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…
What is this? Get more information HERE, or start with Issue 1 HERE
- Darke Rhodes – Script 4 (weltschmerzcollection.wordpress.com)