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Waugh: A Darker Shade of Purple - Part 2
Part
2 by J.Z.Clinton
Page 1
Classic 3 by 3 panel set up
1. The dishevelled
OSCAR WILDE is sat one end of a table, the one from the previous part, sideways
on facing right. The panel should consist of only his upper half so that his hands
are invisible to the reader, thus making that fact that he is shackled to said
chair also invisible for now. He stares at the table with a glum face as if he’s
being imprisoned against his will.
2. DEVLIN WAUGH
stands arms crossed, classic cigarette and filter in mouth, he’s angry a
sudden change from the seeming worry that he displayed at the end of the last
part and his face shows it, not the snarling mouthed ire of facing a vampire horde
but the shadowy furrowed brow and shadows of pent up rage. Position wise he’s
standing mid-way along the table, WILDE sitting on one side outside of this panel,
VICTOR on the other, again outside of this panel.
3. VICTOR, sitting
sideways on facing left, his totally in over his head and wears a perplexed expression
of someone who is about to break the ice but doesn’t know how and what the
repercussions will be.
VICTOR: More tea anyone?
4. WILDE turns
a gaze to DEVLIN, which would mean his turning his head to look slightly away
from the readers’ point of view, as he opens his mouth to start a bitter
tirade against DEVLIN.
WILDE: Is it common these days to imprison people who
come for help?
5. DEVLIN, in the
same position as panel 2, but staring to his right, readers left, out of the corners
of his eyes at WILDE. His mouth is slightly open as he replies to WILDE.
DEVLIN: It’s uncommon these days that I get people
coming to lie to me, with me perhaps…
6. VICTOR, in the same position as panel 3, adopts the staring
at the table look, but he’s blushing bright red at DEVLIN’S last remark.
7. WILDE keeps
his gaze set on DEVLIN, his mouth opens wider as he gets angrier, his body is
lurched towards DEVLIN as far as the unseen manacles will allow.
WILDE: Is this about my age? I assure you there are ways
to stay young. Creams, nutrient baths, drinking blood…
8. DEVLIN, now
holding his cigarette in one hand, has turned to face WILDE’S direction,
just like WILDE his mouth has opened wider as he raises his voice in anger.
DEVLIN: Ah you’ve noticed my lifestyle, please notice also the problems
you are wading into!
9. VICTOR’S
is turned towards the reader’s point of view; he’s visibly shocked
at whatever he can see.
VICTOR: Devlin…De..
Page 2
The first panel covers the page width, panels 2 and 3 on the
middle line, they might look better irregularly sized in comparison to each other,
same goes for panels 4 and 5 at the bottom.
1. Page wide panel
as the view moves back so that we can see all three at the table, DEVLIN, cigarette
back in mouth, has now moved towards WILDE and has a clump of WILDE’S tattered
clothing firmly in hand dragging WILDE upwards and the chair with him because
of the manacles. DEVLIN is glaring fixedly at WILDE whilst VICTOR continues to
stare at the reader’s point of view and is even pointing a finger at whatever
it is he’s staring at.
DEVLIN: Oscar Wilde is dead! I killed him! You can’t
be…
VICTOR: Devlin you should really….
2. Close up of
the head and shoulders of a very irate looking DEVLIN craning his muscular neck
around to speak to VICTOR.
DEVLIN: Yes dear boy I know it’s here, without
the psychic defences it might have had half a chance of surprising me.
3. Change to the point of view of the PURPLE MAN, purple ink
wash over the image, he’s standing just behind a door-way to the room where
DEVLIN and the others are, so that we can door the doorframe and inside a shocked
looking VICTOR peering back with pointed finger still outstretched towards the
reader’s point of view.
4. Back to the close up of DEVLIN’S head and shoulders,
he’s turned back towards WILDE who remains off panel and the ire is still
burning strong changing to a much more visible form of anger to go with his physical
actions, his fangs are visible as he speaks.
DEVLIN: Now please the truth this time, what is that
purple thing that’s seems so content to clash with my hall wallpaper?
5. Head and shoulders close up of WILDE, now wild eyed and now
quite scared what the anger DEVLIN is showing attempts to get his words out.
WILDE: The…the painting…Dorian Grey…it
was based on me….it’s come to life….I can’t stop it…..
Panel 3
First three panels along the top, 4-5 in the middle and the
final panel with the reveal of the villain taking up the bottom section of the
page.
1. DEVLIN in his anger has lifted WILDE and his chair totally
off of the floor with one massive hand clamped firmly around a good chunk of WILDE’S
ragged clothes, changing the art to more dynamic views as the chance of action
scenes approaches we have the reader looking from WILDE’S higher vantage
point down on DEVLIN. The manacles holding WILDE to his chair should be clearly
visible.
DEVLIN: It hasn’t killed you yet so I’m thinking
you can enjoy that fine seat, Victor I’d put your sun gear on…
2. VICTOR is now
holding what appears to be a black motorbike helmet in gloved hands, position
wise he’s now standing where Devlin was in the middle of the table’s
length.
DEVLIN (Off-Panel): He’s from royal stock, pure
gene pool, poor tanning potential but thankful for bronze in a bottle.
3. VICTOR, now with helmet on, is pacing backwards which would
mean he’s moving towards Devlin but with his back to him, one hand on the
table, body language conveys shock, which admittedly might be hard with a helmet
obscuring his face.
VOICE (Off-Panel direction in which VICTOR is staring):
And what about you Devlin? Graced any good beaches lately?
4. VICTOR is now back to back with DEVLIN, who still has WILDE,
plus chair, held up with one hand. WILDE’S wide eyed, shocked expression
helps convey the fear that VICTOR now cannot as they both stare again towards
the reader point of view.
5. Close up on DEVLIN’S face, he gaze still set forward,
at WILDE, while he calmly responds to the taunt of whatever is behind him, cigarette
and filter firmly entrenched in mouth.
DEVLIN: That’s an even more palpable attempt at
his accent, which tells me that you certainly won’t be performing at the
Cal-Hab Fringe festival this year either.
6. Finally the PURPLE MAN is revealed, another Oscar Wilde,
but the polar opposite of the one in DEVLIN’S hands. He’s dressed
in the grand flamboyant clothes, tight breeches; ornate codpiece; long tailed
dress coat with wide sleeves over a shirt, all in purple including his skin and
hair. His fingers are covered in rings and his arms are splayed wide as he delivers
with entrance speech with a sneer. Behind him huddle a group of humanoid things;
totally hairless and naked save for loincloths and ball-gags in their mouths,
their feet are in fact another set of hands.
PURPLE MAN: Same as ever Devlin, same as ever. I’ve
changed a bit though, no more attempts to destroy your’ moustache, no instead
I think I’ll just flay you and turn you into a rug.
Page 4
Panels 1-3 along the top line, 4 fills the whole of the middle,
and 5 and 6 cover the bottom.
1. DEVLIN remains unphased as panel 5 from the last page is
repeated here, a nice touch would be to have the cigarette burnt down a bit from
the last use of this close-up now that it’s more in focus than some of the
wider panels.
DEVLIN: Liquid Peter, taking this Cult of the Purple Hand* thing a bit
too far with the new form, the sentient lava lamp was a far better look.’
*See Prog 1149
2. Close up of the PURPLE MAN’S (LIQUID PETER in a new
body but will from here on be referred to as PURPLE MAN) face, which has quickly
turned from grandiose villain to disgusted anger as the memories of DEVLIN’S
constant put downs flood back over him.
PURPLE MAN: It served me well until you smashed it and
let my psyche dissipate all through earth’s Ley web.
3.DEVLIN in another close up, his face a state of constant in
the erupting sea of change occurring in the other panels.
DEVLIN: How terribly tragic, no chance of skipping through
all the how and whys and getting down to you dying again is there?
4 .The PURPLE MAN stands still a cruel smile fixed on his face,
the SHAVED BOYS look like they’re ready to charge.
PURPLE MAN: No, let's skip to the part where you die!
5. Back to DEVLIN again as a pulling back of the view indicates
that he’s holding WILDE up in the air still with the single hand, muscles
bulging and fans showing, as if he’s about to smash him into the floor.
His other hand is protectively pushing VICTOR behind him.
DEVLIN: Then I don’t think that you’ll be
needing this man.
6. View from behind DEVLIN who is still hoisting WILDE up in
the air and ready to drop him, VICTOR shoved protectively back. The view is tinged
with purple to indicate that the PURPLE MAN has suddenly teleported behind DEVLIN.
Page 5
Panel 1 should be quite a tall panel, with panels 2 to 4, descending alongside
it, 5 and 6 making up the lower half of the page with a wider more squat format.
1.View from behind the PURPLE MAN who now stands behind DEVLIN,
WILDE plus chair now firmly in one of his hands. DEVLIN, who should be maybe a
half-foot to a foot taller than the PURPLE MAN is already half turned towards
his would be assailant.
2. The PURPLE MAN and DEVLIN stand eye to eye, almost if you
consider the size difference. WILDE is in the air off panel and VICTOR is in the
background between the two men. The PURPLE MAN still has his wicked smile, DEVLIN
is a picture of stony composure.
3. Same viewpoint as DEVLIN raises his fists for a potential
fight in a very rigid and controlled boxing stance, a smile has taken root upon
his face as well, the self assured smile that belongs to someone like DEVLIN.
4. PURPLE MAN’S free hand shoots out and hits DEVLIN square
on the with an uppercut so fast that it is just a blurring purple arc and DEVLIN
hasn’t even got time to register the blow.
5. Move the point of view so that we are facing the PURPLE MAN
and thus have no idea of what the immediate effect of his blow to DEVLIN was.
He’s lowered WILDE to the floor and stands with one hand on WILDE’S
shoulder and the other holding VICTOR in place. Lighting effect is that sunlight
is now coming through a hole that they are all facing.
PURPLE MAN: Now Devlin, let’s see how well you
burn.
6. Back of the PURPLE MAN, VICTOR and WILDE still in the same
positions. We can now see the massive exit hole DEVLIN has made after being driven
through the wall. It is daylight outside.
PURPLE MAN: Back to the cage for you Oscar, now that
you’ve accomplished your’ job.
To be continued...
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