This is my outline for an Hourman comic series. The description to each scene is accompanied by the dialogue. Something I hope a good artist would be able to use and truly bring it to life.
The Untold Tale of Hourman
The Present:
The large Victorian styled mansion stands alone, hidden by a forest of beautiful trees with a long driveway from the gate to its front door. In front a small two door black sedan is parked and passenger less. Inside; the house is dark, alight only by the sunlight that shines through the many paneled windows. No furniture or other signs of residency can be found, only particles of dust drifting slowly in the air. In the large spacious living room, a man and woman stand. The woman is older with gray hair dressed in a black dress and sadness apparent upon her face. The man, also dressed in black, looks only to the floor. Hands in his pockets.
Mom:
"What are you thinking Rick?"
She wipes tears from her eyes with a tissue.
Rick:
"It's just so hard to take. I can't believe he's gone."
Mom:
"You know we had our...problems. But more than all that, he was a good father to you Rick."
Rick:
"Yeah. It's just so odd what happened."
Mom:
"What are you going to do now, son? I know your selling his home, but what are your plans for the business?"
Rick:
"I'm going to do everything I can to keep it running. I think that's what dad would've wanted. Tylerco was his life, he put all he had into it."
1952:
A young couple holding hands, joy painted upon their faces. Their clothing common to the attire of that worn by teenagers in the 1950s. The two tread together making there way to the beach, the ocean water is black and the night sky is littered with stars. Foot prints trail the couple in the soft sand.
Beverly(Woman):
"What's going on Rex?"
Rex:
"I just wanted to show you our future honey. Beverly, my dad gave me that loan and I put a down payment on this land. It's happening, and when I get back, finish schooling, this will be where the dream begins."
Beverly:
She cups Rex's face in her hands, pulling his blissful gaze from the ocean to her eyes.
"Are you scared?"
Rex:
"Of course not! Korea is but a...a...stepping stone. It looks terrible, but it's going to help me finish college dear."
Rex holds her hands, pulling them from his face and passionately kisses her.
"I'm not scared and neither should you be. Bev, I promise you, all will come as it should. You'll be my wife and this is where we will build our business."
They kiss once more and Beverly leans into Rex as they begin to make their way back up the embankment. The sound of a breaking branch causes them to look in unison toward a shadowed figure of a man. The figure is completely shadowed, only tiny dark glints of crimson can be made out where the figure's hands and feet would be. The figure stands at the base of the embankment, the knee high beach grass surrounding him. His right arm raises, pistol in hand pointed directly at the couple.
Rex:
"Look, whatever it is you want, I can get you."
Rex pulls out his wallet and car keys and throws them at the figure's feet. He leaves his arm extended shielding Beverly.
"It's a Chevy, only two years old, please just take it and leave. I promise, we won't say anything of this."
Shadow Figure:
"You and your promises Rex. Truly, I'm sorry for what comes next for you. Just know, it's not without reason, it must happen for...well...lets say, for the future. And always remember Rex, all will come as it should."
A blindingly bright flash from the pistol's discharge lights the immediate area. Rex leaps toward the figure, hand made into a fist. The figure just dissipates like a black fog, as Rex swings wildly through the charged night air of where the figure once stood. Rex looks back to see Beverly's unmoving body lying in the sand. He rushes to her side, a large pool of blood visible. On his knees, he holds her head in his lap and gently touches her cheek. There is no response from Beverly and Rex raises his head to the heavens, tears and anguish cry from his face.
The Present:
That same beach side property now home to a large manufacturing complex. Multiple buildings and a large parking lot filled with a variety of different color and style of vehicles. A large chain link fence surrounds the entirety of the complex, an entrance near the roadway. The entrance has a guard shack. There is a barricade for allowing vehicles to enter and exit, and a large archway with the word "Tylerco" encompassing its arch. Inside the main seven storied building, Rick enters the CEO's office. The office is on the top floor with two areas, the primary office and a large atrium with tall windows, a secretary sits at a desk between them. As Rick walks through the atrium toward the main office, the secretary approaches. An attractive young woman wearing a headset and conservative black pant suit. She's carrying several sheets of paper.
Secretary:
"Good morning Mr. Tyler, here are your calls. Before you go in, a man arrived here five minutes ago. He barged into your office saying he had to tell you something important about your father. I've already informed security, they're on their way, they just had to finish up with an incident in the warehouse and they said to detain you here in the atrium."
Rick:
"Did he say who he was?"
Secretary:
"No sir, he just said that comment about your father. I'm sorry sir, I don't even know how he got into this building."
Rick:
"Hmm, lets see what he has to say."
Secretary:
"Sir, uh..s-s-security said you shouldn't go near..."
She rushes back to her desk lifting the phone's receiver as Rick enters his office. Inside the office a disheveled man stands in front of the bay window behind the desk. The window looks out onto the ocean, small rain clouds appear to be approaching. The man is wearing worn faded clothing, his face is old and covered by an unkempt beard. The man gazes at Rick, as he approaches the other side of the desk.
Man:
"You look just like him."
Rick:
"Security is on their way to remove you, so if there was something you had to say, you better make it fast."
Man:
"Of course. My name is Terry and was an old friend of your father. I understand you never knew the whole truth about him, but your father was so much more than a CEO. He kept it so secret, and only to his self. But it's what caused his murder. And yes it was murder. Somewhere on this complex he housed his secrets, his other life. I helped him make it, please find it. Here."
Terry reaches into the inside of his jacket, placing a tattered manila folder on the desk top. Security rushes into the office, two men grab the older man and begin to remove him as he looks back to Rick.
Terry:
"When you find it..."
The men move more hurriedly, forcing him out of the office before he can finish his statement. Rick looks slightly bemused as he turns back to his desk. On top the folder lies, it has a large red "confidential" stamp. Across the top there's only one word in black stenciled capital letters. MIRACLO.
1958:
Inside a large auditorium, a large group of people huddle near an elevated stage. There is a podium with a microphone at center stage, a group of four men in black business suits stand nearby. One of those men is Rex, who is staring at a worn picture of Beverly in his hand. He puts the picture into his left breast pocket and approaches the podium.
Rex:
"As little as five years ago, this was battered shack were I first tried to make a fortune building timepieces. But the business of time was unkind to me, though I persevered and changed the company's focus to medicine. And thanks to you and your hard work this past year, Tylerco has become a leader in the pharmaceutical industry."
The crowd applauds loudly, and a man approaches Rex from behind. He cups his hand to Rex's ear and whispers something to him, causing Rex to look at him with a stunned glance.
Rex:
"Sorry folks but I have been summoned. I just want to say, without all of you this dream of mine would never have been realized. For that I am truly grateful and please enjoy this celebration."
Rex leaves the stage with two men at his side, another walks to the podium. Rex and the men walk through a sterile lighted corridor.
Rex:
"So he's done it?"
Man:
"That's what Terry said."
Rex pushes a pair of gray swinging doors and walks into a mutely colored lab. Two men in white lab coats stand in front of a stainless steel table, crude microscope on top. Behind them are multiple blackboards with almost indecipherable math equations and formulas scribbled in chalk.
Terry:
"Rex, we did it, we cracked the code. And you know I'm not the one for overstatement or grand proclamations, but this...this...this is going to change the world."
Rex reaches out and pulls a small white tablet out from under the microscope. He holds it between his forefinger and thumb, he raises it above his head toward the light.
Rex:
"This is it. Our miracle."
Hourman: Issue #2
1961:
The word "Ivytown Mid Theatre" shines above a white marquee in blue neon light. Here a
young couple exits the theatre wearing hippie-like clothing. The man has an arm around the
woman who is eating from a bucket of popcorn. The air is dark and inky, only lighted by the
glow from the theatre and streetlights. The sidewalk is dark and spotted with shiny puddles
from a recent rainfall. Upon the ground the couple steps atop a discarded wet newspaper. The
only wording that can be seen on the newspaper is its title "Ivytown Inquirer" and the large
print headline of "Vigilante?". The couple turns the corner and begins traversing down a dark
alley. Before the couple, a man pointing a small silver revolver appears from behind a large
dumpster.
Mugger:
"Stop right there! Don't move! Money! Give me your money. Now!"
The man presents his wallet and the woman turns her purse as to empty its contents all at
once. All move their views in unison to a fire exist stoop above them. Unbeknownst to them an
oddly attired man descends quietly from above; but from the opposite direction of their gaze.
Hourman stands directly behind the would be mugger, visibly angered. He wears dark yellow,
black, and crimson trim. His face is covered by a large half mask and the shadow produced
by the black hood which continues into a long cape. The mugger turns around quickly and
tries to raise the pistol toward Hourman's face. His attempt is thwarted as Hourman grabs his
wrist, and the mugger drops the gun with a loud snapping sound reverberating in the alley.
The mugger then attempts to punch with his free arm, which is easily blocked. Hourman
drops the now broken wrist, and snatches the mugger's collar only to align his face for a fierce
haymaker punch. Blood spurts with a single tooth as the mugger deflates onto the ground in
an unconscious lump. The couple still there, shocked into paralysis, eyes wide and jaws agape
focused on the hooded figure. Hourman stands under the sterile glow of a nearby neon light,
hands clenched, and focused on the ground.
Hourman:
"Get a police officer. Always remember this; life can be forever changed in a mere hour,
minute, or second."
The Present:
Nightfall shadows most of Tylerco's large complex, save a few lights along the perimeter.
The tall primary building stands dark, except one large brightly shining window on the top
floor. In the large office, Rick stands before the bay window staring out at the night. His jacket
removed, tie loosened, and his sleeves are pushed up to his elbows. On top the desk the
tattered "MIRACLO" file sits opened, and his computer screen displays the search results for
a "Terry Carter". Rick squints as he struggles to focus, it looks as if a shadowed man is standing
amongst knee high grass on the desolate, dark beachside. The figure seems to be looking
directly at Rick, sending shivers down his spine. Rick abruptly steps back in fright as it appears
as if this undefined figure points directly at him. Rick glances back only to see an absent beach
and as he returns to his chair the two way radio squawks loudly.
Handset:
"Sir?"
Rick:
"Go head Jakeem."
Jakeem:
"Your not going to believe this but we found something...inside a very, very old safe in
the former laboratory...it looks like a map...with directions to...well it looks like another
lab...somewhere near the beachside...it's actually underground...this map only has this odd
quote headlining it..."A man who dares to waste one hour of time has not discovered the value
of life."...
1961:
Rex stumbles through the darkened cave, his hideout. He removes his mask and lets it fall onto
a nearby table top. He sits in a large backed chair behind a long table. On the table multiple
screens and radios sit turned off. Rex pulls back the hood of his Hourman guise and opens a
draw under the table before him. He shifts through the contents of office supplies and several
newspaper clips in reference to a vigilante. He finally finds his photograph of Beverly and
tenderly places it on the table. Rex opens another draw, from it he produces a half filled bottle
of whiskey and a large silver revolver both of which he places on the table before him. He also
reaches into the draw and brings out an orange tint pill bottle, which he opens and lets the
small white tablets splay upon the table top. His gloved hand then reaches for three of them
and he swallows them with a swig from the whiskey bottle as he stares at the now fading
photograph of his lost love.
Rex:
"I would do, give anything...anything to go back to that day. I miss you Bev...
Voice:
"You may be ready."
Rex stares around quickly and confused. The voice seem to come from everywhere and Rex
then stares incredulously at the whiskey bottle in his hand.
Voice:
"Oh I'm not some drug induced figment of your imagination. No. I've been watching you for a
very long time."
A red haired man wearing a black jumpsuit with crimson gloves and boots emerges from the
shadows of the underground hideout.
Degaton:
"Call me Degaton. I need your help, we have to stop Extant."