV:  overhead, aerial view, widescreen shot.  Rhodes stretched out spread-eagle on the bed, with two Vamp-goths.  One’s face is upturned, eyes closed, look of rapture on her face as she pours blood down her front.  The other is rubbing blood all over Rhodes’ chest.  Have fun and be as grotesque as you like with this.  After all, Rhodes is one F-d up guy.

Speaking of Rhodes, he doesn’t seem too happy about this, and the look on his face is not one of pleasure, but rather, horror.  Since this is a memory, I think the art should have the same, surreal, dream-like quality of the other thoughts/flashbacks

Text Box: (Top left) WHAT ACTUALLY HAPPENED…

Page Thirty – Panel Four:  Extreme close up widescreen shot of Rhodes’ open, screaming mouth.  I mean, close up.. .like we can see that little dangly thing at the back of his throat, and see the fillings in his back teeth.

Superimposed over top of this, from edge to edge, though his open mouth, is the text:

Text: AHHHHHHHHH… (maybe translucent, so we still are able to see into his mouth?)

Page Thirty-One – Full Page:  POV: third person.  At the bottom left, we have Rhodes running away from the table (maybe his house-coat has come undone and we can see that he’s naked underneath) and he’s flapping his arms, wide-eyed and screaming and generally flipping out.  He should be about half the height of the page. *** OH, don’t forget the details that his guitar case should be sitting beside the table this whole time… Behind Rhodes (top left) the waitress, startled by Rhodes, drops ANOTHER tray of food, big crash, and you can tell she’s not happy.  Food all over her shirt, etc..  On the right of the page, about half way up, we see the band’s table, at about a 45 degree angle… Phil’s looking over his shoulder at Rhodes’ back with a confused look on his face. Band Members 1&2 are, as usual, not even bothered, despite the fact that everyone else in the restaurant has stopped whatever they’re doing to stare.

Text: CRASH (by waitress)

Text 2: AHHHH (or similar, by Rhodes)?

Page Thirty-Two – Panel One:  POV: similar to Page 29, Panel One – only Rhodes’ seat is empty, and it’s a bigger panel,  so likely we get more of Band-Member #1’s profile.  Band Members… heads down, eyes on plate.  Phil looking confused, but not concerned

Text bubble: (Phil) What’s wrong with him?

Page Thirty-Two – Panel Two:  POV: third person, slightly overhead, from the side, widescreen close up of ONLY Band Members 1 & 2 (1 on left, 2 on right).  After everything, they’re still looking down at their plates, maybe moving their food around with their forks.  They don’t even look up at each other.  Their faces are completely deadpan.

Text bubble 1: (Band member #1) Rehab?

Text bubble 2: (Band member #2) Rehab.

End…. for now

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