Page 1, Panel 1
A SHOT OF MS. SINCLAIR'S OFFICE DOOR. JUST SHOW THE TOP HALF SO THAT WE CAN SEE THE SIGN. THE SIGN READS: "CURIOSITY IS REQUIRED FOR LEARNING, BUT SOMETIMES IT KILLS CATS."
No dialogue.
Page 1, Panel 2
WE'RE INSIDE OF MS. SINCLAIR'S OFFICE. MS. SINCLAIR IS CURRENTLY AT HER DESK, BUT, FOR A CHANGE, DOESN'T HAVE HUGE STACKS OF PAPERS ON HER DESK. BOTH HELENA AND DENORA ARE IN THE OFFICE WITH HER, SITTING AT CHAIRS IN FRONT OF THE DESK, LISTENING TO WHAT THE HEADMISTRESS HAS TO SAY. SET THE SHOT FROM BEHIND MS. SINCLAIR SO WE CAN SEE BOTH OF THE OTHER TWO WITCHES CLEARLY. HELENA LOOKS A BIT WORRIED, THOUGH SHE'S TRYING TO BLUFF THAT SHE'S CALM. DENORA SIMPLY LOOKS BORED, EAGER TO GET BACK HOME TO HER OWN BUSINESS.
Sinclair: I wasn't sure it would do any good, but it seems that putting Janette in charge of the prisoner was a wise move for us.
We've been able to get some very useful information out of him without causing him any gross physical harm because of her.
Helena: I see.
Denora: Why bother with such methods? You said yourself, the boy's one of a kind, so we really don't need to worry about his health.
Just twist his arm and he'll squeal like a pig.
Sinclair: We can't.
Page 1, Panel 3
NOW GIVE US A SHOT OF MS. SINCLAIR'S FACE. SHE LOOKS VERY SERIOUS - MORE SO THAN USUAL.
Sinclair: My . . . sources tell me that the boy is somehow important to our goals. They won't say how just yet, only that we need him alive and well.
Sinclair: We also need him to aid us willingly. That's why I sent Janette.
Page 1, Panel 4
OKAY, NOW IT'S A SHOT OF HELENA, SLIGHTLY OBLIQUE SO THAT WE CAN SEE DENORA BESIDE HER. SHE'S STILL TRYING TO MASK HER DISCOMFORT. DENORA IS GLANCING AT HER FROM THE CORNER OF HER EYES, NOTICING THAT DISCOMFORT.
Helena: Why are your, uh, your sources being so tight-lipped?
Wouldn't we be able to do better if we knew exactly what was going on?
Page 1, Panel 5
PULL BACK SOME SO THAT WE CAN NOW SEE MS. SINCLAIR AS WELL. SINCLAIR HAS CLASPED HER HANDS TOGETHER ON HER DESK AND IS LOOKING SHARPLY AT HELENA. DENORA HAS A SLIGHT SMILE ON HER FACE.
Sinclair: Things have to be allowed to play out. If we interfere, it will ruin everything.
Sinclair: Besides, he is already handling it. And you know how much he dislikes it when others get in the way of his work.
Helena: Of course.
Denora: So, we wait. Fine, but why did you need me to come all the way out here just to tell me to do what I'm already doing?
Page 1, Panel 6
A SHOT FROM BEHIND MS. SINCLAIR AGAIN, BUT WITHOUT HELENA. JUST THE HEADMISTRESS AND DENORA. SINCLAIR HAS TURNED TOWARD DENORA, WHO NOW LOOKS CURIOUS.
Sinclair: Just a little something that came up with Janette's . . . interrogations, shall we call them?
It appears that the one who created our prisoner was none other than your great, great grandmother.
Denora: Grandmother Morgaine?
Page 2, Panel 1
GIVE US A LONG THIN PANEL, FOCUSED BEHIND THE TWO WITCHES SO THAT WE CAN SEE THE HEADMISTRESS'S FACE CLEARLY. HELENA IS LOOKING AT DENORA NOW, WHO HAS PRESSED A FINGER TO HER CHIN IN THOUGHT.
Title (top left corner): Witch Girls
Quest for the Leviathan Stone
Sinclair: The same.
Denora: So, that's how she was killed. That's been a family mystery for centuries.
Sinclair: Well, it's solved. I want you to look through every old family record you have. See if you can find any records or journals of her experiments on that boy.
Denora: We've already
Sinclair (cuts off Denora's box): Look again. Perhaps you missed something. That information could be very useful.
Title (bottom right corner): Part Three: The Minuet of Shadows.
Page 2, Panel 2
A CLOSE UP OF HELENA. SHE'S GESTURING TO HERSELF, STILL BLUFFING CALM.
Helena: What should I do?
Sinclair (off): Nothing.
Page 2, Panel 3
SAME SHOT, BUT NOW HELENA IS CONFUSED.
Helena: Nothing?
Then why am I even here?
Page 2, Panel 4
GIVE US A SHOT FROM BEHIND MS. SINCLAIR AGAIN, LIKE ON PANEL 5 OF THE LAST PAGE.
Sinclair: I called you here because I was instructed to deliver a message to you in person.
Helena: A message?
Sinclair: Yes. I wasn't told what it means and I don't care to know.
It was only this . . .
Page 2, Panel 5
NOW IT'S A FRONTAL SHOT OF MS. SINCLAIR, MEDIUM-CLOSE UP. HER EXPRESSION IS NEUTRAL.
Sinclair: Remember the family pledge.
Page 2, Panel 6
A SMALL, THIN PANEL OVERLAID ON PANEL 5. A SUPER CLOSE-UP ON HELENA'S MOUTH. SHE'S CHEWING ON HER BOTTOM LIP NERVOUSLY.
Helena: . . .
I understand.
Page 3, Panel 1
OKAY, MEDIUM LONG PANEL TAKING UP HALF THE TOP TIER. NOW WE'RE IN THE COM ROOM OF THE WHITE LIONS' HEADQUARTERS. THIS TIME, IT'S BLACK AND DAN WHO ARE LISTENING IN. BLACK IS LOOKING AT HIS WATCH, WHICH IS A PLAIN, CHEAP BRAND. DAN IS TAKING A SEAT AND HANDING A CUP OF COFFEE OVER TO THE DEACON.
Dan: Here's your coffee, Deacon.
Black: Just put it on the table.
Title: Chapter 8
Page 3, Panel 2
A SHOT OF BLACK'S ARM, CLOSE IN ON THE WATCH SO THAT WE CAN SEE THE TIME, WHICH IS READING 6:30.
Black: That girl should be there shortly.
Page 3, Panel 3
PULL BACK AGAIN. BLACK IS PUTTING HIS HEADPHONES ON, BUT HE'S NO LONGER BEING SO INTENSE ABOUT IT, IT'S JUST WORK NOW. DAN IS REACHING FOR HIS OWN AND LOOKING AT BLACK.
Dan: You mean that DeVille girl?
Black: Yeah.
Page 3, Panel 4
GIVE US A STRAIGHT SHOT OF DAN AS HE SLIPS THE HEADPHONES OVER HIS EARS. HE'S ALSO GOT A NEUTRAL EXPRESSION.
Dan: What are the odds that she would be put in charge?
Black (off): Probably not very high.
Black: Oh, here she is now.
Title: Damned.
Page 4, Panel 1
NOW WE'RE IN THE DUNGEON CELL. THE DOOR IS OPENING AND JANETTE IS COMING IN. WE CAN SEE HOBBES BEHIND HER. JANETTE HAS AN APOLOGETIC EXPRESSION ON HER FACE AND SHE'S CARRYING ANOTHER TRAY OF SLOP. HOBBES IS BORED, AS USUAL.
Janette: Sorry I'm late, Eddy. Tomorrow's midterms and I needed to get a little extra help from the teacher after class.
Janette: You weren't waiting too long were you?
Page 4, Panel 2
MOVE AROUND TO THE SIDE SO THAT WE CAN SEE EDDY NOW. HE'S LOOKING BETTER. IT'S BEEN A WEEK SINCE WE SAW HIM LAST AND THEY'VE ALMOST COMPLETELY STOPPED RUNNING TESTS ON HIM, SO HE'S RECOVERED CONSIDERABLY. HE'S LOOKING LIKE HE'S GOT SOMETHING ON HIS MIND, BUT HE'S AFRAID TO ASK. JANETTE IS APPROACHING HIM WITH A CHEERFUL SMILE.
Eddy: . . .
Janette: You're looking a lot better. How are you feeling?
Eddy: Better.
Page 4, Panel 3
NOW WE'RE LOOKING AT JANETTE FROM BEHIND AS SHE LAY'S THE TRAY DOWN ON THE FLOOR IN FRONT OF EDDY. EDDY LOOKS AWAY FROM HER NERVOUSLY. HOBBES IS LEANING AGAINST THE WALL, MUTTERING TO HIMSELF AGAIN.
Janette: That's good. I thought today you might like a steak with potatoes.
You're sores have all healed, but you're still skinny as a pencil.
Eddy: Um . . .
Hobbes (tiny text): Never asks they how Hobbes bes.
Never caresie any about Hobbes.
Page 4, Panel 4
A SHOT OF JANETTE FROM THE FRONT AND ABOVE SO THAT WE'RE LOOKING DOWN ON THE TRAY. SHE'S WAVED HER HANDS OVER IT AND THE SLOP HAS BEEN REPLACED BY A JUICY STEAK AND SOME MASHED POTATOES SMOTHERED IN BROWN GRAVY.
Hobbes (off, still text): Wanters Hobbes to eat taters, too, but does they brings him taters?
Janette: This should help.
Hobbes (off, still small): Never. Never bringsie Hobbes any taters.
Page 4, Panel 5
GIVE US ANOTHER SIDE SHOT OF JANETTE AND EDDY, WITH HOBBES STILL LEANING AGAINST THE WALL BEHIND THEM. JANETTE IS PUSHING THE TRAY OVER TO EDDY. EDDY IS LOOKING DOWN AT THE TRAY, BUT HIS EYES ARE TURNED UP TO JANETTE.
Eddy: Why?
Janette: Why what?
Eddy: Why are you doing this?
Janette: Would you prefer the slop?
Page 5, Panel 1
CLOSE IN ON EDDY'S FACE, SIDE SHOT. HE'S STILL LOOKING DOWN WITH HIS HEAD, BUT WITH HIS EYES LOOKING UP.
Eddy: No, not really.
Janette: Then why ask?
Eddy: You're a witch, aren't you?
Page 5, Panel 2
A FRONT SHOT OF JANETTE. SHE'S ROLLING HER EYES AND THROWING UP HER HANDS IN EXASPERATION.
Janette: Don't start that again.
Yes, I'm a witch. Why do you keep bringing that up?
Janette: What's so bad about witches?
Page 5, Panel 3
EDDY IS CURLING UP IN THE FETAL POSITION AGAIN, BUT NOW HE'S LOOKING AWAY FROM JANETTE ENTIRELY. EITHER MAKE THIS A FRONT SHOT OF EDDY WITH JANETTE OFF THE FRAME ENTIRELY, OR WITH HER JUST BARELY IN THE FRAME.
Eddy: I already told you.
I told you what witches did to me.
Page 5, Panel 4
A MEDIUM CLOSE-UP OF JANETTE. SHE LOOKS LIKE HER PATIENCE IS BEING TRIED AGAIN, BUT SHE'S WORKING VERY HARD TO MAKE EDDY UNDERSTAND WHAT SHE'S SAYING.
Janette: No, you told me what a witch did to you.
As I recall, there was only one.
Eddy (off): All witches are the same.
Janette: That's not true. We're all different. Just like people are all different.
Page 5, Panel 6
GIVE US A SIDE SHOT OF THE TWO CHARACTERS. EDDY IS STILL IN HIS FETAL POSITION, NOT LOOKING AT JANETTE. JANETTE IS LEANING FORWARD SO THAT HER FOREHEAD IS CLOSE TO EDDY'S.
Eddy: Evil is evil.
Janette: Maybe, but what has that got to do with anything.
Eddy: You wouldn't understand. You're a . . .
Page 6, Panel 1
ANOTHER CLOSE-UP OF JANETTE'S HEAD. SHE'S LOOKING DOWN SLIGHTLY, HER EYES CLOSED WITH ONE EYEBROW TWITCHING SLIGHTLY. DRAW HER MOUTH VERY THIN, STRETCHED TO SLIGHT EXAGGERATION AND OPEN ONLY ON ONE SIDE. IF IT ISN'T TOO OVER THE TOP, DRAW A SMALL, BULGING VEIN ON HER FOREHEAD.
Janette: If you say "You're a witch," one more time, I will slap you.
Janette: I do have a name, you know.
Page 6, Panel 2
THE SAME SORT OF SHOT, BUT NOW CLOSE UP ON EDDY. HE'S NOW LOOKING DIRECTLY AT US, EYES WIDE WITH SURPRISE, MAYBE A BIT OF DISBELIEF. EITHER WAY, HE'S TOTALLY DUMBFOUNDED.
Eddy: You . . .
You want me to call you by your name?
Janette (off): Yes.
Eddy: You wouldn't be offended if I spoke your name?
Janette (off): Is there a reason I should be?
Eddy: But, you're a witch.
Page 6, Panel 3
ANOTHER SIDE SHOT OF JANETTE AND EDDY. JANETTE, WITH A VERY BUSINESS-LIKE EXPRESSION, IS SLAPPING EDDY ACROSS THE FACE WITH HER LEFT HAND. THE BLOW TURNS EDDY'S FACE TOWARD US SO THAT WE CAN CLEARLY SEE HIS SURPRISED EXPRESSION. SHE DIDN'T SLAP HIM HARD, BUT IT DID CATCH HIM OFF-GUARD.
SFX: Slap!
Page 6, Panel 4
SAME SHOT, BUT NOW EDDY IS RUBBING HIS CHEEK AND LOOKING AT JANETTE WITH TEARS IN THE CORNERS OF HIS EYES. JANETTE LOOKS LIKE SHE'S TRYING HARD TO KEEP HER ANGER UNDER CONTROL.
Eddy (small text): Ow.
Janette: I told you not to say that.
I'm really sick of you calling me "witch" like that's all there is to me.
Eddy: But . . .
You are a . . .
Page 6, Panel 5
A SIMILAR SHOT TO PANEL ONE. JANETTE IS LOOKING DIRECTLY AT US. HER MOUTH IS A TIGHT FROWN AND ONE EYEBROW IS UPRAISED, DARING EDDY TO FINISH THAT SENTENCE.
No dialogue.
Page 7, Panel 1
A FRONTAL SHOT OF EDDY AGAIN. HE LOOKS LIKE HE'S TRYING TO SINK INTO THE STONE WALL BEHIND HIM, HIS FACE IS VERY NERVOUS.
Eddy: Uh . . .
I-I mean . . .
Page 7, Panel 2
PULL BACK AGAIN TO ANOTHER SIDE-SHOT, PERHAPS A LITTLE OBLIQUE. JANETTE IS PUTTING HER HAND ON HER CHEST. EDDY IS LEANING BACK AWAY FROM HER, WITH HIS HEAD TURNED DOWN, THOUGH HE IS GLANCING UP AT HER WITH HIS EYES. HE LOOKS DOUBTFUL.
Janette: My name is Janette.
Eddy: . . .
Eddy: Lady Janette?
Janette: Thanks for the compliment, but no.
Janette is good enough.
Page 7, Panel 3
A MEDIUM CLOSE-UP, FRONTAL SHOT OF EDDY. HE'S LOOKING SLIGHTLY AWAY FROM US, GLANCING OUT THE LOWER CORNER OF EYES. HE'S STILL DOUBTFUL.
Eddy: Janette?
Janette: Yes. That's my name.
Eddy: Janette.
Page 7, Panel 4
PULL BACK AGAIN SO THAT WE CAN SEE BOTH OF THEM. JANETTE IS PICKING UP THE TRAY AND HANDING IT TO EDDY. EDDY IS TAKING IT CAUTIOUSLY, STILL SUSPECTING SOME SORT OF TRAP.
Janette: Here, eat it while it's hot. I've got to clean the cell.
Eddy: Okay.
Page 8, Panel 1
OKAY, WHAT WE HAVE HERE IS A TALL PANEL TAKING UP THE TOP HALF OF THE LEFT SIDE OF THE PAGE. JANETTE AND HOBBES ARE IN THE BACK CORNER, MOPPING UP SOMETHING THAT WE CAN'T SEE (UNLESS YOU FEEL LIKE DRAWING A PILE OF EXCREMENT, BUT I DON'T EXPECT YOU DO). EDDY HAS EATEN MOST OF THE FOOD. HE'S GOT A SPOONFUL OF POTATOES THAT HE'S BRINGING UP TO HIS MOUTH.
Hobbes: Tellers them, I does. There shoulds bes a toilet in here, but never listensie them to Hobbes. His opinion matters nothing to them.
Janette: Do you ever stop whining?
Hobbes: Sometimes I singers.
Janette: Keep whining.
Hobbes: Hobbes can does that. Hobbes can does that very well.
Page 8, Panel 2
GIVE US A MEDIUM CLOSE-UP OF EDDY AS HE GLANCES BACK OVER HIS SHOULDER AT JANETTE, WHO WE CAN SEE BEHIND HIM.
Eddy: Janette?
Janette: What?
Eddy: Is . . .
Is it true?
Janette: Is what true?
Page 8, Panel 3
NOW WE'RE LOOKING OVER JANETTE'S SHOULDER AT EDDY. JANETTE ISN'T LOOKING AT EDDY, SHE'S MORE FOCUSED ON THE MESS SHE'S MOPPING UP, TRYING TO AVOID STEPPING IN IT. EDDY IS LOOKING DIRECTLY AT US.
Eddy: What that girl said.
The one in the green dress. Your cousin.
Janette: She was here?
Eddy: Yes.
Janette: What did she say?
Page 8, Panel 4
A SIDE SHOT OF EDDY WITH JANETTE IN THE BACKGROUND, STILL MOPPING. EDDY IS LOOKING DOWN AT THE TRAY ON THE FLOOR. THE POTATOES ARE MOSTLY GONE NOW AND THE SPOON IS SITTING ON WHAT'S LEFT.
Eddy: She . . .
Eddy: She said that you . . .
That you cared about me.
Janette: Is that really so strange?
Page 8, Panel 5
SAME SHOT, BUT EDDY IS LOOKING OVER HIS SHOULDER AGAIN. JANETTE IS LOOKING OVER HERS AT HIM. JANETTE HAS THAT ANNOYED EXPRESSION WITH THE RAISED EYEBROW AGAIN.
Eddy: But you're . . .
Eddy: I mean . . .
Well . . .
Janette: Think about this.
Page 9, Panel 1
OKAY, NOW GIVE US A SHOT OF JANETTE SLIGHTLY FROM ABOVE. SHE'S GONE BACK TO MOPPING, SO SHE'S LOOKING DOWN AT THE MESS. WE CAN'T SEE EDDY IN THIS SHOT.
Janette: There was a man named Hitler. He ordered his people to kill millions of other people because they weren't "pure."
Janette: Another man, Nathaniel Bedford Forrest, hung a lot of people just because their skin was a different color.
Page 9, Panel 2
CLOSE-UP SIDE SHOT OF EDDY'S FACE WITH JANETTE IN THE BACKGROUND, STILL WITH HER BACK TURNED TO US.
Janette: And a man named Charles Manson murdered dozens of people just because he wanted to see them die.
Eddy: Those were very bad men.
Janette: Yes. They were.
Page 9, Panel 3
THIS PANEL SHOULD BE SLIGHTLY TALLER THAN NORMAL. JANETTE IS TURNING AROUND NOW AND LEANING THE MOP AGAINST THE WALL. EDDY IS OUT OF THIS SHOT. JANETTE HAS A VERY SERIOUS EXPRESSION.
Janette: Should I believe that all humans are evil because of what those men did?
Eddy (Off): No. That wouldn't be fair.
Janette: Is it fair for you to say that all witches are evil because of what one did to you,then?
Shouldn't you judge people according to their own actions? Even witches?
Page 9, Panel 4
A SMALL, SQUARE PANEL OVERLAID ON THE BOTTOM LEFT CORNER OF PANEL 3. IT'S A CLOSE-UP OF BLACK'S FACE. HE'S WINCING. AFTER SOME OF THE THING'S HE'S BEEN THINKING, THAT CUTS HIM RIGHT TO THE BONE.
No dialogue.
Page 9, Panel 5
A SHOT OF EDDY AND JANETTE. JANETTE HAS KNEELED DOWN NEXT TO EDDY AND SHE'S LOOKING AT HIM SYMPATHETICALLY. EDDY IS TRYING TO FIGURE THINGS OUT IN HIS HEAD.
Eddy: I . . .
I never . . . thought about that.
Page 10, Panel 1
CLOSE IN ON THE TWO OF THEM FROM THE FRONT. JANETTE IS PUTTING HER ARM ON EDDY'S SHOULDER. HER EXPRESSION IS STILL THE SAME. EDDY LOOKS LOST.
Janette: It's okay. I guess if I had been hurt as bad as you had, I might not think about it either.
Eddy: So, are you saying that there are good witches out there?
Janette: There are a lot of witches in the world Eddy. Some of them are evil, but some are good.
It's not different from normal people.
Page 10, Panel 2
CLOSE IN FURTHER. JANETTE IS LEANING HER HEAD A LITTLE CLOSER TO EDDY'S. EDDY IS STILL UNSURE. THIS IS SOMETHING THAT GOES AGAINST EVERYTHING DR. WHITE HAS INDOCTRINATED HIM WITH, SO HE'S HAVING A HARD TIME GRASPING IT.
Janette: We're all human after all. We make mistakes, do bad things.
But that doesn't we can't do good things to.
Eddy: But . . .
But in the Good Book it says . . .
Janette: It says you should kill people you don't know because of what one person did to you?
Page 10, Panel 3
EDDY PULLS AWAY FROM JANETTE AND COVERS HIS FACE. JANETTE IS REACHING OUT FOR HIM, BUT SHE STOPS JUST SHORT OF TOUCHING HIM.
Eddy: It's a good book. It tells us God's word.
Janette: Then God wrote it Himself?
Eddy: No, but . . .
Page 10, Panel 4
JANETTE PULLS HER HAND BACK, STILL WITH THE SAME EXPRESSION. EDDY IS CURLED UP WITH HIS FACE ON THE FLOOR.
Janette: Look, Eddy, I've never actually read the Bible. I can't tell you anything about it, but it's been around for a long time. People might have changed things in it.
Eddy: But it says that anyone who changes the Good Book is damned.
Janette: Does that mean that they'll be struck dead before they try?
Page 10, Panel 5
A QUICK TRANSITION BACK INTO THE COM ROOM. A SHOT OF BLACK'S FACE. HE LOOKS A LITTLE ILL AS HE REMEMBERS WHAT WE SEE IN THE NEXT PANEL.
No dialogue.
Page 10, Panel 6
A FLASHBACK, GREYED PICTURE, CLOUDY BORDER. GOES ALL THE WAY BACK TO THE END OF BOOK ONE. WE SEE BLACK PUTTING THE COPY OF THE BIBLE BACK INTO THE DRAWER ON THE END TABLE.
Black: King James, you bastard. What have you done to the Lord's word?
Page 11, Panel 1
BACK TO THE DUNGEONS. EDDY IS CRYING NOW. JANETTE LOOKS REALLY SORRY. SHE REALIZES THAT SHE WENT TOO FAR, TOO FAST.
Eddy: Sob!
Janette: Oh, Eddy. I'm sorry. I shouldn't have said that.
Eddy: It's a good book.
Janette: Okay.
Page 11, Panel 2
PULL IN ON JANETTE. SHE'S LOOKING AWAY FROM EDDY, STILL WITH A SAD EXPRESSION.
Janette: Let's go back a bit.
Eddy (off): . . .
Janette: Eddy, I know it's hard, but I think you need to hear this.
Eddy: What?
Page 11, Panel 3
PULL BACK SO THAT WE CAN SEE EDDY AGAIN. JANETTE IS LOOKING AT HIM AND HE'S STARTING TO SIT UP AGAIN, BUT HE HASN'T TURNED AROUND.
Janette: I know that it hurts, but just because you've been hurt, that doesn't make it right to hurt others.
Eddy: I never hurt anybody. It was him. He made me do it.
Janette: But you let him. Did you try to stop him?
Eddy: I . . .
Janette: Or did you just let him do what he wanted?
Eddy: I . . .
Page 11, Panel 4
GIVE US A SHOT FROM ABOVE. EDDY THROWS HIMSELF ONTO JANETTE'S LAP, WEEPING AGAIN. JANETTE IS A LITTLE SHOCKED.
Eddy: I didn't want to. I don't think I could have stopped him if I tried, but . . .
sob
Eddy: No. I didn't try.
Page 11, Panel 5
A CLOSE-UP OF EDDY'S FACE. HE'S WEEPING OPENLY AND IT REALLY HURTS HIM TO ADMIT WHAT HE'S SAYING.
Eddy: I didn't try to stop him. I didn't want to.
Page 12, Panel 1
FOR THIS PAGE, GIVE US A TALL PANEL FOR PANEL ONE, WITH TWO THIN PANELS BESIDE IT, ONE ON TOP OF THE OTHER, FOR THE TOP TIER. THE OTHER FOUR PANELS ARE BELOW IT. IN FRAME ONE, JANETTE IS RUNNING HER HAND THROUGH EDDY'S HAIR WITH A SYMPATHETIC SMILE. EDDY IS STILL CRYING.
Janette: It's okay, Eddy. It's okay. You made a mistake, but . . .
Eddy: I just let him keep on killing because I was angry. I wanted to hurt them for what they did to me, sob
Even though I knew it was wrong.
Eddy: I let him kill them for me so that I didn't have to do it. But every time he killed someone, it only made things worse.
Page 12, Panel 2
WE HAVE A CLOSE-UP SHOT OF BLACK'S HEAD AGAIN, FROM THE FRONT. HIS EYES ARE SHUT TIGHT AND HIS TEETH ARE CLENCHED.
Eddy (coming from the headphones): Whenever he killed them, it made it hurt even more because I knew it was wrong.
Eddy (headphones): It made me angrier, so I let him kill again. sob
I let him be even more mean.
Page 12, Panel 3
ANOTHER FLASHBACK, SO GIVE IT THE USUAL. THIS IS A SHOT OF BLACK IN THE OLD PRIESTLY ROBES OF THE FIFTEENTH CENTURY, WITH A SHAVED HEAD. HE'S HOLDING ANOTHER PRIEST IN HIS ARMS. IT'S AT A DISTANCE, SO WE CAN'T SEE THE OTHER PRIEST'S FACE VERY WELL AT THIS ANGLE, BUT HE LOOKS PRETTY BADLY INJURED. BLACK IS WEEPING.
Eddy (off): And it kept getting worse and worse.
Page 12, Panel 4
OKAY, NOW GIVE US A SHOT OF THE SAME SCENE, BUT FROM BEHIND BLACK AND ABOVE HIM. THE PRIEST HAS A TRICKLE OF BLOOD RUNNING DOWN BETWEEN HIS EYES, WHICH ARE HAZY AND DISTANT.
Priest: What did we do Deacon?
Priest: Have we offended God? Is it God's punishment?
Page 12, Panel 5
CLOSE IN ON THE PRIEST'S FACE. IT'S FULL OF DOUBT AND PAIN.
Priest: Did He send the witch because He was angry with us?
Priest: Deacon . . .
Page 12, Panel 6
THE PRIEST'S HEAD FALLS LIMP AND BLOOD IS TRICKLING FROM HIS MOUTH. THE EYES ARE GLAZED AND UNSEEING.
No dialogue.
Page 12, Panel 7
BACK IN THE COM ROOM. MEDIUM CLOSE-UP ON BLACK'S HEAD FROM THE SIDE. HE'S COVERED HIS EYES WITH ONE HAND, LOOKING DOWN. A TEAR IS COMING FROM UNDER HIS HAND AND ROLLING DOWN HIS CHEEK. DAN IS LOOKING OVER AT HIM, A LITTLE SHOCKED.
Dan: Deacon, are you okay?
Page 13, Panel 1
NOW WE'RE BACK IN THE DUNGEONS. JANETTE IS LIFTING EDDY'S HEAD UP SO SHE CAN LOOK HIM IN THE FACE. EDDY STILL HAS TEARS DRIPPING FROM HIS CHEEKS. JANETTE HAS A KIND EXPRESSION ON HIS FACE.
Janette: You can always just let go, Eddy.
If you don't want to hurt people anymore, just stop.
Eddy: But he . . .
Janette: Tell him, "no." He's a part of you, isn't he? Just tell him you don't want to.
Page 13, Panel 2
A SHOT OF EDDY'S HEAD WITH JANETTE'S HANDS ON HIS CHEEKS. HE'S LOOKING AWAY AND WE CAN TELL BY HIS EYES THAT HE'S REALLY HURTING.
Eddy: You don't understand. That witch . . . what she did to me.
She filled me with her evil power, body and soul.
Eddy: I'm damned.
Page 13, Panel 3
OKAY, THIS IS A LONG THIN PANEL TAKING UP ALL THE MIDDLE TIER. IT'S DIVIDED INTO THREE SECTIONS BY JAGGED DIAGONAL LINES AND THE BORDER IS ALSO JAGGED. IN EACH SECTION WE HAVE A SUPER CLOSE-UP ON THE EYES OF JANETTE, BLACK (WHICH ARE A LITTLE RED), AND DAN, ALL WIDE WITH HORROR.
All (exploding dialogue): !!
Page 13, Panel 4
NOW WE HAVE A SHOT OF JANETTE AS SHE LEANS UNCONSCIOUSLY AWAY FROM EDDY, WHO IS STILL NOT LOOKING AT HER. HER FACE IS A MIX OF DISGUST AND UTTER HORROR.
Janette: Who told you that? Who told you that garbage?
Eddy: She corrupted my soul. I'm damned for it.
Page 13, Panel 5
CLOSE IN ON JANETTE AND EDDY'S FACES. JANETTE HAS PULLED EDDY UP TO HER AGAIN SO SHE CAN LOOK HIM STRAIGHT IN THE EYES. JANETTE HAS A VERY INTENSE GAZE, SO INTENSE THAT EVEN EDDY LOOKS SURPRISED.
Janette: Listen to me, Eddy. I don't know if there's a god of this universe, but if he's a good god, he couldn't possibly put any blame on you for what someone else did. It wouldn't be fair!
Eddy: But Doctor . . .
Page 13, Panel 6
EDDY REALIZES WHAT HE'S JUST SAID AND BITES OFF THE WORDS BEFORE FINISHING. HE PULLS HIS HEAD OUT OF JANETTE'S HANDS AND LOOKS AWAY FROM HER, HIS TEETH CLENCHED. JANETTE IS STARTING TO LOOK A LITTLE ANGRY, NOT AT EDDY, BUT AT THE "DOCTOR" THAT EDDY JUST MENTIONED.
Janette: Doctor? Doctor who?
Eddy: . . .
Janette: Is he the one who told you that you were damned?
Page 14, Panel 1
OKAY, BACK IN THE COM ROOM. LOOKING STRAIGHT AT BLACK, BUT FROM ABOVE. HE'S AT ONCE SICKENED AND COMPLETELY PISSED OFF. HE'S CLENCHING HIS FISTS ON THE TABLE.
Black: Dr. White!
Page 14, Panel 2
CLOSE IN ON BLACK'S FIST AS HE LIFTS IT SLIGHTLY OFF THE TABLE. WE CAN SEE BLOOD STARTING TO DRIP OUT OF IT ONTO THE TABLE.
Black: How could you?
Page 14, Panel 3
BACK IN THE DUNGEONS AGAIN, EDDY IS STILL TRYING NOT TO LOOK AT JANETTE, BUT SHE'S STEPPING AROUND TO THE FRONT OF HIM.
Janette: Eddy.
Eddy: No, I can't. The doctor is my friend.
He took me in when no one else would. He took care of me.
Janette: If he's telling you lies like that, then he's no friend of yours, Eddy. No friend would ever say something so horrible.
Eddy: Please, go away.
Page 14, Panel 4
CLOSE IN ON JANETTE A BIT. SHE'S REACHING OUT FOR EDDY'S SHOULDER, BUT NOT TOUCHING IT. SHE CAN TELL THAT SHE'S NOT GOING TO BE ABLE TO DO ANYTHING MORE TONIGHT, SO HER EXPRESSION SHOULD LOOK BOTH SAD AND SYMPATHETIC. WE CAN JUST BARELY SEE THE CORNER OF EDDY'S HEAD AND ONE EYE. EDDY IS STARTING TO CRY AGAIN, BUT NOT ALOUD.
Janette: Eddy . . .
Janette: Okay.
Just think about what I said, alright?
Page 15, Panel 1
NOW WE'RE OUTSIDE THE CELL. HOBBES IS LOCKING THE DOOR AND JANETTE HAS HER BACK TURNED TO IT, HER ARMS FOLDED ANGRILY.
Janette: How could anyone tell him something so horrible?
Hobbes: Opensie theys mouths and speakers.
SFX: Ca-Clack
Janette: That's not what I mean. How could they lie to someone so honest and sincere?
Page 15, Panel 2
CLOSE IN ON JANETTE AT AN OBLIQUE ANGLE SO THAT WE CAN SEE DOWN THE HALL. JANETTE LOOKS OVER HER SHOULDER SUDDENLY AND SEES CLAUDIA DESADE LOOKING AT HER. CLAUDIA HAS A CRUEL SMILE ON HER FACE. HER ARMS ARE FOLDED AND AN IMP IS SITTING ON HER SHOULDER. HOBBES IS ALSO LOOKING AT CLAUDIA.
Claudia: So, it's true then?
Janette: Claudia? Why are you . . . ?
Page 15, Panel 3
CLOSE IN ON CLAUDIA AND HER CRUEL SMIRK. THE IMP IS ALSO GRINNING WITH ITS NEEDLE-LIKE TEETH.
Claudia: You're in love with the hunter.
Page 15, Panel 4
A SIMILAR SHOT, BUT FOCUSED ON JANETTE. SHE LOOKS HORRIFIED.
Janette: Who told you that?
Claudia (off): Oh, everybody in school is talking about it.
They say you've fallen for the freak in the dungeons.
Page 15, Panel 5
WE'RE LOOKING AT JANETTE. SHE'S TURNED HER BACK TO CLAUDIA. HER TEETH ARE CLENCHED AND SHE'S TURNED HER HEAD DOWN AND WE CAN'T SEE HER EYES IN THE SHADOW OF HER HAIR. A STORM CLOUD IS BREWING ABOVE HER HEAD. CLAUDIA IS STILL SMIRKING. HOBBES IS MOVING TOWARD CLAUDIA AND THE IMP IS LOOKING UP AT HIM.
Janette: Annabelle . . .
You are so dead!
Hobbes: You shoulds not bes down here, little girl.
Page 15, Panel 6
CLOSE IN ON HOBBES AND CLAUDIA. CLAUDIA ISN'T EVEN LOOKING AT THE HOBGOBLIN AND SHE'S STILL GOT THE SAME EXPRESSION. THE IMP IS HISSING AT HOBBES, WHO IS LEAPING BACK AWAY WITH A STARTLED EXPRESSION.
Imp: HSSSS!
Hobbes: !!
Claudia: I can't believe that it's true.
Page 16, Panel 1
PULL BACK SO WE CAN SEE JANETTE. SHE'S GOT ESSENTIALLY THE SAME EXPRESSION AS IN PANEL5 ON THE LAST PAGE, BUT NOW SHE'S GOT A CLENCHED FIST AS WELL. CLAUDIA IS STRIDING PAST HOBBES, WHO IS KEEPING A FAIR DISTANCE FROM HER IMP, SHRUGGING WITH A MOCKING GRIN.
Claudia: Wait till the others hear about this!
Janette: Shut up!
Claudia: So, have you kissed him yet?
Janette (this dialogue box goes into the one in the next panel): I said . . .
Page 16, Panel 2
A FRONTAL SHOT OF JANETTE AS SHE'S TURNING AROUND. HER EXPRESSION IS PURE RAGE AS SHE DRAWS UP HER CLENCHED FIST, WHICH GLOWS WITH MAGIC.
Janette: Shut . . .
Page 16, Panel 3
THIS PANEL TAKES UP THE WHOLE BOTTOM OF THE PAGE. SAME SORT OF SHOT AS PANEL 1, BUT JANETTE HAS THROWN OUT HER HAND TOWARD CLAUDIA AND IS UNLEASHING A HUGE BLAST OF MAGIC POWER THAT IS DESTROYING A PART OF THE DUNGEON WALL. CLAUDIA IS LEAPING BACK AGAINST THE OPPOSITE WALL IN HORROR. HOBBES IS UP IN THE AIR, BEING THROWN BY THE EXPLOSION.
Janette (exploding dialogue box): UP!
SFX: KA-BOOOOM
Hobbes (exploding dialogue box): EEEEE!!
Page 17, Panel 1
NOW WE'RE LOOKING AT THE CEILING OF THE DUNGEON. A BIT OF WATER IS DRIPPING FROM THE CEILING, BUT AS IT DOES SO, IT FREEZES TO ICE.
SFX: krrrkk
Page 17, Panel 2
THE FROZEN DROP OF ICE HITS THE FLOOR AND SHATTERS AND WE CAN SEE MS. SINCLAIR'S FOOT.
Sinclair: That is the stick that breaks the horse's back.
SFX: Crish!
Page 17, Panel 3
OKAY, NOW WE HAVE A MEDIUM-CLOSE UP OF MS. SINCLAIR'S HEAD. SHE'S VERY ANGRY, BUT IT'S A VERY COLD ANGER (COLD ENOUGH TO FREEZE WATER).
Sinclair: Damage to school property is not acceptable.
Page 17, Panel 4
PULL AROUND BEHIND THE HEADMISTRESS. SINCLAIR IS LOOKING PAST JANETTE TO CLAUDIA. BOTH THE GIRLS ARE SCARED.
Sinclair: Ms. DeSade, you do not have permission to be down here.
Didn't Drake tell you that?
Claudia: Drake? I never saw him.
Sinclair: What? But he's supposed to be . . .
Page 17, Panel 5
ANOTHER SHOT OF SINCLAIR'S FACE, WHICH IS AS IRRITATED AS IT IS ANGRY. SHE'S SHOUTING.
Sinclair: DRAKE!
Page 17, Panel 6
SAME SHOT, BUT SLIGHTLY TO THE SIDE, SO THAT WE CAN ONLY SEE HALF OF MS. SINCLAIR'S FACE. BEHIND HER, DRAKE HAS APPEARED WITH A FULL MUG OF ALE. HE LOOKS SURPRISED.
Drake: Why, Senora Sinclair.
Page 18, Panel 1
CLOSE IN ON DRAKE. HE IS HOLDING UP HIS MUG NONCHALANTLY, SMILING A DRUNKEN SMILE.
Drake: What a pleasure it is to have so esteemed a personage . . .
Page 18, Panel 2
SAME SHOT. DRAKES MUG EXPLODES, SPLASHING HIS DRINK EVERYWHERE. DRAKE IS LOOKING AT THE SHATTERING MUG, HIS FACE A MIX OF SHOCK AND DISAPPOINTMENT.
No dialogue.
Page 18, Panel 3
A LONG THIN PANEL ALONG THE MIDDLE TIER. SUPER CLOSE-UP OF SINCLAIR'S EYES. SHE'S COLDLY FURIOUS.
Sinclair: You left your post, Drake.
Page 18, Panel 4
THIS PANEL TAKES UP ALL THE BOTTOM TIER. MS. SINCLAIR IS GESTURING TO CLAUDIA WITH ONE HAND. SHE'S STILL VERY IRRITATED AND SHE'S GOT ONE EYEBROW COCKED UP. HER FROWN IS SMALL AND TIGHT.
Drake (off): It was only for a minute. No one ever comes this way, so I thought . . .
Drake (off): Oh.
Page 19, Panel 1
A FRONTAL SHOT OF DRAKE. HE'S SHAKING HIS FINGER SCOLDINGLY WITH AS STERN AN EXPRESSION HE CAN MANAGE WHILE DRUNK.
Drake: Naughty. You should not be down here.
Sinclair (off): Be quiet.
Drake: Yes, ma'am.
Page 19, Panel 2
ANOTHER SHOT OF MS. SINCLAIR. HER ARMS ARE FOLDED AND ONE EYEBROW IS STILL UPRAISED.
Sinclair: Back to your post, Drake.
If you leave it again, I will banish your spirit to the most unpleasant plane of existence I can think of.
Page 19, Panel 3
PULL BACK AROUND SO THAT MS. SINCLAIR'S BACK IS TURNED TO US. BEHIND HER, DRAKE IS FRIGHTENED OUT OF HIS WITS.
Sinclair: Understand?
Drake: Yes, ma'am.
Sinclair: Now go.
Page 19, Panel 4
ANOTHER SHOT OF SINCLAIR AFTER SHE'S TURNED AROUND. SHE'S HOLDING UP HER HAND TO HER FACE AS IF SHE WERE LOOKING THROUGH A CAMERA AND A BRIGHT FLASH IS COMING FROM WHERE THE FLASH WOULD BE.
Sinclair: And as for you, Claudia.
SFX: flash!
Page 19, Panel 5
A SHOT OF SINCLAIR AND CLAUDIA. SINCLAIR IS HANDING HER WHAT LOOKS LIKE A POLAROID PICTURE. CLAUDIA IS TAKING IT. SINCLAIR IS STILL REASONABLY ANGRY.
Sinclair: I suggest you hang this up in your room as a reminder not to push your fellow students when they are distraught.
Claudia: Yes, headmistress.
Sinclair: Now get out of here at once.
Unless you'd like me to put you in the jar.
Page 19, Panel 6
A CLOSE UP OF HALF OF SINCLAIR'S FACE SO THAT WE CAN SEE THE STAIRS BEHIND HER. A TRAIL OF DUST IS LEADING UP TO INDICATE CLAUDIA SPEEDING AWAY. JANETTE IS RIGHT BEHIND MS. SINCLAIR, WATCHING CLAUDIA'S DEPARTURE. SHE'S A LITTLE BLUE IN THE FACE.
Sinclair: And as for you . . .
Page 20, Panel 1
A SHOT OF JANETTE'S POV, LOOKING UP AT SINCLAIR. SINCLAIR HAS THE SAME ANGRY EXPRESSION AS SHE LOOKS AT US. SHE'S ALSO POINTING A FINGER AT US, WHICH GLOWS WITH MAGIC AT THE TIP.
Sinclair: Give me one good reason why I shouldn't put you in the jar right now.
Page 20, Panel 2
A SHOT OF JANETTE'S HEAD. SHE'S CLENCHING HER TEETH AND CLOSING HER EYES TIGHT. WE CAN SEE THE TIP OF MS. SINCLAIR'S GLOWING FINGER POINTING DIRECTLY AT HER.
Sinclair: Well, Janette?
Janette: I . . . can't.
Sinclair: You can't?
Page 20, Panel 3
CLOSE IN ON JANETTE'S FACE SO THAT WE CAN'T SEE SINCLAIR'S FINGER. SHE STILL HAS THE SAME EXPRESSION.
Janette: No, headmistress. I was angry and I attacked.
I have no excuse to give you for my behavior.
Janette: But I do have a request.
Sinclair: Oh? Let's here it then.
Page 20, Panel 4
PULL TO THE SIDE SO THAT WE CAN SEE THE TWO OF THEM. JANETTE IS NOT LOOKING UP AT THE HEADMISTRESS, WHO IS STILL POINTING AT HER, ONE EYEBROW UPRAISED.
Janette: Could you make me a cricket and not something really gross like a worm or a snail?
Sinclair: Hm?
Page 20, Panel 5
SAME SHOT AS PANEL 1, EXCEPT THAT NOW A SMILE IS TRYING TO CREEP ONTO SINCLAIR'S FACE.
Sinclair: That is your request?
Janette (off): Yes, headmistress.
Page 20, Panel 6
THE SAME SORT OF SHOT AS PANEL 2, EXCEPT THAT NOW SINCLAIR'S FINGER IS LIFTED UP A BIT SO THAT IT'S POINTING DOWN AT JANETTE. JANETTE IS WAITING FOR THE SPELL TO BE CAST.
Sinclair: Very well.
Page 20, Panel 7
SAME SHOT, BUT NOW SINCLAIR'S HAND IS OUT OF THE SHOT. JANETTE IS LOOKING UP AT US, SURPRISED.
Sinclair (off): You may return to your quarters now.
Janette: You're not going to put me in the jar?
Page 21, Panel 1
SINCLAIR HAS TURNED HER BACK TO JANETTE. WE CAN SEE JANETTE BEHIND HER, WITH A DOUBTFUL EXPRESSION. SINCLAIR IS STILL FIGHTING THAT PESKY SMILE.
Sinclair: That won't be necessary. You've wisely chosen to accept responsibility for your actions and I respect that.
Janette: Really?
Sinclair: Yes.
Page 21, Panel 2
A SHOT FROM BEHIND AND BELOW JANETTE, LOOKING UP AT THE HEADMISTRESS. SINCLAIR IS TURNING AROUND TO LOOK AT JANETTE. AGAIN, THAT SMILE IS TRYING TO FORCE IT'S WAY ONTO HER FACE.
Sinclair: However, I cannot overlook this transgression of the rules, Janette.
Therefore, you will not be allowed to attend the midterm dance this weekend.
Sinclair: Does that sound fair to you?
Page 21, Panel 3
A CLOSE UP OF JANETTE'S HEAD. SHE'S SMILING WITH RELIEF.
Janette: Yes, headmistress.
Janette: That's more than fair. Thank you.
Page 21, Panel 4
WE'RE LOOKING AT THE STAIRS UP FROM BEHIND MS. SINCLAIR. WE CAN SEE JANETTE GOING UP THE STAIRS, BUT SHE'S STOPPED TO LOOK BACK OVER HER SHOULDER.
Janette: Ms. Sinclair . . .
You're not really as mean as you want everyone to think, are you?
Page 21, Panel 5
A SIDE SHOT OF MS. SINCLAIR. OKAY, SHE'S GIVEN IN TO THE SMILE, BUT HER EYES ARE STILL STERN.
Sinclair: Maybe not.
But if anyone finds out about this . . .
Sinclair: Then a certain slug will have lots of time to become familiar with the inside of the jar.
Page 21, Panel 6
A MEDIUM CLOSE-UP OF JANETTE. SHE'S PRESSED HER THUMB AND FOREFINGER TOGETHER AND DRAWING THEM ACROSS HER MOUTH IN THE ACT OF ZIPPING HER LIPS. SHE'S SMILING, HER EYES BRIGHT.
Janette: My lips are sealed.
Page 22, Panel 1
A SHOT FROM THE FRONT OF MS. SINCLAIR AGAIN. HOBBES IS BEHIND HER RAISING ONE FINGER NERVOUSLY. THE SMILE HAS FADED FROM SINCLAIR'S FACE AND SHE'S LOOKING DIRECTLY AT US WITH A VERY ANNOYED EXPRESSION.
Hobbes: Wanters Hobbes hazard pay for this.
Page 22, Panel 2
NOW WE'RE LOOKING UP AT MS. SINCLAIR FROM BEHIND HOBBES. SINCLAIR HAS TURNED AROUND AND IS GLANCING DOWN AT THE HOBGOBLIN OVER HER SHOULDER, ONE EYE OPEN ALL THE WAY, HER MOUTH A VERY TIGHT FROWN. HOBBES IS RIDGED, HIS FUR STANDING ON END.
Hobbes (exploding dialogue box): Hobbes bes fine! Not hurt bes him at all!
Page 22, Panel 3
BACK INSIDE THE CELL, EDDY IS CURLED UP WITH A THOUGHTFUL EXPRESSION.
No dialogue.
Page 22, Panel 4
CLOSE IN ON EDDY'S FACE. STILL THE SAME EXPRESSION.
Eddy: DeSade?
Caption: Next - Chapter 9: Visitors