literature

Light

Deviation Actions

Published: Jul 16, 2023

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Literature Text

Thank you for your interest in this project, C3 and I are very grateful and honoured by your contribution and collaboration.

I am Jack Danya Kemplin, the current owner and Editor-in-Chief of C3: Collective Crow Comics. C3 was originally created as a fanfiction website in October 2000, specializing in The Crow comics created by fans. C3 has recently developed the goal of publishing original works, building a name for itself in the business, and eventually being granted permission to license The Crow brand so as to publish our Crow stories officially.

Because this story will be initially released as fanfiction, there will not be any pay for it, it will be done out of love for The Crow comics, and for your portfolio. C3 has previously had projects with now famous comic book creators such as Ben Templesmith. You of course retain full permission to sell the original art pages created for your projects with C3. If C3 is able to officially licensed these stories in the future, C3 will give you back-pay for your work, as well as royalties from the future sale of books.

I can be contacted by e-mail at jackkemplin@gmail.com or collectivecrowcomics@gmail.com which is technically the one files are supposed to be submitted through, but submitting it through the jackkemplin one serves the same purpose.

We are currently in need of an Artist who can draw in the style of Alphonse Mucha for a full colour two issue comic book. The book takes place in the 1910's and 1920's, with a theme of Women's Suffrage.

The plot for Light:

in 1916 a 13 year old girl and her family are murdered for their support of women's suffrage. In 1924 the girl's ghost contacts her childhood best friend, asking him to help her avenge their murder, and with the help of a mythical Crow and a skeletal cowboy she is able to set the wrong things right and find peace.

If you are not familiar with The Crow mythos, here is a summary:

The Eternal Power of The Crow possesses the bodies of people who's souls cannot rest, using the blood of The Gorgon to bring them back to life. While reanimated that person has until the blood of The Gorgon runs out, to do something which brings their soul peace. If they do not find peace by the time the blood of The Gorgon runs out, then they lose their powers and begin to rot. The Crow is not a corporeal bird, but an ethereal one existing in the avatars' minds, and sometimes being visible to others. The avatar can hear The Crow speaking to them in English, and this condition of being dead, yet alive again, disturbs and deranges the avatars' minds, making them more poetic, more psychotic, more sadistic.

Some The Crow comics which may help you better understand our comic:

Flesh And Blood (to become familiar with female avatars of The Crow)

http://thecrowcomics.wordpress.com/2012/02/24/the-crow-flesh-and-blood-1-1996/ The Crow: Flesh and Blood # 1

http://thecrowcomics.wordpress.com/2012/02/23/the-crow-flesh-and-blood-2-1996/ The Crow: Flesh and Blood # 2

http://thecrowcomics.wordpress.com/2012/02/23/the-crow-flesh-and-blood-3-1996/ The Crow: Flesh and Blood # 3

Curare (to become familiar with Little Girl spectre avatars of The Crow)

http://thecrowcomics.wordpress.com/2013/06/14/the-crow-curare-1-2013/ The Crow: Curare # 1

http://thecrowcomics.wordpress.com/2013/08/29/the-crow-curare-2-2013/ The Crow: Curare # 2

http://thecrowcomics.wordpress.com/2013/10/26/the-crow-curare-2-2013/ The Crow: Curare # 3

Wild Justice (To become familiar with The Crow mythos)

http://thecrowcomics.wordpress.com/2012/02/23/the-crow-wild-justice-1-1996/ The Crow: Wild Justice # 1

http://thecrowcomics.wordpress.com/2012/02/23/the-crow-wild-justice-2-1996/ The Crow: Wild Justice # 2

http://thecrowcomics.wordpress.com/2012/02/23/the-crow-wild-justice-3-1996/ The Crow: Wild Justice # 3

The Crow Author's Edition/Special Edition [cannot currently be read online] (To become familiar with all of the basics and everything there is to know about The Skull Cowboy)

http://www.amazon.co.uk/Crow-Special-James-OBarr/dp/0857687956/ref=sr_1_1?s=booksandie=UTF8andqid=1410445697andsr=1-1andkeywords=the+crow+special+edition

There are 2 videos/songs which are big influences on our story.

https://www.youtube.com/watch?v=4AzUauQEfd0 Last Goodbye - Alyona

https://www.youtube.com/watch?v=co6qKVBciAw Bad Romance: Women's Suffrage

and Alyona, that woman singing Last Goodbye, is also in part physical inspiration for adult Audrey. And Alice Paul, the inspiration for the character of the singer in Bad Romance Women's Suffrage is partly inspiration for Audrey’s mother Melanie.

The art style for the comic should be reminiscent of Suffragette posters

Which were very Art Nouveau / Alphonse Mucha, so here is a Mucha showing how the art of our comic should be styled

Some Mucha's that show how he may have done sequential art are

and I believe a comic done in his style, with even the sequential panels done in his style, would be spectacular.

Audrey Light obviously has several appearances depending on the ages she is depicted at and whether or not she is ethereal or corporeal. The one thing which ties all of her appearances together is her very long, bright blonde hair.

During life she is dressed as a Victorian girl of her age would dress, she is thin, but pretty.

As a ghost she is slightly transparent, muted colours almost to the point of being white with a hint of blue, and in a long flowing white loose gown, with full sleeves and a high collar. She also has very thin, almost unnoticeable cuts in her skin going down her face from forehead to cheeks across eyes.

As a corporeal undead adult she still has that long blonde hair, though the gashes in her face are far more thick, jagged, and prominent. Contrary to the drawing I did of her, her breasts should only be B's, nothing bigger, and her hips should be restrained, please do not sexualize her adult figure too much. I apologize for the oversexualized figure in my art. And if you feel it appropriate, you may add the man's shirt under the vest to her adult wardrobe as well.

adult Audrey's physical appearance is similar to this woman's, but with hair almost to her knees

Another reference for adult Audrey is this

So take that first woman, make her blond hair go down almost to her knees, and then put her in the clothing of the second woman with the weapon of the second woman as well, and you have adult Audrey.

As for young spectre Audrey, she looks similar to Curare (from The Crow: Curare) but with very long blond hair Adult spectre Audrey looks like Adult Audrey but with the thin scar lines of young spectre Audrey and the dress of young spectre Audrey with her adult body-shape underneath.

The Light family is middle class, Melanie Light is lovely and feminine, but she can also hold her own, and has her own voice, which her husband supports. Visually you can pretty much depict them as you wish, though they should both be thin, Melanie blond, and Brandon dirty blond to light brown hair.

Audrey's mother Malenie Light looks like a blond version of Suffragette Alice Paul

Nick should, at all ages, have short-medium length feathery hair, of a black colour. He is thin and of average build.

Nicholas’ hair should look somewhat like this, but black, and giving off more of an appearance like feathers

Nick's family: Middle class, average build, and black hair, the rest is up to you.

The Skull Cowboy is a recurring character within The Crow franchise. He is a previous avatar of The Crow who was unable to bring peace to his soul and therefore lost his powers and began to rot. He now helps other avatars try and stay on task so they do not end up like him. He is a skeleton with small bits of rotting flesh and hair in a tattered cowboy outfit.

Images of The Skull Cowboy can be found here

https://drive.google.com/folderview?id=0B0IjGUVAoq-adFlQM2Uxdm05VGsandusp=sharing

The bad guys are a mixture of poor and well to do, conservative and ignorant, scheming and the type to take advantage of others. As to which is more one type than the other, I hope my writing conveys that well in their individual character.

The Light family home is a humble shack, two bedrooms, and a main room which is both the living room and the kitchen combined. The floor is wood, with some flagstone on top of it directly underneath the wood stove.

Plot:

Anna Kuyper (Deaderman)

Jack Danya Kemplin (Holy Guyver)

Writing:

Jack Danya Kemplin

Art:

Zoe Blickenstaff

Lettering:

Jack Danya Kemplin

C3: Collective Crow Comics

Editor: Jack Danya Kemplin

The Crow™ © 2013 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The Crow™ and “THE CROW”, The Original Motion Picture © 1994 Crowvision, Inc. All rights reserved.

Any similarities between characters, names, and/or institutions, living or dead (or undead) is purely coincidental, but for instances of satire, and should not be inferred.

This is a work of fanfiction, no part of it may ever be printed or sold without permission of Crowvision, Inc.

ISSUE ONE

PAGE 1

This entire page/scene is set at a funeral gathering in a cemetery. The sun is setting as the scene goes on, clouds slowly engulfing the sky, and rain starting to fall. By the final panel the sun is set, the sky is all clouds, and it is pouring rain.

PANEL 1

A funeral gathering at a cemetery.

CAPTION

Tales that begin in the minds of children echo on through myth and fable. It is only when one of pure heart is willing to allow the truth, then all pain can be released...into the light.

PANEL 2

Close up on Nicholas Day standing and mourning with his parents standing behind him.

CAPTION

1916.

It is hard to deal with the loss of a friend, it is even harder when you are only 13 years old. Nicholas Day is now confronted with that nightmare.

PAGE 2

PANEL 1

Close up of his parents talking.

JULIA

Charles, I cannot believe it, the whole family, and what happened to little Audrey...

CHARLES

Indeed Julia, She had her whole life ahead of her. What could they have done to deserve this?

PANEL 2

Julia, shaking looks deeply at Charles.

JULIA

Charles, do you believe in ghosts?

CHARLES

You're tired and spooked, darling, maybe we should go home.

JULIA

No, Charles, I am not a child. I saw something...

PANEL 3

As she describes what she saw, we see Audrey Light’s ghost standing near the tombstone, Julia intently staring at it as Charles tries to comfort her.

JULIA

A translucent figure...

CHARLES

My darling, you mustn't let the mind play tricks on you.

JULIA

But it was so real...

PANEL 4

Charles takes her into his arms and holds her, hoping she'll let go of whatever she thinks she saw. Nicholas still in front of them.

NICK

I wish Audrey was still here...

PAGE 3

PANEL 1

Long panel down the side

CAPTION

Eight years later

The Grown Nicholas swings open the door of his parents house and enters.

NICK

I came as fast as I could, mother

PANEL 2

Nick and his mother embrace.

NICK

The Tanney's have offered to help arrange for the burial. Is there anything I can do for you?

JULIA

No, Nicky, I am not a child, I will be fine. We've always known your father had a weak heart.

PANEL 3

JULIA

I missed you so much, baby.

NICK

I missed you too, Momma.

PANEL 4

JULIA

How's it going between you and Rebecca?

NICK

Things...Didn't work out.

JULIA

Nicky, She'll come back to you, if she loves you...

PANEL 5

NICK

It's not that...I just can't seem to find anyone right for me.

JULIA

You are still young, there will be others.

NICK

I'll worry about that after Dad's funeral.

PAGE 4

PANEL 1

Close up on a headstone which reads "Charles Oaklen Day"

PANEL 2

Nick is standing before the headstone. The gates of Darling Cemetery can be seen behind him.

PANEL 3

Nick turns his head as he hears a weak, haunting, faint voice on the breeze.

AUDREY

Help...

PAGE 5

PANEL 1

Having turned his head Nick sees the transparent, ghostly figure of Audrey Light, clothed all in white.

PANEL 2

Nick walks over to the young girl who is standing by a cross shaped gravestone.

NICK

Did you ask for help? What are you doing here?

AUDREY

Waiting for my mother and father.

NICK

Well, what's your name?

AUDREY

Audrey Light...

PANEL 3

His mouth gapes open in puzzlement

NICK

Audrey...

PAGE 6

PANEL 1

At hearing that name Nick nervously looks at the engravings on the gravestone next to her

NICK

...Light...

PANEL 2

Close up of the grave, it reads:

Brandon Lee Light Melanie Laine Light

Husband and Father Wife and Mother

Audrey Lynne Light

Daughter

PANEL 3

he recalls back to the funeral on that day so many years ago, standing with his parents, mourning his friend

PANEL 4

The shock of totally realizing who he's talking to sends him falling to the ground, out cold.

PAGE 7

PANEL 1

From Nick’s point of view: Nick's eyes open up and Audrey Light is right over him.

AUDREY

Are you okay, Nicky?

PANEL 2

He crawls backwards hastily and screams, tripping over some grave markers.

NICK

You...you're-Ouch!-you're...you're Audrey...

PANEL 3

In an instant Audrey, who was in front of Nick, vanishes, and appears behind him.

AUDREY

Why are you running and screaming?

PANEL 4

Nick, freaked out and with trepidation, turns, looks behind himself and sees Audrey there. He screams in fright.

NICK

Aaahhhhh!!!

Audrey finds his behaviour humorous.

AUDREY

You're silly.

PAGE 8

PANEL 1

In disbelief, and out of breath, He sits up and just looks at her.

NICK

Wh...What do you want?

AUDREY

I'm waiting for my Mother and father.

PANEL 2

NICK

Audrey, it is 1924...you and your family were killed eight years ago.

PANEL 3

The ghostly image of Audrey Light grows blindingly bright.

PAGE 9

PANEL 1

The illumination dims revealing their surroundings as they were in 1916.

AUDREY

Thank you.

PANEL 2

NICK

Wh...What happened?

AUDREY

You helped me complete my first task.

NICK

Task?

PANEL 3

AUDREY

Look...

Audrey points

PAGE 10

PANEL 1

Living Audrey is playing in the park with young Nick.

CAPTION

1916

CAPTION (AUDREY)

...This is the day I was murdered...

PANEL 2

Her mother calls out to her

MALENIE

Come Audrey, it is time to practice your reading

LIVING AUDREY

See you tomorrow at my birthday party, Nick!

YOUNG NICK

Yeah, it will be fun. Bye Audrey!

PANEL 3

At home Melanie, Audrey's mother, is teaching Audrey to read Mark Twain's 'Advice To Little Girls',

MELANIE

If your mother tells you to do a thing, it is wrong to reply that you won't. It is better and more becoming-

PAGE 11

PANEL 1

the door bursts open revealing three men.

SFX

Slam

MELANIE AND AUDREY

Aaahhhhh!

PANEL 2

The three men rush in.

MELANIE

Who are you people?

FORREST

Do what you have to, guys. I'll get Daddy dearest.

PANEL 3

As Forrest walks past, Melanie reaches in the direction of her husband Brandon.

MELANIE

Brandon!

PAGE 12

PANEL 1

Quentin Mark grabs Audrey, Garrett Way grabs Melanie. She struggles to break free of Garrett.

GARRETT

Ain't she a wild little mare!

(stroking Melanie's cheek)

Think I should break her in?

QUENTIN

Forrest did say for us to do what we had to.

PANEL 2

Garret rips open Melanie's dress

PANEL 3

Quentin fondles Audrey's small budding breasts, Melanie struggles to try and help her daughter.

QUENTIN

You ever had a man?

AUDREY

No, please!

QUENTIN

You'll have one today. I never had myself a virgin before!

PAGE 13

PANEL 1

Garret slaps Melanie hard in the face

GARRET

This will teach ya’ your place!

SFX

Smack

PANEL 2

QUENTIN

Mommy's little girl, huh? How does it feel to submit to a man?

PANEL 3

The closed bedroom door

FORREST

Didn't your daddy ever teach you how to handle women?

BRANDON

Yes, they are to be treated with kindness and respect, As Equals

FORREST

Then your daddy done taught you wrong. They are to be kept in line, so they don't get too ambitious. But I guess your head's too thick to get that, lets see if it's too thick to get this

SFX

Bang

PANEL 4

Duncan Forrest emerges from the other room

QUENTIN

Well, your pappy's dead. Time for you two to join him.

PAGE 14

PANEL 1

They throw Melanie and Audrey against the wood-burning stove

PANEL 2

Garrett grabs the wood cutting hatchet next to the stove

PANEL 3

Raising it high above his head with an evil gleam in his eyes.

PANEL 4

Melanie gives out a shriek

PANEL 5

as the hatchet comes down onto her windpipe stifling the shriek before it can finish.

PAGE 15

PANEL 1

Garret then tosses the hatchet to Quentin as Audrey, cowering next to her dead mother, looks up in trepidation.

GARRETT

She's all yours

PANEL 2

Quentin slams the hatchet down upon Audrey face cutting downward across one eye

PANEL 3

The wound is ghastly visible as he raises the hatchet from her head

PANEL 4

Again the hatchet is brought down upon her delicate face over the other eye.

PANEL 5

Both mother and daughter lay dead, their mangled faces and figures leaving a nightmarish scene.

PAGE 16

PANEL 1

Adult Nick standing, emotionally destroyed by what he has just witnessed

ADULT NICK

I...I am so Sorry, Audrey. I didn't know it happened like that.

PANEL 2

The memory of him at the funeral with his parents

CAPTION(NICK)

The day you died was the hardest day of my life. I felt alone, utterly alone.

PANEL 3

Audrey and Nick playing as young children

CAPTION(NICK)

I lost my life-long best friend. We grew up together, had known each other our whole lives

PANEL 4

Slightly older Audrey and Nick walking together

CAPTION(NICK)

No one knew me as well as you did, Audrey, and no one could make me more happy

CAPTION(AUDREY)

I felt the same way, Nick

PANEL 5

13 year old Nick giving nearly 13 year old Audrey a flower

CAPTION(NICK)

This might sound crazy, Audrey, but I loved you, I always had.

PAGE 17

PANEL 1

Immediately the ethereal 13 year old phantom figure of Audrey illuminates blinding out all surroundings.

PANEL 2

They have returned to the cemetery of 1924 at the cross shaped tombstone with Audrey's family's epitaph. Audrey's spirit no longer resembles that of a 13 year old. She has transformed into a beautiful ethereal woman, her spirit's appearance now matching Nick's in age. Nick Staring in awe at Audrey's now 21 year old form.

AUDREY

I loved you too, Nicholas

NICK

Audrey, you are Beautiful!

PAGE 17

PANEL 1

Nick Realizing what just happened, Audrey's transformation and their change in location.

NICK

Wh...What just happened?

AUDREY

I completed my final task...

PANEL 2

Low to the ground angle, background Audrey and Nick, foreground the bottom of a tattered duster-jacket and cowboy boot.

A gravelly voice cracks in

SKULL COWBOY

I'm Afraid not yet, My Dear!

PANEL 3

Turning around, they see The Skull Cowboy.

AUDREY

But I completed both tasks you gave me...

PAGE 18

PANEL 1

Full body front view of The Skull Cowboy

SKULL COWBOY

Unfortunately, in your previous state, you would've been unable to carry out the rest of your mission. But now you are ready and now...You know what to do.

PANEL 2

Close up of Audrey's face. Awareness and necessity of what needs to be done crowds her mind.

PANEL 3

AUDREY

Nicholas, I must ask one last favour of you.

NICK

Anything, Audrey...

AUDREY

May I kiss you?

PAGE 19

PANEL 1

Audrey and Nick passionately embrace and kiss

CAPTION (AUDREY)

Kiss me, please kiss me

Kiss me out of desire,

and not consolation

PANEL 2

As their mated souls touch, Nick's flesh from his lips begins to grow onto and cover Audrey's Ethereal body making it corporeal, moving downward across her as the flesh leaves his spirit, making him more and more a fleshless ethereal ghost.

CAPTION (AUDREY)

You know it makes me so angry 'cause I know that in time I'll only make you cry

PANEL 3

As the flesh completes its graft onto Audrey, Nick's ethereal spirit begins a metamorphosis, sprouting black feathers, a beak, and feet.

PANEL 4

Close up on Nick as The Crow (bird) perched upon the cross shaped tombstone of The Light family grave. It is nighttime and raining.

PAGE 20

PANEL 1

Landscape shot of The Crow perched upon the cross shaped tombstone of The Light family grave. It is nighttime, and the rain falls in torrents.

CAPTION

1924

CAPTION

The bells out in the church tower chime

PANEL 2

the muddy ground at the foot of the tombstone begins to move and churn

CAPTION

Burning clues into this heart of mine

PANEL 3

A beautiful nude woman with long flowing blond hair rises out from the grave, covered in mud, the rain falling down upon her

CAPTION

Thinking so hard on her soft eyes

PANEL 4

The rain washes away the mud as she walks out of the cemetery

CAPTION

And the memories offer signs

PAGE 21

PANEL 1

Quentin stumbles to an outhouse, dropping an empty whisky bottle on his way.

PANEL 2

unleashing animalistic grunts as the results of what he ingested flies out

PANEL 3

At that moment the door flies wide open.

PANEL 4

Wiping the vomit from his face

QUENTIN

Close the damn door.

PAGE 22

PANEL 1

Audrey pins Quinton against the wall.

PANEL 2

Audrey begins to unbutton his shirt

QUENTIN

Darling, I don't know who you are, but you could've picked a better time.

PANEL 3

Audrey, knelt down, undoes his belt buckle and pants buttons.

AUDREY

You knew me not back then and will not know me now.

PAGE 23

PANEL 1

Quentin with an aroused grin on his face, while the top of Audrey’s head is just barely visible at his waist.

QUENTIN

...Who are you?

PANEL 2

Audrey looks deep into his eyes, Quentin only now noticing the hatchet wounds over them.

AUDREY

Do you not see innocent eyes on my horrid face?

QUENTIN (in disbelief)

...She couldn't of survived that...

PAGE 24

PANEL 1

Audrey Throws Quentin into the wooden toilet, splintering it.

SFX

crash

PANEL 2

She then grabs him by both boots as he slips into the septic.

AUDREY

Wait!

PANEL 3

His head nearly touching the waste.

QUENTIN

Whew

PAGE 25

PANEL 1

She slips off one boot.

AUDREY

I forgot these!

PANEL 2

He sinks lower, his forehead now submerged.

QUENTIN

No, please!

PANEL 3

She slips off the other

AUDREY

Thanks!

PANEL 4

And he falls completely into the refuge, gurgling unto suffocation, submerging into and becoming one with what he truly is.

SFX

plunk

QUENTIN

Gurgle gurgle

PAGE 26

This page will be made up of 4 panels starting with one at the bottom left of the page, each panel going up the next level higher and to the right as we travel up her body. The final panel being the size of all of the others combined, thus revealing her whole body.

PANEL 1

(still in the outhouse) Audrey's finishes putting on the second black leather boot.

PANEL 2

Audrey is buttoning up the black leather pants.

PANEL 3

Audrey is buttoning the top of the black leather vest.

PANEL 4

Audrey full body shot.

ISSUE TWO

PAGE 1

PANEL 1

Beneath the billowing grey deluging skies, Audrey walks across a brown unkempt field landscape, towards her eight year abandoned family home. Nick, as The Crow, flies alongside her.

THE CROW

Where are you going, Audrey?

AUDREY

Home...

PANEL 2

Audrey swings open the door.

SFX

Creeek

PANEL 3

Panorama of the house

Seeing a home covered in eight years of dust, dried blood still splattered where they were killed.

PAGE 2

PANEL 1

Walking over to where they were killed, crouching down and placing her hand in the spot where she died.

PANEL 2

Her as a little girl laying dead in that spot with the hatchet wounds over the eyes, the blood fresh.

PANEL 3

Back to adult Audrey at the empty spot, she is overwhelmed with emotions.

ADULT AUDREY

What did we do to deserve this?

PAGE 3

PANEL 1

Adult Audrey walks into her parent's bedroom. A panorama shot of the room.

PANEL 2

She sees the spot where her father was killed.

PANEL 3

A memory of him playing, bouncing her when she was a very young girl.

PANEL 4

Him playing piggy back with her, still a very young girl, her laughing and smiling with her father.

PANEL 5

Audrey is now aged 12, a few days before her 13th birthday. Her father is playfully dancing with her as they walk down the street.

PAGE 4

PANEL 1

(this is to be drawn ambiguously so the reader doesn't know what the march is about and whether it is a fun parade or something else. The March will be shown in an unambiguous way in a few pages when she remembers more about her mother)

Audrey remembers a march, sort of like a parade, coming down a street. There are crowds of people on both sides of the street watching it. On the nearer side, amidst the onlookers, stands Brandon Light, his daughter Audrey is seated upon his shoulders so as to get a better view.

YOUNG AUDREY

Hahahaha!

PANEL 2

Closer shot of them, the march still in view.

YOUNG AUDREY

I love you daddy!

PANEL 3

Melanie can clearly be seen walking in the march.

BRANDON

(Pointing)

Darling, look! Here comes mommy

YOUNG AUDREY

(waving)

Mommy!

PANEL 4

Melanie waves to them and they wave back.

PAGE 5

PANEL 1

To escape the memories, Adult Audrey turns away from where her father was killed.

PANEL 2

And finds herself staring into the mirror of her mother's vanity dresser.

PANEL 3

A flash of a memory of her mother in the mirror.

PANEL 4

She stares at the woman she sees in the mirror, this is the first time she has seen the adult her. She marvels at how much the woman she sees in the mirror looks like her mother.

ADULT AUDREY

Is...is that me?

Mommy, I look so much like you...

I...would have...looked like you...

There is so much of you reflected in me.

PAGE 6

PANEL 1

Adult Audrey opens up a drawer

PANEL 2

Gently pulling out one of her mother's folded up dresses.

PANEL 3

She Remembers playing dress up with her mother, putting on her mother's make-up and gowns.

YOUNG AUDREY

Mommy, I look just like you!

PANEL 4

Adult Audrey then notices several items on the vanity that she never noticed before, because they are things a child wouldn't notice. A suffragette sash, purple, white, and gold with the words "Votes For Women" printed on it.

PANEL 5

She remembers that when they played dress up, her mother put the suffragette sash over her.

MELANIE

Just a few more things, haha.

There, now you look just like me.

CAPTION (ADULT AUDREY)

Mommy, I wanted so much to look like you, to be like you.

Now, when I look in the mirror I see you...

And I am lost...

PAGE 7

PANEL 1

On the vanity Adult Audrey sees the Suffragette rosette

PANEL 2

She again remembers the march her and her father attended, but it is in so much more clear detail now. She sees it is not a parade, but a rally promoting female equality and Women's suffrage. Some in the town clearly support the women, standing on the same side as Audrey's father and her, cheering on the brave women. She again remembers her mother marching, now in full detail with sash and rosette along with the other Suffragettes in town.

PANEL 3

Adult Adurey sees a news article about the suffrage movement on the wall. It mentions the rally and the pro-suffrage and anti-suffrage crowds.

PANEL 4

She now remembers the crowd opposite the one her father and her were in. This other crowd shouting, degrading the women, holding signs putting down the suffragettes, listing ridiculous reasons women should not be allowed to vote.

SIGN

Mr Voter:

VOTE NO

ON WOMAN SUFFRAGE

The Ballot will secure a Woman

No Right that she Needs and

Does not Possess

MAN

Women are too emotional to vote!

SIGN

Vote NO

On Woman Suffrage

BECAUSE 90% of the women either do not want it, or do not care

BECAUSE it means competition of women with men instead of co-operation

BECAUSE 80% of the women eligible to vote are married and can only double or annul their husbands' votes

BECAUSE it can be of no benefit commensurate with the additional expense involved

BECAUSE in some States more voting women than voting men will place the Government under petticoat rule

BECAUSE it is unwise to risk the good we already have for the evil which may occur

MAN

You never can depend on a woman! Do you want your leaders chosen based on what time of the month it is?!

SIGN

The HOME LOVING women

do NOT WANT the BALLOT

VOTE

on WOMAN SUFFRAGE

MAN

Woman Suffrage is a MENACE to the Home, Men's Employment and ALL Business!

PAGE 8

PANEL 1

Three of the men come out from the anti-suffrage crowd, angrily approaching her mother as the women march by.

PANEL 2

Forrest shoves Melanie.

FORREST

Who the hell do you whores think you are?

PANEL 3

GARRETT

Yeah! Go back home! You disgrace your husband!

MELANIE

My husband happens to support a woman's equality!

GARRETT

He must be a dandy

PAGE 9

PANEL 1

QUINTON

Ya' ram this stuff into your children's heads too?!

MALENIE

This is a new century! The dawn of a new world! A world better than people like you!

PANEL 2

Close up on Duncan Forrest's face

FORREST

We will see about that...

PANEL 3

Adult Audrey crying.

PAGE 10

PANEL 1

Adult Audrey picks up her mother's rosette

PANEL 2

And pins it to her vest

PANEL 3

Audrey wearing the rosette, The Crow perches on her shoulder.

AUDREY

I must do this for her

THE CROW

She didn't die in vain, Audrey.

Women won the vote 4 years ago in 1920 with the passage of the 19th Amendment to the Constitution.

PAGE 11

PANEL 1

Nighttime, the front of a building, a sign above the door reading

SIGN

National Woman's Party Headquarters

A sign in the window reading

SIGN

Learn why women OUGHT to vote!

A sign in the other window reading

SIGN

Women register to vote today!

PANEL 2

Closer shot focusing in on a narrow passage space between the National Woman's Party Headquarters and the building to the left of it.

PANEL 3

Closeup of a flask being pulled out of a boot

PANEL 4

Closeup, the flask is brought up to the lips of a man who drink from it

PAGE 12

PANEL 1

Less closeup, The Man spits. The shot reveals another man standing next to him, it is Duncan Forrest and Garrett Way.

FORREST

Damn booze taste like shit ever since those Prohibitionists got their way

PANEL 2

Forrest passes the flask to Garrett

GARRETT

Yeah, and who knows what trouble these women are going to cause now they got the vote

PANEL 3

Garrett takes a swig

GARRETT

Where the Hell is Quentin? Late as always

FORREST

No doubt passed out drunk somewhere

PANEL 4

Garrett makes a disgusted face at the flask

GARRET

At least someone can stand this bootlegged piss

PAGE 13

PANEL 1

GARRETT

Well he probably ain't going to wake 'til tomorrow afternoon

PANEL 2

FORREST

No time to wait, we've got to do this tonight

PANEL 3

FORREST

you ready to teach those ladies a lesson?

GARRETT

Can't come soon enough

PAGE 14

PANEL 1

A vision of the suffragettes instructing women on how and why to vote

CAPTION (FORREST)

Tomorrow night at their Women Voters meeting

PANEL 2

Forrest hands garret a crate

FORREST

they'll get a lesson which should teach all women to remain in their place

PANEL 3

Close up on crate, revealing the words "explosives"

GARRETT

It's fireworks time!

PAGE 15

PANEL 1

Forrest and Garrett are finishing planting the explosives

GARRETT

That just about it, then?

FORREST

Just about, maybe we oughta--

PANEL 2

THE CROW (OFF)

Caw

Forrest, startled, twists his head in the direction of the noise

FORREST

--what's that noise?!

PANEL 3

Full body shot of Audrey nearly in silhouette blocking the exit of the passage, her eyes and scars seeming to glow, The Crow perched on her shoulder.

AUDREY

That noise would be me

PAGE 16

PANEL 4

Duncan Forrest and Garrett in foreground, Audrey in front of the exit in the background

FORREST

Seems Quentin's drunk arse blabbed our plans...and that these crazed broads now think they can wear our clothes and fight us...

GARRETT

I'll teach her, Duncan

PANEL 2

Close up on Garrett holding a knife

PANEL 3

Garrett's knife and Audrey's hatchet clash in mid air

SFX

Chank

PAGE 17

PANEL 1

Audrey tackles Garrett to the ground, his head landing near the explosives’ detonator

SFX

Ouff

PANEL 2

She is on all fours on top of his body, glaring at him with her haunting hacked eyes

PANEL 3

From Garrett's perspective, Close up of Audrey's face glaring down at him

PANEL 4

From Audrey's perspective, close up of Garrett's face, trembling, full of realization

PANEL 5

Close up on the hatchet as Audrey raises it, ready to strike

PAGE 18

PANEL 1

The hatchet slams down severing the detonation cords

SFX

Chook

PANEL 2

The cords having been right next to Garrett's head, Garrett's eyes roll back as he loses consciousness having obviously wet himself in fear that it was going to be his throat which got hacked

GARRETT

...

PANEL 3

Forrest tries to flee through the now unblocked passage

FORREST

I knew givin' 'em rights was bad news

PANEL 4

Audrey throws the hatchet at him

PAGE 19

PANEL 1

It rams into the cleft of his arse

SFX

Chu-slick

PANEL 2

Forrest keels over

PANEL 3

His face smashing sideways into the ground

PANEL 4

Forrest's perspective (distorted as he is passing out from the pain of the hatchet): Audrey approaching, dragging Garrett's passed out body behind her. The image is very demonic.

PAGE 20

PANEL 1

Forrest's perspective (distorted as he regains consciousness): demonic image of Audrey standing above him with the hatchet in her hand, The Crow on her shoulder.

PANEL 2

Image fades as he loses consciousness again.

PANEL 3

Forrest's perspective (distorted as he regains consciousness again): close up on Garrett laying next to a stove, his throat hacked with hatchet wounds.

PANEL 4

The image becomes sharply in focus as Forrest is shocked into alertness by the horror next to him.

PANEL 5

Third person perspective. Duncan Forrest looks at his surroundings, in terror realizing that he is back at the house of the family he killed 8 years prier.

PAGE 21

PANEL 1

Forrest's perspective: Demonic image of Audrey looking down on him, the hatchet above her head, ready to strike. Clearer version of Page 20 Panel 1.

AUDREY

I am the little girl you killed 8 years ago!

PANEL 2

Extreme close up of Duncan Forrest's dead face with his eyes hacked out and the handle of the hatchet lodged into his mouth in a phallically suggestive manner.

PAGE 22

PANEL 1

Back at the cemetery, Nick as The Crow is perched on Audrey’s family’s tombstone, Audrey standing at the foot of the grave.

PANEL 2

The Crow leaps up from the tombstone and flaps his wings as he radiates light, the reys extending to the ground, roughlingly forming the shape of a body.

PANEL 3

The Crow has transformed into a phantasmic form of Nick, just as Audrey was before they kissed, Audrey is still in the flesh.

PAGE 23

PANEL 1

The phantasmic Nick looks puzzled as he asks Audrey why he was needed, her looking back with deep love in her eyes.

NICK

But why did you need me, Audrey?

AUDREY

Because Nicholas, we are soul mates.

We were always meant to be together...

PANEL 2

Audrey’s head drops in sorrow over the loss of what could have been.

AUDREY

...But then I was killed

PANEL 3

Nick, reflecting on his poor luck with other women, and on how deeply he loves Audrey, comes to the realisation.

NICK

I guess that explains why I could never find the right person

PANEL 4

Audrey looks back at him, her face apologetic, regretful for the romantic travails the memory of her must have created for him.

AUDREY

I never meant to cause you hardship, Nicholas. Do not worry, you will be free now

PANEL 5

Nick, with a gentle look of romantic sorrow, tilts his head lovingly to the side as he caresses her cheek. Audrey’s face is longingly drawn into his loving caress, but painful tears begin to well up in the corner of her eyes.

NICK

What if I do not want to be free of you?

AUDREY

Sometimes we just have to Nick, and it is time

PAGE 24

PANEL 1

The two of them kiss one last time

CAPTION (AUDREY)

This is our last embrace

PANEL 2

Her flesh moving back onto him, and his ectoplasm enveloping her

PANEL 3