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-unfinished script- The Crow Memento Mori Issue #5-8 A sequel story dealing with both Sarah as a Restless one, struck with the guilt of having shot David in the face, as well as the despair that they were murdered and that David didn't love her enough to avenge their murder because he so deeply loved the man who murdered them and let that man convince him that it was God's will. And for the story to also follow David, now with a big hole in his head, restless with the regret that he allowed himself to be so manipulated, that he didn't have enough faith in his and Sarah's love. The story also features Marcus, a Roman soldier, turned Christian martyr, resurrected by the power of The Crow 2,000 years earlier. Story outline: Sarah killing paedophile and crooked priests who visit Vatican City. The news claiming that these murders must be connected to the same terrorists who killed the procession Sarah and David was with, the same terrorists who it seems Father Raphael was trying to bring some of them to God, when the terrorists killed Father Raphael and their own members whom he was bringing into the fold. Sarah and David's emotional struggles over how they feel about each other. Sarah struggling with her feelings over having shot her beloved, David in the face, and knowing that he had more faith in Father Raphael than in her love. Sarah re-goes over the memory of when she was caught kissing David. After being hit by Father Raphael, she goes home feeling so ashamed of herself, blaming herself for everything, for not being strong enough during a momentary attack of lust, a test by God. She adored Father Raphael from childhood as well, and also tried to be a saint, but somehow always seemed to lack in his eyes, her failings too great. Her and David often would speak of their love of Father Raphael, and how they so wanted to please him, to please Jesus, Their Lord. Their strong desire to be saints, that is one of the things they bonded over, even having met while in prayerful adoration; they wanted to become saints like Francis and Clare, like John and Theresa, partners in sainthood. Reality comes crashing down, as she remembers that Father Raphael is the bad guy, the pervert who didn’t give a shit about her and who had a hard-on for David, that bastard! Oh David, why did you have to be so foolish, so gullible?! David (With a shotgun wound to the face and starting to rot) doubting his faith, questioning the existence of the Judeo-Christian God, questioning The Church, and feeling guilty for having more faith and love in Father Raphael than he had in Sarah. Marcus coming to David while David is lost in his emotional pain. Marcus briefly tells David his story, and they bond over their shared experiences, both David and Marcus being considered Martyrs and Saints, while they both remain on earth, rotting, questioning their faith. David, having been a Catholic Altar Boy, had admired The Saints and Martyrs, growing up, and he now looks upon Marcus as a mentor, perhaps the only one who has gone through what he has, who knows how it feels. The Church's canonisation of David, Sarah, the others who died in the procession that day, and Father Raphael, Martyrs and Saints; Sarah and David’s feelings on that. Marcus speaking with David regarding the surreal experience of seeing themselves declared Saints, while they are on earth rotting away and losing faith, "I was like you once, I believed so strongly that my Lord and Savior would soon return and be The Just Judge of Good and Evil; but it has now been nearly 2000 years, and I am still waiting. You know, David, I have been around long enough that I actually knew the Apostle Mark, who's name I chose as my Christian name." Sarah, elsewhere, watching the Canonisation Sarah: Huh, look at that, a church full of paedophiles and hypocrites, declaring me a Saint; me who they murdered! Me, the one who is now sworn to eradicating the earth of every single one of them. "Innocent Sarah, Virgin and Martyr." Huh! If only they knew the monster they have made me. Sarah’s thirst for vengeance against men like Father Raphael, her insatiable hunger to eradicate the earth of people like that. Sarah, next to the statue of Joan of Arc, takes a straight razor, cuts off the waterfall-like bundle of spent-shells and hair, and weaves a mock-rosary, her knotted hair as the string, the bullets as the beads, and a crow feather as the telasmond in place of The Cross. “Each one of these spent-shells represent my own prayer for the world to be cleaned of such filth!” Marcus and David's attempt to convince Sarah to stop her carnage and forgive David in an attempt for both of them to find inner peace. David: Sarah, no! This has got to end! Are you really making the world any better? Sarah: Stay out of this, David! Do I need to shoot you in the head again?! David: Killing these men will not make you feel any better--it will not ease your pain. Sarah: How would you know?! You took great glee in those who you killed! You are only still here because you were too gullible to realise who your true enemy was! Sarah raises the shotgun to David's head Marcus enters Marcus: I have lived as you, in this resurrected corpse, for the past 2000 years, and I can tell you, you could bring down the whole Roman Legion and still not feel at peace--hurt for hurt won't help you. Face it Sarah, it isn't them who you are angry at, it isn't them which causes your pain, but the heartbreak you feel towards David...and towards yourself. Keeping yourself away from David, making him your enemy, only makes the fisher of pain grow into a cavern, and even if you cover that cavern with the dirt of hatred, it just becomes the ageless crypt which forever lies your restless soul, as you slowly rot, like us. Sarah and David talking things out, reaching acceptance, and finding their love for one another again. It ends with all three of them going down into the catacombs, and laying in niches, Sarah and David laying next to each other, their hands clasped. Marcus would get his own series Memento Mori Issue 5 By Jack Danya Kemplin Sarah killing paedophile and crooked priests who visit Vatican City. PAGE ONE Panel 1: Sarah stands next to a large statue of Archangel Saint Michael slaying The Serpent, atop a Vatican building. Below a procession of priests walks through Saint Peter’s square. CAPTION (MARCUS) Sometimes souls are unable to rest, weighed down with a seemingly unquenchable pain and screaming cry for retribution. Panel 2: Close up: Sarah snears, her face grim, her eyes filled with both pain and hatred. PAGE TWO Panel 1: Memory, colour-faded: Father Raphael’s procession, Sarah, David and the others following him down the street. Panel 2: Memory, colour-faded: The van hitting them. Panel 3: Memory, colour-faded: Sarah, David, and the others, lie broken and bleeding on the road. CAPTION (MARCUS) Because in a sea of carnage the ground has soaked in their blood, they themselves thirst for it in return. PAGE THREE Panel 1: Two men meet in a corridor, one a low level priest, the other of higher ranking. PRIEST Everything is prepared for you, Monsignor. Panel 2: The two shake shake hands and draw their cheeks close in the greeting of The Sign of Peace (a kiss on the cheek), as they whisper to each other. MONSIGNOR (whisper) Excellent, were you able to precure my peccadillo? PRIEST (whisper) Yes, sir, the boy awaits in your room. MONSIGNOR (whisper) Good, good. Panel 3: The two priests’ heads draw back, their hands remaining clasped together. A little aways, against the wall stands a statue of Saint Agnes, her throat slashed, one hand holding a sword, the other a palm branch, and a lamb at her feet. Behind the statue, Sarah awaits like a cat stalking its prey, ready to pounce, her face running with anger. MONSIGNOR May the peace of The Lord be with you. PRIEST And with your spirit. Panel 4: Sarah leeps out from the statue, simultaneously stabbing the priest in the back, and the monsignor in the chest. CAPTION (MARCUS) But sometimes an entire ocean of blood cannot quench their thirst, or fill the void to end their suffering. PAGE FOUR Panel 1: A TV screen shows a news reporter on a Catholic television network, reporting from Vatican square, surrounded by a crowd facing away from her, watching, in the distance, the Pope making an announcement. Large banners stream down from the vatican wall display the faces of Father Raphael, David, Sarah, and the others who died in the processions. REPORTER As the crowd of The Faithful gathers, awaiting the announcement of the unprecedentedly expedited canonisation of the martyrs of the recent Islamic terrorist attacks which started with the hit and run attack of a Church procession here in Italy... Panel 2: The TV screen displays two stock pictures, the priest and monsignor which Sarah recently killed. REPORTER (Off Panel) ...Reports are coming in that terrorists have struck again, this time killing a Vatican priest and a monsignor visiting for the canonisations. Panel 3: The screen displays stock pictures of the previous priests attacked; below them are post-mortem pictures of the priests’ faces, the words carved into their heads. REPORTER (Off Panel) Before this latest, a string of priests and high level church officials have been found graphically murdered, the words, “Pig”, “Rapist”, “Child molester”, and other derogatory words, carved into their foreheads. PAGE FIVE Panel 1: The Screen displays stock pictures of Father Raphael and the terrorists David had killed. REPORTER (Off Panel) These followed the murder of Father Raphael Velasco and others by the Terrorists while he was seemingly attempting to reach out to, forgive, and bring into The Faith, a small number of those formerly a part of the terrorist group. Panel 2: The Screen shows two pictures, one of Father Raphael’s procession before the vehicular attack, and a picture taken of the carnage after the attack. REPORTER (Off Panel) Father Raphael being the priest who was leading the procession which was attacked just three days prier. Panel 3: The screen returns to the smiling reporter amidst the cheering crowd. REPORTER But none of this seems to have detoured The Faithful who have come out today! I guess they have truly chosen to live by the words of Jesus in the gospels of Matthew and Luke, “Be not afraid of them who kill the body, and after that have no more that they can do; but rather fear him that can destroy both soul and body in hell.” It seems that like the people we are celebrating today, the crowd here is willing to become Saints and Martyrs if it is God’s will. PAGE SIX Panel 1: The Pope stands at the ambo, making the proclamation of canonisation. POPE ...After due deliberation and frequent prayer for divine assistance, and having sought the counsel of many of our brother bishops, we declare and define these Blessed Martyrs to be saints... Panel 2: The banner showing the portrait of Father Raphael, the crowd cheering below. POPE (Off Panel) Saint Raphael Velasco, Priest and Martyr Panel 3: The banner showing the portrait of David Amadio, the crowd cheering below. POPE (Off Panel) Saint David Amadio, Martyr Panel 4: The banner showing the portrait of Sarah Palladino, the crowd cheering below. POPE (Off Panel) Saint Sarah Palladino, Virgin and Martyre PAGE SEVEN Panel 1: Sarah stands next to a statue of Saint Joan of Arc, on a Vatican rooftop, watching the announcement of her sainthood. Panel 2: Sarah watches with a hard glare emitting from a heart dead as stone, and a rage like that of a volcano. SARAH Huh, look at that, a church full of paedophiles and hypocrites, declaring me a Saint; me who they murdered! Me, the one who is now sworn to eradicating the earth of every single one of them. Panel 3: Sarah rolls her eyes at the thought of how ridiculous this announcement truly is. SARAH "Innocent Sarah, Virgin and Martyre." Huh! Panel 4: Sarah turns her face towards that of Joan of Arc, tears streaming down Sarah’s eyes, her face scrunched up in sorrow. SARAH Did you feel the same way, Saint Joan? Were you as offended when they, the same church which burned you at the stake as a heretic, declared you a Saint? I wish you could speak with me, guide me, tell me what to do. Panel 5: Sarah throws up her hands in frustration and confusion, her face both sad and angry. SARAH What am I doing talking to a statue? You were probably never even real, just some fairytale, just a bunch of lies, like everything else those hypocrites say for us gullible idiots to eat up! Come on Sarah, what is wrong with you, still believing in this stuff! I can’t let them get to me, I must stay focused on why I have come back! Panel 6: Sarah again looks on in anger. SARAH Those hypocrites, pigs and rapists, down there telling the masses a fairytale about me, calling me an, ‘innocent little saint’; well, if only they could see the monster they have made me! [Sarah looks at the portrait of David, and feels many emotions, sorrow over the loss of him, anger at his betrayal of her, remourse for having shot him in the face, telling the story of her past, and becoming angry at the church again.] PAGE EIGHT Panel 1: The Pope, behind the ambo, begins his homily. POPE God has made His glory to shine on these Martyrs, let us look on these new saints and be reminded of the call to be faithful to Christ, even unto martyrdom; calling us to the urgency of bringing Christ and his Gospel to everyone! Panel 2: Sarah, from above, next to the statue of Joan, stairs at the portrait of David. POPE (Off Panel) The martyrs’ faithfulness even unto death, and the proclamation of the Gospel are rooted in the love of God, and in the witness we must bear to this love in our daily lives. The saints proclaimed today offer shining examples; and they also pose questions to our Christian life: am I faithful to Christ? How am I able to “show” my faith with courage? Let us ask that, by the intercession of these new saints. SARAH Oh, Daivd, my David, what have I done to you? Panel 3: Faded memory: a copy of panel 3 of page 15 of issue 4, Sarah clicking the double barrol shotgun shut. SARAH You've betrayed the power that brought you back to life, my love. That's why your wounds are bleeding again. SFX Tlak Panel 4: Faded memory: a copy of panel 4 of page 15 of issue 4, David on his knees, apologising, as the gun points at his face. DAVID I’m… I’m sorry… Panel 5: Faded memory: a copy of panel 1 of page 16 of issue 4, Sarah apologising as a tear falls from her eye. SARAH So am I. So am I. PAGE NINE Panel 1: Faded memory: a copy of panel 2 of page 16 of issue 4, Sarah shoots David in the head. SFX Blam Panel 2: Sarah, next to the statue of Joan, still gazing at David’s portrait. CHARACTER Dialogue Panel 3: Close-up on Sarah’s face as it runs with tears of regret. SARAH David, I’m… I’m sorry... Panel 5: description. CHARACTER Dialogue Panel 6: description. CHARACTER Dialogue PAGE TEN Panel 1: Issue 2 page 6 panel 2 CAPTION (SARAH) I remember the first time you entered into my life. CAPTION (SARAH) I was in the chapel, deep in prayer… CAPTION (SARAH) I was always so serious, so religious… CAPTION (SARAH-angry) ...What a fool I was. Panel 2: Issue 2 page 7 panel 1 CAPTION (SARAH) Then all of a sudden, you were there next to me, Panel 3: Issue 2 page 7 panel 4 CAPTION (SARAH) At first I thought, “What are you doing here? Leave me alone, can’t you see I am busy?” CAPTION (SARAH-angry) I hate myself now for having been that way. Panel 4: Issue 2 page 7 panel 5 CAPTION (SARAH) But then with that smile, that smile that seemed bigger than your face, you won me over. CAPTION (SARAH-love) I love you so much. Panel 5: Issue 2 page 8 panel 1 CAPTION (SARAH) And that day I gained a partner in prayer, in life. CAPTION (SARAH-love) You balanced me out, you taught me how to smile, and laugh, and love. PAGE ELEVEN Panel 1: Issue 2 page 9 panel 1 CAPTION (SARAH) I invited you to bible study Panel 1: Issue 2 page 9 panel 4 CAPTION (SARAH) And there we grew, both in faith, and in love Panel 1: Issue 2 page 8 panel 2 CAPTION (SARAH) Under the ever watchfall eyes of Father Raphael Panel 1: Issue 2 page 12 panel 1 CHARACTER Dialogue PAGE TWELVE All of issue 2 page 13 Panel 1: description. CHARACTER Dialogue Panel 2: description. CHARACTER Dialogue Panel 3: description. CHARACTER Dialogue Panel 4: description. CHARACTER Dialogue Panel 5: description. CHARACTER Dialogue PAGE THIRTEEN All of issue 2 page 14 Panel 1: description. CHARACTER Dialogue Panel 2: description. CHARACTER Dialogue Panel 3: description. CHARACTER Dialogue Panel 4: description. CHARACTER Dialogue Panel 5: description. CHARACTER Dialogue PAGE FOURTEEN All of issue 2 page 15 Panel 1: description. CHARACTER Dialogue Panel 2: description. CHARACTER Dialogue Panel 3: description. CHARACTER Dialogue Panel 4: description. CHARACTER Dialogue Panel 5: description. CHARACTER Dialogue PAGE FIFTHTEEN All of issue 2 page 16, excapt panel 4, which is to be replaced with a far more graphic scene of Sarah and David as they are fetting hit by the van. Panel 1: description. CHARACTER Dialogue Panel 2: description. CHARACTER Dialogue Panel 3: description. CHARACTER Dialogue Panel 4: description. CHARACTER Dialogue PAGE SIXTEEN Panel 1: description. CHARACTER Dialogue Panel 2: description. CHARACTER Dialogue Panel 3: description. CHARACTER Dialogue Panel 4: description. CHARACTER Dialogue Panel 5: description. CHARACTER Dialogue Panel 6: description. CHARACTER Dialogue [Sarah looks to the statue of Joan of Arc, pulls the knife from her pocket and cuts her hair short, gathering the waterfall-like bundle of spent-shells and hair, and weaving it into a mock-rosary, her knotted hair as the string, the spent bullet-shells as the beads, and a crow feather in place of The Cross. “Each one of these bullets represent my own prayer for the world to be cleaned of such filth!” She declares, in an oath that she is going to make The Church pay.] PAGE SEVENTEEN Panel 1: description. CHARACTER Dialogue Panel 2: description. CHARACTER Dialogue Panel 3: description. CHARACTER Dialogue Panel 4: description. CHARACTER Dialogue Panel 5: description. CHARACTER Dialogue Panel 6: description. CHARACTER Dialogue PAGE EIGHTEEN Panel 1: description. CHARACTER Dialogue Panel 2: description. CHARACTER Dialogue Panel 3: description. CHARACTER Dialogue Panel 4: description. CHARACTER Dialogue Panel 5: The Pope finishes his homily. POPE As we venerate these martyrs, let us ask God to sustain those many Christians who, in these times, right now, suffer violence, and give them the courage and fidelity to respond to evil. Panel 6: description. SARAH And I shall, amen. “The road to Hell is paved in the bones of erring priests, with the skulls of bishops as the lamps that light the path.” Memento Mori Issue 6 By Jack Danya Kemplin [David and Marcus] [David awakens to discover that there is a large hole in the middle of his face and an even larger one out of the back of his head.] PAGE 1 PANEL 1 Description. CHARACTER Dialogue PANEL 2 Description. CHARACTER Dialogue PANEL 3 Description. CHARACTER Dialogue PANEL 4 Description. CHARACTER Dialogue PANEL 5 Description. CHARACTER Dialogue PANEL 6 Description. CHARACTER Dialogue PAGE 2 PANEL 1 Description. CHARACTER Dialogue PANEL 2 Description. CHARACTER Dialogue PANEL 3 Description. CHARACTER Dialogue PANEL 4 Description. CHARACTER Dialogue PANEL 5 Description. CHARACTER Dialogue PANEL 6 Description. CHARACTER Dialogue [David thinks of Sarah, how he betrayed her, and he questions everything] PAGE 3 PANEL 1 Description. CHARACTER Dialogue PANEL 2 Description. CHARACTER Dialogue PANEL 3 Description. CHARACTER Dialogue PANEL 4 Description. CHARACTER Dialogue PANEL 5 Description. CHARACTER Dialogue PANEL 6 Description. CHARACTER Dialogue PAGE 4 PANEL 1 Description. CHARACTER Dialogue PANEL 2 Description. CHARACTER Dialogue PANEL 3 Description. CHARACTER Dialogue PANEL 4 Description. CHARACTER Dialogue PANEL 5 Description. CHARACTER Dialogue PANEL 6 Description. CHARACTER Dialogue PAGE 5 PANEL 1 Description. CHARACTER Dialogue PANEL 2 Description. CHARACTER Dialogue PANEL 3 Description. CHARACTER Dialogue PANEL 4 Description. CHARACTER Dialogue PANEL 5 Description. CHARACTER Dialogue PANEL 6 Description. CHARACTER Dialogue [Marcus approuches David and they speak, Marcus in-brief tells his story.] PAGE 6 PANEL 1 As David lies bent over weeping, behind him bony fingers grasp the door-frame. PANEL 2 A skull with a large cross burned across its face begins emerging from behind the wall. PANEL 3 The scarred skeleton enters the doorway, approaching David. MARCUS Tempus fugit, memento mori PANEL 4 Close-up: David, tears streaming from his sole eye, turns his fractured head, looking towards the viewer in confusion. DAVID What? PANEL 5 The skeletal figure, Marcus, an avatar long dead and time-wasted until mummified bones covered in cuts, gashes, and brandings; stands silhuoetted in the light from the doorway. MARCUS Time flies, remember death PAGE 7 PANEL 1 Marcus points to his own skull. MARCUS Behold this relic of mortality, an empty casket which once contained the precious treasure of a human mind. How marvellous is this mind of man--use it to seek truth and the Source of all truth. PANEL 2 Marcus points to his eye sockets. MARCUS Here from these empty sockets, fashioned by the hand of God, did once look out on life and light, eyes, fresh and bright and young as yours. Let us not be blind to the needs of our fellow man, but search out the good in everyone who is before our eyes each day. PANEL 3 Marcus points to his mouth. MARCUS Here in this stronghold, guarded by these sentinels of bone, the tongue was placed. "With it we bless God, and with it curse men, who have been made after the likeness of God. Out of the same mouth proceed blessing and cursing." Let us please God by moderation in its use, by truth and purity in its utterance. For he who would love life and see good days, let him refrain his tongue from evil and his lips that they speak no guile. PANEL 4 Marcus points to his ear-holes. MARCUS Here were channels through which instruction flowed. Listen ever to the weak and the oppressed. He who stops his ears against the cry of the poor may also cry himself some day and not be heard. PANEL 5 Marcus again points to his skull. MARCUS When you look upon this remnant of a being once endowed with life and health, remember that the Angel of Death is ever hovering about, that before long the bodies now animated by our souls will be naught but ashes. Let our lives be such in honesty, integrity, purity, and charity, that on the last day our souls, complete with happiness may share forever the victory which Christ won for us on the cross. PAGE 8 PANEL 1 Close-up: David still looking on in bewilderment as before. DAVID Who are you? PANEL 2 Marcus stands above David, the light from the doorway almost silhouetting them both. MARCUS One, such as yourself: a being who has tasted martyrdom, and been resurrected. PANEL 3 Marcus crouches down before David, who shivers in trepidation as Marcus lays one of his skeletal hands on him. DAVID Were you guided by The Crow too? MARCUS Yes DAVID Where has The Crow gone, why has it abandoned me? MARCUS I understand your fears, it abandoned me too, millennia ago. PANEL 4 David sits up. DAVID What happened to you? PAGE 9 PANEL 1 From the view of one of the soldiers: row after row of the backs of the heads of Roman soldiers as they hear the orders of their commander Marcus, who stands before them. CAPTION (MARCUS) I was a commander of a Roman legion... PANEL 2 A portrait of Nero sneering, his laurel crown forming a shape suggesting horns, the number "666" overlaid in hair-thin lines of fire upon his forehead. CAPTION (MARCUS) ...during the reign of Emperor Nero, whom you know of as The Anti-Christ whose name is the number of the beast, 666. PANEL 3 A montage of Marcus in combat with various foes, each wearing the Armour of a different empire, kingdom, or tribe; with each Marcus is wearing the armour of a different rank in the Roman military. CAPTION (MARCUS) As I proved myself a dedicated soldier and rose in the ranks... PANEL 4 Marcus and Nero standing next to each other before the Senate, Nero grasping Marcus' hand and raising their joined arms in the air, as both smile with joy. CAPTION (MARCUS) ...Nero and I became friends. PAGE 10 PANEL 1 A scroll with Nero's decree; as the viewer reads down, the scroll slowly fades to a scene of a blood-moon casted Roman road illuminated by poles along it, poles which impale pitch covered and lit aflame Christians. CAPTION (MARCUS) The emperor declared all Christians were terrorists to Rome and were to be killed. SCROLL I, your most beloved Emperor Nero Claudius Caesar Augustus Germanicus, do declare that all members of the rebellious and terrorist cult known as Christians, are to be killed and their leaders are to be burned as lamps to light the roads. PANEL 2 In the foreground Marcus and several of his soldiers lay in wait amidst rocks, while bellow Christians gather before a stone alter, in front of it stands an old man (Peter) with a white beard and hair, dressed in robes, and next to him is a slightly younger man (Mark The Evangelist). CAPTION (MARCUS) I carried out my duties, and my men and I prepared a major attack... PANEL 3 Peter addresses the tattered and weary crowd, while Mark stands next to him, writing down what Peter says. CAPTION (MARCUS) ...when I heard the Apostle Peter speak- PETER Blessed are you who are poor, for the kingdom of God will be yours. Blessed are you who are now hungry, for you shall be satisfied. Blessed are you who are now weeping, for you will one-day laugh. Blessed are you when people hate you, and when they cast you out and insult and mock you, and call you evil... PANEL 4 David's eye widens and his mouth drops in awe at realising he is talking to someone who actually met one of the Apostles. DAVID You actually saw Peter? PANEL 5 Marcus' head falls in regret. MARCUS I did... PAGE 11 PANEL 1 A montage beginning with Marcus, Gaius, and Tigellinus at the rocks overlooking the Christians, Tigellinus shouts, "Attack!" The soldiers racing down, stabbing and slashing Christians, stabbing to death a mother as her baby cries in her lap. Mark the Evangelist flees, as Gaius grabs Peter from behind, holding Peter's arms to his back, while Tigellinus stands in front of Peter. CAPTION (MARCUS) My men slaughtered the Christians... SOLDIER #1 Christian scum! SOLDIER #2 Traitor to the Empire! SOLDIER #3 You worship a condemned criminal of Rome? You shall join him by the end of my sword! BABY Mama! GAIUS You are the man Peter? PETER I am Simon called Peter, yes. TIGELLINUS It is decreed that the man called Peter...be crucified. PETER I am unworthy to die in the same way as Our LORD. TIGELLINUS Then we shall flip you over and you shall die that way! PAGE 12 PANEL 1 Peter hangs upside down on an inverted cross upon a rain soaked rocky hill; the sky above full of black and red storm clouds. Christians cry below, and amidst them stands Marcus, his face full of regret. CAPTION (MARCUS) ...and we had Peter crucified upside down. PETER Forgive them, Lord. CAPTION (MARCUS) I was racked with so much guilt over what we had done, over all the innocent people we murdered. PAGE 13 PANEL 1 Marcus, shrouded in a hooded cloak, stands reverently amidst the congregation of Christians as Mark preaches. CAPTION (MARCUS) In secret I came to Peter's companion, the Evangelist Mark... PANEL 2 In the catacombs Marcus, his hands folded in prayer, stands before Mark who holds a small stoneware bowl full of water above Marcus' head, pouring a small amount of water upon Marcus three times. CAPTION (MARCUS) And eventually I was baptised, taking on Mark's name as my Christian name: I am Marcus. MARK THE EVANGELIST I baptise you Marcus, in the name of the Father, the Son, and the Holy Spirit. SFX (WATER) Drip Drip Drip PANEL 3 Marcus stands in the middle of the Senate, interrupting its proceedings. CAPTION (MARCUS) I could not allow Rome to continue to persecute these most innocent and holy people, so I went before the Senate, and declared myself a Christian. I plead before them to stop this needless bloodshed... MARCUS After the torments and bloodshed I have witnessed ordered by all of you, I came to know the one true God...I am Marcellin, The War Hammer, no more! I have left all that, and am born anew! Now I am Marcus, a servant of Christ...I have come among you voluntarily, to bear witness! PAGE 14 PANEL 1 Nero stands in the imperial booth; Claudia Octavia on the right side of him, pleading for him to be kind upon their friend and the Christians; on his left side stands Sporus, an effeminate young man who whispers sinisterly in Nero's ear as Nero looks forwards with fiery anger in his eyes. CAPTION (MARCUS) ...but Nero's mind was warped by evil tongues... CLAUDIA Dear beloved, please look kindly on our friend and the Christians, they mean us no harm. SPORUS Emperor, you mustn't look weak before the Senate. You must condemn this traitor and the Christians. PANEL 2 In prison, Marcus lays, his feet in stocks and a heavy stone on his chest. CAPTION (MARCUS) ...and he had me imprisoned... PANEL 3 Marcus, shod in iron horseshoes with red-hot nails, attaching to a chariot with an ox yoke, is driven by Tigellinus, who beats him with whips until pieces of his flesh come off and his blood soaks the ground as he is drawn through the city. CAPTION (MARCUS) ...shod and driven like a steed... PANEL 4 Looking up at Marcus from the flames beneath him: Marcus is chained face down on a gridiron atop a fire, the red hot bars burning cross-like patterns into his face and chest, as Romans press brands of red-hot iron and pokers into his sides, while Marcus' lungs fill with smoke. CAPTION (MARCUS) ...branded and roasted on a gridiron. PANEL 5 First-person perspective: In the catacombs a bright light appears from above, The Crow circling down within it. CAPTION (MARCUS) I thought that would be the end, and I would be risen to heaven as a martyr; but it seemed God had other plans, and I was resurrected on the third day by The Crow. THE CROW Fear not, Marcus, for I am with you. Rejoice! PAGE 15 PANEL 1 David looks on, bewildered at why Marcus would still be here after so long; and worried over what this may mean for him and Sarah. DAVID But that was almost 2,000 years ago, why are you still here? PANEL 2 The resurrected Marcus confronting Nero. CAPTION (MARCUS) In my thirst for the Virtue of Holy Justice... PANEL 3 Nero, his wrists slashed, lays dead at the feet of Marcus on a hill, while the whole city of Rome is in flames behind them. CAPTION (MARCUS) I lost myself to the Vice of Vengeful Wrath... PANEL 4 Montage: A Family holds each-other close, shielding their children's eyes as the light and smoke of flames draws near; a lone 3-year old girl weeps for her parents as the flames encircle her; a heavily pregnant young woman clutches her belly as she is burned alive, the fire cornering and engulfing her. CAPTION (MARCUS) ...and I burned down the city of Rome, killing countless innocents. PARENTS Look away children 3-YEAR OLD Mama! Dada! PREGNANT WOMAN Aaaahhhhhh!!!!! CAPTION (MARCUS) That is when The Crow abandoned me... PAGE 16 PANEL 1 From behind: Marcus walks through the entrance to the catacombs, beginning his descent down into its blackness. CAPTION (MARCUS) ...so I went back to the catacombs... PANEL 2 Marcus laying, seemingly lifeless, in a niche carved into the stone walls, his muscles having partially withered, his skin starting to mummify. CAPTION (MARCUS) ...and there I slowly began to rot. PANEL 3 Close-up: Marcus takes hold of David's hand, and begins to raise him to his feet, their two figures silhouetted in the light flowing from the door frame. MARCUS ...but now, after two millennia, I sensed your presence, and I have again risen, to set the wrong things right. [David and Marcus watch the canonisation and bond over their shared situation.] PAGE 17 PANEL 1 Description. CHARACTER Dialogue PANEL 2 Description. CHARACTER Dialogue PANEL 3 Description. CHARACTER Dialogue PANEL 4 Description. CHARACTER Dialogue PANEL 5 Description. CHARACTER Dialogue PANEL 6 Description. CHARACTER Dialogue PAGE 18 PANEL 1 Description. CHARACTER Dialogue PANEL 2 Description. CHARACTER Dialogue PANEL 3 Description. 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CHARACTER Dialogue PANEL 4 Description. CHARACTER Dialogue PANEL 5 Description. CHARACTER Dialogue PANEL 6 Description. CHARACTER Dialogue Memento Mori Issue 7 By Jack Danya Kemplin [Sarah hunts down priests, and David and Marcus try to stop her.] Memento Mori Issue 8 By Jack Danya Kemplin [David and Sarah talk things out, and all rest in the catacombs] Parts still to be written: Sarah and David's emotional struggles over how they feel about each other. Sarah struggling with her feelings over having shot her beloved, David in the face, and knowing that he had more faith in Father Raphael than in her love. Sarah re-goes over the memory of when she was caught kissing David. After being hit by Father Raphael, she goes home feeling so ashamed of herself, blaming herself for everything, for not being strong enough during a momentary attack of lust, a test by God. She adored Father Raphael from childhood as well, and also tried to be a saint, but somehow always seemed to lack in his eyes, her failings too great. Her and David often would speak of their love of Father Raphael, and how they so wanted to please him, to please Jesus, Their Lord. Their strong desire to be saints, that is one of the things they bonded over, even having met while in prayerful adoration; they wanted to become saints like Francis and Clare, like John and Theresa, partners in sainthood. Reality comes crashing down, as she remembers that Father Raphael is the bad guy, the pervert who didn’t give a shit about her and who had a hard-on for David, that bastard! Oh David, why did you have to be so foolish, so gullible?! David (With a shotgun wound to the face and starting to rot) doubting his faith, questioning the existence of the Judeo-Christian God, questioning The Church, and feeling guilty for having more faith and love in Father Raphael than he had in Sarah. Marcus coming to David while David is lost in his emotional pain. Marcus briefly tells David his story, and they bond over their shared experiences, both David and Marcus being considered Martyrs and Saints, while they both remain on earth, rotting, questioning their faith. David, having been a Catholic Altar Boy, had admired The Saints and Martyrs, growing up, and he now looks upon Marcus as a mentor, perhaps the only one who has gone through what he has, who knows how it feels. The Church's canonisation of David, Sarah, the others who died in the procession that day, and Father Raphael, Martyrs and Saints; Sarah and David’s feelings on that. Marcus speaking with David regarding the surreal experience of seeing themselves declared Saints, while they are on earth rotting away and losing faith, "I was like you once, I believed so strongly that my Lord and Savior would soon return and be The Just Judge of Good and Evil; but it has now been nearly 2000 years, and I am still waiting. You know, David, I have been around long enough that I actually knew the Apostle Mark, who's name I chose as my Christian name." Sarah’s thirst for vengeance against men like Father Raphael, her insatiable hunger to eradicate the earth of people like that. Marcus and David's attempt to convince Sarah to stop her carnage and forgive David in an attempt for both of them to find inner peace. David: Sarah, no! This has got to end! Are you really making the world any better? Sarah: Stay out of this, David! Do I need to shoot you in the head again?! David: Killing these men will not make you feel any better--it will not ease your pain. Sarah: How would you know?! You took great glee in those who you killed! You are only still here because you were too gullible to realise who your true enemy was! Sarah raises the shotgun to David's head Marcus enters Marcus: I have lived as you, in this resurrected corpse, for the past 2000 years, and I can tell you, you could bring down the whole Roman Legion and still not feel at peace--hurt for hurt won't help you. Face it Sarah, it isn't them who you are angry at, it isn't them which causes your pain, but the heartbreak you feel towards David...and towards yourself. Keeping yourself away from David, making him your enemy, only makes the fisher of pain grow into a cavern, and even if you cover that cavern with the dirt of hatred, it just becomes the ageless crypt which forever lies your restless soul, as you slowly rot, like us. Sarah and David talking things out, reaching acceptance, and finding their love for one another again. It ends with all three of them going down into the catacombs, and laying in niches, Sarah and David laying next to each other, their hands clasped. PAGE ONE Panel 1: description. 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Greg McFadden and Alyssa Grady live in a land divided; they live in 1970’s Ulster Northern Ireland. Greg is a Catholic and Alyssa a Protestant, and they are madly in love during a time and in a place, where there couldn’t be more hate. It is the time of The Troubles and Ireland is ripped apart. After they are are murdered, Greg is resurrected by The Crow, and with the help of the bog woman, Macha Mong Raud, he finds their killers. Characters Greg McFadden Alyssa Grady is Greg’s girlfriend The Bog-Woman Plot: William Callahan Tristin Scott Writing: William Callahan Tristin Scott Jack Danya Kemplin Artist: (artist) Lettering: (letterer) Edited by: Jack Danya Kemplin The Crow™ © 2016 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. PAGE 1 The first three panels seamlessly merged together, side by side, to form a montage. Panel 1: Two cavemen fighting. CAPTION Since the beginning of time mankind has been fighting one another Over petty differences Panel 2: Iron Age Irish armies clash in battle on the moors, one lead by a female queen, Macha Mong Raud. CAPTION Over who has more power over who Panel 3: A dirty, crumbling city in 1970’s Ireland, two opposing neighbourhoods try to take cover behind trash cans, dumpsters, and the steps and windows of their buildings which face each other across the road; they take cover as they also shoot at one another and throw molotov cocktails. CAPTION And even out of ennui Panel 4: Straight-on view: A young man, his body hidden behind a dumpster, has risen his head and rifle, and takes aim; in its sights can be seen two other young men, brothers, across the street, one, the eldest, with his own gun aimed towards this shooter, the younger brother hiding behind a trash can lid, holding a molotov. Panel 5: Side view: The older brother, hit with gunfire, flies backwards into the brick wall of their apartment. The younger brother, tears streaming down his face, his mouth contorted in rage, tosses the molotov cocktail. YOUNGER BROTHER That was my brother, you Orangie! Panel 6: The Molotov shatters behind the dumpster, it’s alcohol dousing and igniting on the shooter and the others crouched with him, their skin boiling as they scream in agony. CAPTION This in return causes others to strike back in endless cycles of revenge PAGE 2 Panel 1: Long horizontal panel: The Crow flies across time, across battles, as the warriors of Macha clashing on the rolling moors becomes the men of the 1970's fighting amongst the rotting city. CAPTION Since time immemorial men have been warring, turning rolling hills and cities into battlefields And always accompanying those battles has been The Crow Panel 2: Close-up: The young brother stands there, both shaking in anger over what was done to his brother, as well as in horror over what he just did, and in fear that he will be next to die; tears still streaming down his face, his mouth still contorted in anger and anguish, and in his eyes can be seen the flaming bloodbath across the street, while behind him lies the dead body of his brother. CAPTION Feasting on the thirst for vengeance Living on the carrion carcasses of the dead. PAGE 3 Panel 1: Birds-Eye-View: The Crow circles above as the battle in the streets continues. On a street cutting across near the top, to the right of the main dividing street, a man (Greg) is walking down the sidewalk, a black car pulling up beside him. CAPTION This time the battle is in Ulster, Ireland, and the year is 1970 It is a time dubbed, “The Troubles” Panel 2: A young man, greg, is running towards the viewer, running in a dark, dirty street, he is almost silhouetted by the bright yellow headlights of the car racing after him. CAPTION when Irishmen kill Irishmen in the streets Panel 3: The black car pulls up to a bog. CAPTION All over what version of Christianity each follows Panel 4: Several men pull out of the trunk of the car, the bloody and broken dead body of greg. CAPTION And over whether they wish to be part of a Panel 5: And throw the body into a bog. CAPTION United Kingdom or an independent Ireland Panel 6: It sinks, slowly getting covered by the brown muck. PAGE 4 Panel 1: Protestants destroying Catholic statues and reliquaries during The Reformation; transitioning into a battle in the Thirty-Year War. CAPTION But then again, is any of this new? For have not Christians fought Christians before Panel 2: A battle in The American Revolution. CAPTION Nations fought for independence before Panel 3: The Iron Age battle of Macha Mong Raud. CAPTION And Irishmen fought Irishmen before Panel 4: An endless landscape of lush, green, marshy bog-lands; in the left foreground stands the young and beautiful figure of the Phantom Queen Macha Mong Raud, The Crow perched on her outstretched hand. CAPTION The Crow remembers For The Crow was always there PAGE 5 Panel 1: An endless landscape of marshy bog-lands; in the left foreground stands the withered brown, wrinkly, half rotted figure of a reanimated Bog-Woman, The Crow perched on her outstretched hand. BOG-WOMAN Fly, oh spirit, and may this tortured soul find its way back Panel 2: The Crow flies deeper into the landscape. Panel 3: It lands on what at first glance should look like a lump of rocks. BOG-WOMAN (Off Panel) What have you found here, my little friend? Panel 4: Close up on the thing which The Crow is standing on, it is in actuality, the mud covered head and shoulder of Greg’s body. Panel 5: Red light shines from Greg’s eye sockets, his mouth opens, his neck twists as his head looks up at the Bog-Woman who now stands before him, and his arm rises out of the mud; The Crow still perched on his head. BOG-WOMAN Yes, yes, rise! You have been blessed with the Eternal Power Of The Crow. PAGE 6 Panel 1: Greg’s corpse strains as he pulls at the quagmire, slowly working himself out of the mud, his eyes still glowing red, his body shaking in agony; The Crow still atop his head. GREG Nooooo!!!!! Alyssa! Panel 2: He strains as he struggles against the water and the peat, strains as he tries to rise; his body slowly starting to heal. GREG Where am I?! Panel 3: Greg has almost completely risen out of the muck, his body still straining against the last sticky bits as he looks more and more alive. The Crow leaps from Greg’s head, into the air. GREG What happened?! Panel 4: The Crow lands back on the arm of The Bog-Woman, as she stands before Greg, his red eyes having faded to their normal colour, his body looking almost alive. BOG-WOMAN Yes, I know, it hurts PAGE 7 Panel 1: Greg’s-Point-of-View: Vision blurred, The Bog-Woman, in all her grotesqueness stands, The Crow and her looking straight at us. THE CROW Welcome to the family, kid. Panel 2: Greg falls backwards in horror, falling back into the bog. GREG Get away from me you hag! Panel 3: The Bog-Woman looks on with a smirk as Greg tries to scurry away on his hands, causing himself to again sink into the muck. BOG-WOMAN Hag? Moments ago you didn’t look much better than me. Look at yourself, boy, remember what happened... Panel 4: Greg stares at his hands. PAGE 8 Panel 1: A young man, greg, is running towards the viewer, running in a dark, dirty street, he is almost silhouetted by the bright yellow headlights of the car racing after him. Panel 2: He is struck by the car. Panel 3: Greg still sits in the bog, still gazing at his hands. GREG They...they killed me... Panel 4: The Crow now sits on the Bog-Woman’s shoulder as she grasps Greg’s hand. THE CROW Bingo, boy. BOG-WOMAN Yes, now here, have a helping hand. PAGE 9 Panel 1: The Bog-Woman now sits on a stump, as Greg sits on a rock across from her; her intently looking at him, as he just looks to the ground in shock. GREG They killed me… BOG-WOMAN Yes, they did. Now deary, tell us what happened? Panel 2: Greg walks down the street in the dark and dirty city, him clutching his trench coat as the cold wind blows against him. GREG I was walking down the street, it was night time. Panel 3: An idealised portrait of Alyssa, shimmering in smoky light. GREG I was going to see my girlfriend...Alyssa… Panel 4: Alyssa looking down in horror from a second floor window. GREG My God, Alyssa! THE CROW Don’t get too hung up on her BOG-WOMAN What happened next? Panel 5: A black car, full of men, ranging from late teens to late 50’s, pulls up next to Greg as he walks. GREG This car pulled up next to me PAGE 10 Panel 1: Description DRIVER You lost, pal? Need a lift? My friends and I could drop you off somewhere. GREG No thanks, I'm almost where I need to be. Panel 2: Description DRIVER Aye, but with all these...Troubles...as of late, you can’t be too careful, y’never know who could be roaming the streets, better to be safe. GREG I’ll be fine Panel 3: Description DRIVER Will ya now? You know, I know everyone in this neighborhood and everyone knows me, and I know that you’re not from around here, and that’s a dangerous thing to be walking around in this neighborhood Panel 4: Description GREG I’m not looking for trouble, sir. Panel 5: Description DRIVER Aye, but troubling times is what we are in, and I’m afraid trouble is what you could find yourself in. Panel 6: Description GREG What’s this about? PAGE # Panel #: Description PASSENGER Come on, let’s show this Taig some manners! Panel #: Description DRIVER You a Taig? GREG Please leave me be Panel #: Description DRIVER I asked if you were Catholic?! Panel #: Description GREG I said, please leave me be! DRIVER Oh, I’m afraid that sounds like a “yes”, lad PASSENGER Why we wasting time?! Let’s kill this Papist! Panel #: Description DRIVER And you know what we do to Taigs in this neighborhood Panel #: Description GREG Please, sir, I have nothing against Protestants Panel #: Description DRIVER Too bad we have something against you The poet makes a break for the alleyway. just as he makes half way the car starts speeding after him and just as he makes it to the outside of the alleyway he is struck down by the car and is pummeled face first to the ground he looks and sees a police officer he weakly extends his hand The poet: (faintly) help... driver: YOU WANT NONE OF THIS CLEAR OFF!!! the officer running away in the reflection of the poet's eyes The driver grabs the poet by the hair a silhouette of the poet getting his throat slit BOG-WOMAN Sounds like those men were looking for a soul to reap, and unfortunately for you my friend, it looks like they found their soul. Too bad for them that Mamma Death found you, and now it is your time to reap. The crow: another soul claimed on the streets of this country divided, so many have been lost to this conflict that no one seems to notice anymore. The slane just fill up space in the obituaries these days. The poet walks out to the street and looks around The poet: wow here it is that same street and it’s almost as if I’m a Spector wandering the same sorrowful spot where his flesh and sole parted ways. And would you looks at that it’s that same car as though it were doomed to haunt these dwellings. Doomed with me a ghost a ghost with unfinished business. The black car pulls up next to the poet and roles its window down it’s the same driver as before but on his driver: well mate you look like you’re on your way to a funeral The poet: I’m just back from one driver: say you look awfully familiar are you from around heir The poet: I’m not I’m lost in fact would you mind giving me a lift driver: I was just about to subject that. Hope right in The poet: thank you sir. (while entering the car) The poet(internal monologue) it was bizarre how the driver didn’t recognize me. Perhaps the idea of a real life revenant was to impossible for his brain to consider, maybe he didn’t actually get a good look at me in such dim light. Or maybe he has done this so often that he forgets faces. The victims of cold blooded killings become so numerous that they just as easily get lost in a sea of victims. driver: so where is it I’m taking you? The poet: at the very end of the street. Turn right then turn left at the end of that street driver: no bar mate it’s a good job I saw you cause these streets.... The poet: art safe to walk about especially If you’re on your own driver: aye it’s not that you would be looking for trouble....... The poet: it’s just that trouble might find you driver: That’s right. You sure I don’t know you you look just like someone I’ve met recently The poet: I depends who it that I look like is driver: can’t say... The poet: huh that’s very interesting. Come to think of it I recognize you The poet notes a gun in the front seat as they drive around he noted the glint of a machete driver: oh is that right where from? The poet: funnily enough this very street driver: (sharply) When? The poet: why just the other night my friend driver: Oh is that right, who are you then The poet: lets see if this can get the gears turning in your head. See I was interested in body modification you see. And your friend let me get one free of charge, though Instead of a piercing (pulling down the scarf on his neck to revel the scar) he gave me a laceration I’m not quite happy with the results could I have a refund. driver: (reaching for the gun) no bother Before he can turn the gun on the poet he stabs through him with the machete through the driver’s seat driver: AHHHH WHAT THE FUCK! The car comes to a screeching halt and the poet picks up the gun. The poet :( pointing gun at his head) tell me where's the others driver: fuck you The poet twists the machete driver: GAHH FUCK! Robinson hangs around the old loyal. The boss iv no idea where he is and what he does. The poet: Well would you look at that. This little slug thrower of yours, why it's the most powerful handgun in the world if I remember correctly, I’d ask if you felt lucky though I’m quite confident its fully loaded so I’d advise you to start answering me or else I'll blow your head clean off. driver: I SWEAR I DON’T KNOW! But Robinson might know he's going to be in the old loyal at 10:30 tomorrow The poet: well thank you for your help, say where are the other bullets for this iron you got, the streets are awfully dangerous. Never know when trouble might find me. The driver gestures to the glove compartment. And the poet leans into the front of the car and grabs bullets from the glove compartment. driver: please don’t kill me I was only doing what the boss was paying me to do. The poet: you think the slaughter of innocents is a reputable profession. Well ser The poet exists the car The poet: your job Is over master of the dead so I give you your wage paid in led The poet fires 3 shots into the car The poet sees a small child who approaches him from behind he crouches down and to speak to the child The poet: What are you doing here. At such an hour. Don’t you see that the streets are ablaze with a cleansing fire. It’s not safe to roam these streets, run along home little one. The poet begins walking to the Scene of the crime and notes that there is a tent covering the crime scene two men exit the tent and a lone police officer is left to guard the scene, he notes it’s the same officer who ran away on the night he was killed. Cut to the officer walking into the tent who is shocked by the arrival of the poet The poet: hello officer why do I see you here you guarding the dead while you fail to guard the living. John finn: members of the public are not otherised on this site of a crime scene you need to leave The poet: im not leaving until I’ve had a quick word with you. John Finn: who on earth do you think you are The poet: look in to my eyes, think back to two nights ago and remember your cowards Cut to a flash where we see the poet reaching out for help John finn: oh my god that’s impossible The poet: impossible is standing right in front of you and judging by the man with a blade and 3 holes Line his chest, impossible is doing a better job at removing the murders from the streets then you are. John finn: you did this? (Reaches for hand cuffs) your coming with me The poet: oh so you cower when you see a man brutally murdered but then you feel the need to slap a pair of handcuffs on a ghost john finn: you don’t understand. The poet: please explain to me because a police officer not stopping criminals does not make a lick of scene. John finn: I could have pulled my gun on those bastered I had every legal right to put them down right then and there. The poet: then why didn’t you? John finn: to protect my family, you never know if your fellow officers are like me or if there in an organization, if they have connections to those Basterds Life i had have shot him there would have been no doubt it would make its way back to them and lord knows what they would do if they knew i shot one of there men. They are already suspicious of me. The poet: whys that John finn: because I'm a Catholic. The poet: then why did you join the RUC? John finn: Because i wanted to look out for my community. i thought that if i joined then there would be someone how was looking out for my community. But unfortunately my own people didn’t see it that way. When I joined up I was viewed as a traitor by Republicans, and with suspicion from my fellow officers. The poet: if that’s the case then why don’t you quit John finn: I don’t know I guess i feel like there's still some good I can do. There are men like me who just want to help in the force but right now were being held back by the ones who aren't interested in being a police officer because they want to protect people. The poet: let me ask you something do you want to see the red hand reapers off the streets John finn: more than anything else I would. Then poet: good then all you have to do is stay out of my way to many people have lost there lives because of them. And im going to get rid of them. For good. john finn: (existing the tent) well I hope you do. The poet: one last question for you Sean Quinn: what’s that? The poet: what’s your name. John finn: My names john finn The poet: look after yourself John The poet exits the tent And begins walking down the road The poet enters a naborhood where the union jacks end and the tri coulrs begin the poet turns a corner and enters a corner shop Shopkeeper: oh for the hero free of charge The poet: what do you mean the hero? Shopkeeper: word spreads fast in this part of town and round heir we have lived in fear of the reapers you so long we’re glad someone’s taking care of them The poet exits the store and walks a little farther till he reaches what was his house in life he lifts the door matt and finds the key he left there and enters the house he looks around to find that most of his belongings have been put in boxes his give a look of sadness he begins rummaging around the boxes in search looks through a couple of boxes and finally finds a radio he takes it out and begins playing music. The poet: I’m gonna miss this place. The poet begins exploring hos house the hole he looks both at peace but confused he is happy to be in the house but he almost doesn’t recognize the house as everything that made the house his has been packed away in boxes save for a the furniture he goose up the stairs and notes the outlines of picture frames that have been taken down he smiles. The poet: the hose has been stripped of everything that made it a home. The outlines of old picture frames the walls bare the ghost of my presence. Walls that used to bare warm memories of the past memories that were supposed to last. Now only to be replaced with someone elses life rearranged as if it was never mine. And the contents of my house to be shared Peace of my past become part of my loved ones present little trinkets and mementos that hold memories of who I was. You don’t see eny of that when you kill a man, its very rare when eny of them ever really get a look at the life they destroyed. The poet looks down with an expression of rage Ill be there harsh reminder. News caster: hello and thank you for tuning in to bbc radio ulster this just in a man in a black car who was murdered late last night has been identified as one of the red hand reapers. witnesses are unsure of the identity of his assailant. The poet (internal monolog) its strange she would congratulate me for killing someone I guess that’s the kind of fear they lived under that there glad one of them is gone. It’s sad whenever it gets to a point when death brings someone joy. The poet (internal monologue) in life I was an artist and a poet rather fitting that that’s the name the media should dub me with this extra time I may as well put out a couple last creative works. Cut to later on in the night when the poet is making his way to the old loyal bar just he stops to spray something on the wall with a stencil. As he is spraying a young boy spots him The poet: hello Seamus: holy shit are you the man that killed one of the red hand reapers? The poet: haha one I plan to kill all of them Seamus: yeah you should kill every last one of those bastered huns The poet looks down with an expression of mild concern The poet: I’m only here for the bad men. here take a look at what iv sprayed on the wall Seamus: um okay The poet: do you read the bible? Seamus: no I’m bored to tears at mass why would I The poet: haha well neither do I but I know of this one passaged I saw in a play once that iv always remembered The buy pulls the stencil off the wall The poet: take away these harts of stone and give us harts of flesh Seamus: what does it mean? The poet: well what do you think it means? Seamus: I don’t know I guess it has something to do with empathy? The poet: exactly! Life has not exactly been kind has it? No so are harts grow hard and cold. We lose empathy become numb. But when you look inside when you find your hart of flesh. you realise that not everyone’s as bad as you think. Seamus: well I hope you get rid of the reapers those men defiantly don’t deserve empathy The poet: no not anyone’s, I give you my word I will get rid of them Cut to 10:30 at night at the old loyal bar John Robinson enters and talks to the bar tender Bartender: well I heard about Jackson sorry for your loss how are you feeling Robinson: surviving, I just hope that the boss finds a replacement, Christ I with him gone its left me with know one. Human to talk to you know that boss of mine hes a not right in the head. Bartender: aye I know im always on edge when that fella comes in, what is it your having? Robenson: erm pint of bas please. Bartender: here this first ones on the house Robenson: cheers. (takes a sip) Robenson: You know what his problem is, Bartender: whats that? Robinson: he likes it to much that’s what, see its not supposed to be a fun job. The whole idea of what we’re doing is to send a message to the republicans show them it’s not safe for them to enter this neighborhood. Bartender: do you think its worked? Robenson: well they haven’t attacked us here yet that’s for sure. Knowing the things I’ve done It makes it hard to sleep at night. But I take a little solace in the fact that my wife and daughter can. A man and a young teen walk into the bar they are unfamiliar to the rest of the customers They walk up to the bar man Older man: well we just need to use your bathroom then we will be out of your hair Bartender: that’s no bother mate go right on ahead. They leave for the bathroom. Robenson: they don’t look like their from around here Bartender: noo they don’t. keep a wee eye on them for me will you Robenson: no bother. The bartender walks out of the bar into the back he sets an empty keg outside and puts it next to other empty kegs he turns to note the poet standing in front of him The poet: hello humble tavern owner Bartender: holly shit you’re the man who killed Jackson The poet: then you will obviously know I’m here to kill john robenson but I wish to talk to him first tell him that death is waiting to have a word with him Cut back to the inside of the bar where we see Robinson contemplating his actions then suddenly the two men that walked in have burst out of the bathroom and are holding revolvers in this moment Robinson jumps over the bar and runs out into the back he bursts out the back door and just as he starts running he is shot in both kneecaps by the poet He pulls him by the back of his coat and sets him up against the wall. Cut to the inside of the bar and the ira have burst in spraying the customers with machine guns Cut back to outside and we see the poet and the bartender note the gun fire The poet looks at robenson The poet: don’t go anywhere. The poet runs inside the bar all the customer’s have either escaped or have been shot dead. One of the ira squamembers note the poet from the news paper articals Ira member1: well look whos here to hel… The poet shoots him before he can finisher The rest of the squad now registering that the poet is not an ally To poet manages to kill one other squad member in the moment the rest are held by shock The other opens fire with a machine gun but the poet ducks under the bar He walks over to cheek if the poet is dead in he points his gun over the bar then the poet grabs onto the barrel pulls him closer and cuts his thought. He vaults over the bar now using the dead cotton face as a human shield the last remaining cotton face holds fires at the meat shield but the poet fires the remaining two shots into the last cotton face. He shoves the remaining cotton faces body to the ground turns around and the teen that had walked in is pointing the revolver in the poets face. Peter: put the gun down The poet smiles The poet: shore thing sheriff I suppose your gona want to be killing me Peter: isn’t that obvious The poet: well you seem to be holding it off you don’t seem like you have the guts to shoot me Peter: I do and I will The poet: then do it already ohh look that guns doing a lot of trembling it’s a good thing you have me at point black rang you would probably miss if you didn’t. (BANG) The poet drops to the floor pretending to be dead The poet;( internal monologue) this is not this boys decision it was the cotton faces they have pushed him into it this. So this shall be a lesson for the young boy Ill get up in a moment, but I want to wait, wait long enough till he realizes what he has done, and that sick feeling reaches the pit of his stomach Peter: (timidly) oh god The poet then gets up and peter looks positively terrified the gun shot wond in hes head heals up and pushes the bullet back out of his foor head. He catches it in his hand and gives it to the boy Peter: (takeing a short moment still in shock) wwwhat are you? The poet: just an eco of a man that some fue people thought they could forget, Now that didn’t feel very good now did it, how do you think you would have felt if I didn’t get back up Peter: I don’t know The poet: why are you heir? Peter: To kill John Robinson The poet: Oh don’t you worry about him he has hell to pay with me and me alone, but I want to know why you are her why you have fallen in with the cotton faces? Peter: my father. My father was killed by the red hand reapers The poet: so you took up arms Peter: I have to do my part to stop people like this The poet: so lets get this strate a boy who’s father was murdered takes up arms and becomes a murderer himself. You ever consider what might happen let’s say the next person you try to kill is a father and then his sun swears a similar vendetta. He kills and another father dies and we then have another vengeful solder, sons killing fathers killing sons the violence is justified as a retaliation to violence which in turns creates more violence. And thus the cycle of vengeance continues untill we all forget why we wanted each other dead. Peter: what do you want me to do The poet: isn’t it obvious? Break the cycle Peter: what if that doesn’t work? The poet: hay its better then then contributing to the problem, when enuff people deside they no longer want to be part of this they will fallow suit. Things will get better Peter: and what do I do unill then The poet: all we can really do is hope. Instilling the same fear you have for your community in there’s is only gona serve to further entrench there views Peter: I guse your right The poet puts his hand on his shoulder The poet: good go get ye home if you care for your mother you will know she doesn’t need a solder, right now she needs a son. Peter: in the interest of breaking the cycle I was supposed to meat an American he was supposed to be selling weapons I was supposed to meet him on the falls road at 1:30 tomarow morning. Look for the car with the registration number M200111 The poet: thanks for telling me ill be having words with him Peter begins to walk out Peter: hay? Switch to a panel with a good veiw of the dead ira men with the poet and peter in frame Peter: do you think eny of these men were fathers The poets face gose blank for a moment And peter walks out of the tavern The poet gets up and goes out the back to where the barman try’s to tend to john Robinsons wounds he pulls a knife on the poet Bartender: listen here you freak you get the fuck away or ill.. Robinson: (interrupting) just get out of here. Its me he wants The bartender looks at the poet and back at robenson Robinson: look there’s nothing that’s gona stop him im already a Deadman SO JUST GO. The bartender looks down, drops the knife and runs away. The poet: now you know what I want to know. And you know what im going to do. Tell me what I need to know and ill make this easy for you. Robinson: my boss his habit’s are irregular but he spends most of his time in his office outside Belfast im supposed to be meeting him on Tuesday there at 5 (as he is talking the poet is reloading his revolver) …. H h how the fuck are you still alive The poet: I guess you could say I live to spite reality Robinson: look I know I know iv done some bad things I just I just need you to know I was only trying to prote…. The poet:(interrupting) no ill not heir this, not from you, I’m so sorry for what the world has made you. But you? you do not have my pity (The poet puts the gun to his for head) Nor will you have my mercy. (bang) the crow then comes and fly’s to the poets shoulder the poet walks back into the old loyal he grabs his knife and walks over to the bodies of the dead cotton face and begins to cut into his chest The poet: ill leave this here as a little message The crow: don’t stray to far from the path boy The poet: don’t be silly of course not we only have one more The crow: that’s right one more and were gone. Don’t get to involved The poet: what do you mean they were killers they had to be put down? The crow: I know but you still need to be carful. The poet: why The crow: because who ever fights monsters sees to it that they don’t become a monster in the process The crow and the poet walk off into the night Cut to Robert comins Just getting up from his bed ancering his phone Robert: what do you want its one in the morning? Phone caller: its robenson hes.. been Robert: they got him to didn’t they FOR FUCK SAKE. Ill fuckin deal with this in the morning Slams the phone down Roberts wife: what was that? Robert: one of the boys got killed again tonight. Now iv to find TWO replacements Roberts wife. Oh im so sorry to heir that ill miss robenson he was a nice man Robert: I didn’t fucken pay him to be nice just go back to bed Roberts wife: oh good night Robert: yeah Roberts wife: Robert? Robert:what now Roberts wife: im worried about you Robert: (turning in his bed to face his wife) the next person to get in my why that’s who should be fucken worried. Robert gose back to sleep and we can see in his head he is dreaming that he is walking down the stars everything is a grey hue almost completely devoid of color. He approaches the front door. They sky is purple it is the early morning darkness. He sees crows flock to his front garden perching on the garden wall and the fences. He sees the dark shroud of the poet his out line is to dark to make out the fetchers other than his signature outfit. Robert: (directed to the dream fantasim) what are you? The poet: I am the repo man iv come for the souls you have stolen. Robert: im not afraid of you. The poet: you should be im coming im an inevitability Robert: you can’t hurt me. This is only a dream. The poet: (walking closer to Robert) To a dream that was dreamed in the heart, and that only the heart could veiw. O wise man, riddle me this: what if the dream comes true? The poet snaps his fingers and Robert is engulfed in flames then is sudenly woken hyperventilating he puts his hand over his face and poses in a manner that invokes Michelangelo's the dammed man he looks to his window and sees a crow perched on his window sill that fly’s away as soon as it catches his notice Cut to the morning after with the police Police officer: well what can we gather from this little art display Detective G ennis: well we know one thing for dam sure, are friend the poet certainly isn’t a ra head Cut to a view of a dead ira man tied to a post with his eyes gauged out and a Chelsea grin cut into his cheeks with the poem etched into his chest that reads "be carful who you cross they could be in any place you could end up gone without a trace if you offend a cotton face" Cut to petter walking down the street when he notes the same kid who was spraying on the walls sat on his doorstep crying Peter: hay Seamus what’s wrong Seamus: my da was killed Peter: oh im soo sorry to hei..... Seamus mother comes to the door tears streaming down her face Seamus mother: come on back inside Seamus. She shoots a look at peter he looks away and just starts walking further down the street He walks further into town and passes an armored vehicle guarded by two British solders the solders start harassing him the walk along the begin to fallow him down the street Solder one: where are you going Peter: none of your business Solder two: yeah it is you could be going anywhere Peter: I'm going home It’s in this moment we see that in the front pocket of his jacket he has a revolver that he is internally threatening to pull out of his pocket Solder one: And where do you live? Peter: that’s non of your business Solder two: oh yes it is what if you’re in the IRA Peter: I’m not Solder one: well we will just have to see about that. Get on the ground were gona halve to do a search Peter continues on his way Solder One: oye I told you to stop Peter stops when he heirs the click of the solders rifle He stops and puts his hand on his head an knees. Solder two: ill search him The solder then begins patting him down Solder one: if you find anything make sure to say so if you find a wepon ill blow his brains out. The solder is almost about to reach down to the poket with the revolver when the poet shows up The poet: Gentlemen! is that really standard procedure Bolth the solders are shocked solder two takes one look at the poet and runs away Solder two: fuck that Solder one: oye get back ere or ill have you cortmarshaled! The solder notes the poet walking towards him and opens fire As the solder continues firing the poet keeps walking seemingly un fazed by the bullets by the time the poet gets all the way up to the solder he is out of bullets he grabs the front grip of his rifle and pulls it off of him The poet then looks down at his waist coat that is riddled with holes and looks up back at the solder with an angry expression The poet: you ruined my waist coat. the solder then runs away The poet: well that was a lucky escape for you ill be taking that iron off you by the way Peter: how the hell did you know… The poet: I wasn’t born yesterday. I assumed you would have the scene to get rid of it by now Peter: well you know what they say assume makes an ass out of you and me. The poet: yeah smart arse now hand it over already. So that’s you done. Peter: yeah I will find justice for my father but another way. The poet: I’m glad to hear that, just don’t go back to the ways of the gun, or else you will have me to ancer to The poet pats peter on the back The poet: you’re a good lad don’t taint yourself like to many already have The poet continues down the street and is suddenly surprised by john finn John: Jesus merry and Saint Joseph you’re the most wanted man in the city and you’re walking around in broad daylight! The poet: I don’t know if you’re aware but it’s not like I can be hurt. John: aye but you still need to watch yourself you’re not exactly the hard to spot when its bright out, anyway I’m glad that I got the chance to speak to you. I wanted to tell you that I was sorry I ran away when I could have helped you. The poet: Hay hay you were right to worry I know your situation must bee hard. I don’t want this to be waying on your conscience so I want you to know that I forgive you. John: thank you, I hope I get the chance to help… He is interrupted by is radio Radio: Yo john look we know your off duty but we could really use a hand with this call were on can you meat us at the station John: aye no bother, ill be 10 mins over and out The poet: That might just be your chance to help ill catch you around sheriff. Cut to a detectives office Second detective: well are you getting anywhere with this poet charictor Detective g Ennis: well iv got one crazy theory Second detective: how crazy? Detective g ennis: you might wanna sit down. The second detective sits down Detective g ennis: Well having a good look at this poet character I and the closest mach I could find was this fella here The second detective gets a closer look Deteciiitive g ennis: only one issue Second detective: whats that Detective g ennis: he’s dead. He was the latest victim of the red hand reapers The second detective says nothing and just gives detective g ennis a funny look Detective g ennis: see you look at me funny but iv been doing I found there’s a fue similar cases all over the place where someone gets brutalized then sometime latter someone shows up and takes out the elged perpetrators. There was even a cace in Detroit where two police officers saw one of these punishers in action and saw him practically absorb bullets from all directions and didn’t even flinch Second detective: (rasses eyebrow) bullet prove vest Detective g Ennis: apparently he wasn’t even wherein a shirt Second detective: awk come-on don’t tell me were dealing with some kind of vampire. Detective g ennis: hay all im saying is it’s a little odd that he looks just like this fella who was killed by the reapers and not even 2 days after he dies a guy who looks just like him takes out 2 of the red hand reapers. Second detective: I think that idea belongs in a shit comic book and not as part of an official investigation. It could be eny number of things it could be a twin brother or just some guy who happens to look similar to this dead guy. Ither way you need to get your head in reality and out of your arse Cut to the poet in his house agein sat on his couch listening to the radio and writing in has note book The poet: one last chance to me creative and I shall use my creativity to write a deceleration The crow fly’s to the windowsill The crow: you’re getting distracted The poet: sorry can’t help but use a little of my extra time to appreciate the stuff I had. The crow: that’s all well and good but while you’re doing this the last tainted soul is still rooming the street The poet: ill put a stop to that don’t you worry The crow: You better The radio: hello and welcome to the news there’s been a tragic bombing on a police car that has claimed the life of police constable John Finn. Members of the Provisional I,R,A, have taken responsibility The poet takes a deep breath He starts pacing back and forth The crow: don’t you dare do what I think you’re going to do. The poet: IM HERE TO KILL KILLERS ARNT I! The poet storms out the door Cut to Peter Sheehan’s house where he’s walking into the living room with a cup of tea for himself and his mother he walks in and his mother is sat on a chair looking through an album of the family. Peter: carful the tea is hot Peters mother: oh thanks love you didn’t put sugar in it did you Peter: no no Peters mother: good lad She points to a photo of peters father teaching him to play football Peters mother: awk look at this one that was this first time you ever played you father came home with a ball and you and him just spent the whole day in the back garden kicking the football around. Peter: aye I remember that. That was a week before I started going to practice. Peter’s mother: aye he took you to training every week and after you would get something from the local chippy as a reward. Peters mother: and then when you finally one a trophy he let you drink coca cola from it like a glass They both laugh then peters mother lets out a sorrowful sigh Peters mother: how are we gona get on without him Peter gives his mother a hug then in that moment there a loud nock at the door They both look with concern Peters mother: that’s not one of those boys is it Peter: ill half to cheek Peter grabs his mother by the hands Peter: I need you to go up the stairs for me Peters mother looks down then looks at her suns eyes Peters mum: if already lost a husband, please don’t deprive me of a son Peter: I won’t mum I promise Peter goes to ancer the door to find the poet drenched in rain water The poet: I need to tell me who your district commander was NOW! Peter: my district commander? I don’t do that anymore The poet: I know you don’t but I need to know who he is he dies tonight Peter: why The poet: where you not listening to the radio a good man was killed tonight Peter: no one can be a good man wherein an ruc uniform The poet: Are you listening to what your saying! Look I know the police have done harm to your community but this man he was he was A catholic just trying to do his bit to help his people. The same as you Peter: he was nothing like me The poet: He was everything like you. He was a man who feared for the wellbeing of his people and took action to protect it the only difference between you and him was the choice of outfit. You can stand her and ague with me over who wheres the right uniform but it won’t change the fact that im going to kill the man who is responsible for this. Peter: his name is his name is martin Collins his address is 129 on the falls road. The poet: dose he live alone Peter: yes The poet: good. Does he have a second in command? Peter: aye hes a man called emon McGreevy he lives in a flat The poet: thank you. I’m so sorry I had to come at this hour this will be the last you see of me out side of the radio and the papers At that moment peters mum comes down the stars to see the poet Peters mum: you.. You’re the man who killed the two of the red hand reapers. Peter: he is and he was just leaving. Peter closes the door on the poet Cut to the house of marten Collins He is sitting at his desk on the desk on the desk he has a breaf case and he is reading a book and heirs a nocking at the door. Martin: hello hose there He heirs no response Martin: hello? No response Martin sighs he gets up to ancer the door opens it but sees nothing but darkens He turns around to see that his windows are wide open And the poets sitting on the desk The poet: commander Marty: wow id almost say it was an honor to meet the man who’s decimating the reapers if it wasn’t for the fact that you have killed a whole squad of my men The poet: well I wouldn’t be saying it’s a pleasure to meet you at all its because of your men that a good man dyed tonight Marten trys to walk forward but the poet pulls a gun on him The poet: that’s far enuff, take a seat Marten: so who is it that iv killed. The poet: an police man called john fin Marten: well boho maby if he hadn’t have joind the police he would still be walking aroud The poet: so apparently we deserved to die Marten: its not my fault he was wherein the wrong uniform The poet: you see that’s the problem with you people. Your trying to kill uniforms when you can only kill people. Marten: oh fuck up it’s a war and people die im sorry but he was on the enamys side and that’s just what happens The poet leans over the desk The poet: well at the very least at least he wore his uniform at least he didn’t need to where a mask he did his job 24/7 and what about you you wore a mask when your not fighting you get to blend into the crowd without anyone knowing any wiser not knowing what you are. The poet stands up and fires 2 rounds into his legs while he is holds the wounds in his legs he screams and the poet walks over and kneels down and is now face to face with martin The poet: do you know what you are? You’re a cotton face wherein a mask of flesh. He grabs his hand and sip ties it to the arm of the chair He walks over to the other arm and dose the same The poet: this this is your true face He slips a balaclava over his face He stands in front of him and reaches into his pocket an grabs a needle and thread The poet: and its this face that will be the one they will find you with. Cut to the poet walking out of the house of martin Collins He walks down the street he pulls another letter out of his pocket and puts it in a letter box The crow flies to his shoulder The crow: what’s that? The poet: an invitation to the party tomorrow night Cut to a man walking towards a car he’s looking around to cheek if anyone is watching him He gets into the car and turns to find the poet sitting in the passenger seat The poet: so judging by the guns and amma in the trunk I dobt you’re here for the golf He freaks out and puts a colt 1911 under his chin American: GET THE FUCK OUT OF MY CAR! The American fires off around but the poet appears un fazed by it The Poet: That wont do you any good lad the American fires off another round it just goose right through the top of his head with seemingly no reaction from the poet The American the begins unloading more rounds into the poet The poet swipes the gun from the American The poet: Christ and 12 apostles! What part of I don’t die do you not understand. You don’t belong here. American looking in dumb founded aw The poet: where do you get off selling guns to terrorists are you just that useless American: I’m just trying to do my part The poet: what the fuck do you mean doing your part American: to free Ireland (he pulls down the sun guard to reveal a black and white photo of a man wherein Easter rising regalia) im fallowing in the footsteps of my great grandfather he fought in the Easter rising. I’m just doing my part to help my people The poet: what the hell do you mean your people? You don’t live here you haven’t a notion of the reality of this place and this struggle it’s not like how it was back then. Back then people knew when to fight and when not to do you know what the people you are selling guns to just did. They just walked into a pub with automatics and sprayed the place they murdered innocent people. Don’t get confused these men are not “freedom fighter’s” there men who are scared for their people who have been misguided into murder. So what you need to do is leave your lucky to have a life now go home and live it. The town has enough solders. American: and what if I decide to stay? The poet: hay you can either go home or I kill you right here you prity much only have one option. American: so what do you want me to do with all the weapons in the trunk The poet: I’ll take them I have a use for some ill dispose of the rest. Please show mw what armorments you have The American and the poet get out of the car and go back to the boot for the poet to look at what weapons the American opens the boot of the car American: this is the armalight ar 180 these wore produced for poorer country’s who couldn’t afford ar 15s the company actually recommended that they buy old screwing machines and gery rig them to make rifle parts iv got about 600 rounds of the armilite bullet The poet: what else have you got? American: well iv got some heavier artillery He lifts a canvas sheet to reveal an m60 machine gun and a flam thrower The poet: where on earth did you get all this American: well a lot of this like the armalights you can buy in a gun store and there completely legal for us citizens. The m60 and the flame thrower… not so much. Sooo now that these weapons aren’t going to the I.R.A there a little issue of payment all together this shipment is… The poet looks with a deathly glare The American claps his hand and points at the poet …free of charge! Is what I was going to say! The poet: now ill be taking this car to you go home home to America. You go and live your life the care free peaceful life you were gifted with and you don’t come back you don’t even for a moment think about here. You’re better off that way. Cut to the poet walking into his house In that moment the crow fly’s to the windowsill The crow: I cant help but notice robert comins is still breathing The poet: look around you do the guns and ammo look like im keeping these for the good of my health The crow: I see your stockpiling but I doubt all this is to kill one man The poet: ooh your very observant arnt you. The crow: well I see my warnings to stick to your mission has fallen on deaf ears, oh well. The poet: you know im getting tired of you talking in my ear bird. The poet slams the window shut. Cut too early in the morning where we see martin Collins body tied to a chair with eemon McGreevy standing holding the letter the poet gave him. He gose behind his desk and picks up the phone Emon: hello we’ve got an operation tonight you meet me in full combat gear ready go. Who says? I fucking says hes dead those derty red hand bastered got him but don’t you worry iv got there address I know where to find them ad we are doing to destroy them tonight you heir, good lad you know where you and the boyz are to rally up. Cut to Robert comins house he walks down to see an unmarked envelope he opens it to find it’s a plain white sheat that has a red crow in the senter that simply reids “this ends tonight” Robert takes in a deep breath Robert: it ends tonight dose it? It ends dose it. Who da fuck do you think you are sending threating letters to my house. ILL TELL YOU WHO FUCKING ENDS (tearing up the letter) IM GONA FUCKING END YOU YOU SLIMY LITTLE FUCKING BASTERED! Robert turns to pick up the phone Robert: that character the poet yeah he’s just sent a fucking threat to my door he is gona try and attack us. So you get everybody down to that warehouse tonight. You see that basterd for a moment and you fill him full of holes you got that! Cut to the poets house Where he continues to write his poem at his desk with copious amounts of ammunition he isn’t wherein his over coat. He turns to grab one of the armalights and unscrews the stock attaching a sling to the back. He slips the sling over his neck so the rifle hangs buy his right side he slips over a second armalight so it hands buy his left he then puts his over coat on so it conseals the bolth of them he grabs them by bolth handles and exstends then bolth out. He slips the rest of the stuff in a big duffel bag the poet:Enuff Enuff another victim crys I will not stand by I will not watch another victim die For these men of perverted morality imposing there nationality With bitter lethality Shall meat force of deadly neutrality The force to show them there subject to there mortality They will all ancer to me for iv got no contry to free iv got no ideology no one to stand beside me but I have a great anger and with one last act of violence they will be silenced so for those who stand in my way sound the alarms for tonight’s the night that the victims take arms the poet drives to Harland and wolf he gets out of his car with the duffel bag. He looks up to harlend and wolf and sees the light on Inside the control cabin Robert is talking with a new recrut Robert: you know what you’re getting into right? Recruit: yeah yeah. Robert: you think you can do then things I’m asking you to do Recrute: yes yes I can Robert: very good. It’s a dirty job and that last thing I need is someone who’s squeamish. Have you ever killed a man Recruit: no ser Robert: have you even seen a man die? Recruit: yes my brother that’s why I’m here Robert: you know they always say taking a man’s life Is one of the worst things you can do. But you will find its not as hard as you think. In that moment banging can be herd outside the control both The poet: ROOBERT! ROOOOBERT! IM HEIR FOR YOU. The poet begins walking to further to the cabin. The poet: look at you men perverse in every way, with every foulness stained, why from the earth are ye not cancelled? Such an one of yours I with romagnas darkest spirit found as for his doings even now in souk is in Cocytus plunged, Robert stands at the door and interrupting the poet Robert: and yet doth seem in body still alive upon the earth. Dante’s inferno The poet: figures you would know it. Robert stabs the poet in the chest The poet: aww Robert that shit doesn’t work on me any more The poet shoots his leg and pushes him back in the cabin And notes the recruit The poet: go home boy you want none of this The recruit runs out The poet: soo you the big leader huh The poet kicks him in the side The poet: what’s your sob story huh The poet kicks him again The poet: who fucking died and made you this The poet shoots him in the other leg Robert: FUUCK The poet grabs him by the shirt screaming at him The poet: go on tell me im all ears make it good I might even cry. Robert replies Robert: because I fucken can that’s why. The poet tilts his head Robert: because every time I’d see them leave mass id see those Catholics and id nearly puke in my mouth you made me that sick The poet looks middy stunned before he shoots him in both elbows Robert: AHHHHH YOU FILTHY CATHOLIC BASTERED! The poet picks him put and sits him on the chare He ties him to the chair And walks over to the duffel back he brought up and Robert: oh what no more little rhymes not even a little limerick? The poet: no absolutely nothing. I have no more breath in my lungs for a man like you He pulls out two Molotov cocktails and lights them and throws both of them and walks out of the control room listening to Roberts screams The poet stands at the edge of the Crain and looks at the ware house below he sees a van pull up and a squad full of cotton faces get out. And charge the building. The poet pulls the m60 out of his bag and loads the ammunition into in. takes a run up and jumps down into the building and crashes into the skylight and lands on the highest stack of crates in the warehouse for a moment the ira men and uvf men look at what’s just happened. The poet gets up and cracks all his joints picks up the m60 and rack the charging handle The poet: gentlemen! You’re just in time for the shootout. The poet opens fire indiscriminately at everyone in there where house at masked men and unmasked he mows down 15 men in his first spray he stands on top of the crates and takes shots in the arm and in the chest not flinching once The poet: NO ONE LEAVE HERE ALIVE DO YOU UNDERSTAND ME! The poet continues to mow down uvf and ira men alike they both stop shooting at each other to concentrate fire on the poet. The poet keeps his finger pressed on the trigger till the barrel starts glowing red the belt of ammunition already half its length he keeps shooting a sees that soom men running away and without thinking he mows them down finishing off the belt The poet throws the empty weapon to the floor And pulls out both armalights that were concealed in his coat and continues the fire fight The crow flies to his shoulder The crow: you have finished your mission its time to stop The poet: NOO! NOT til everyone in this building is dead The crow: boy you need to stop. The poet: do you not understand what I am! I am the chalice that holds every drop of innocent blood they have spilled I am the eco form the obituaries they have filled I’m every victim animated for their moment of revenge The ama lights run out of bullets and he throws them away and pulls out two knives …so come and get me you curs CUT ME TO PEACES MEN AND LADS STAIN ALL YOUR EDGES ON ME He started wildly stabbing the small remaining number of men in the room, …for if you write your annles true let it be known that I like a eagle in a doves cot fluttered your toy soldiers. ALONE I DID IT. The poet grabs the last man and stabs him over and over and over He stands up takes a breath notes one more men. Sees one last man standing. And points to him The poet: A plague on both your houses. Go, let them know what you saw here. The poet slowly walks out of the building to his car. The crow: so what now, solder? The poet: now, now it’s time to go. The poet goes to get into his car and begins to drive toward Belfast city cemetery. As we see him. Get into his car we see a car drive after him. Apon his arrival he gets a shovel out of the care and careys It over his shoulder he walks towards his own grave. He walks towards it. Kneels down for a moment to touch the head stone The poet: you know, I don’t feel like the man who this tombstone is dedicated to is the same man standing in front of it The poet begins digging his grave up we see the condensed progress of his digging. Once he gets to the coven he prizes the lit open. And at the sight he is greeted with he stands up and looks in pure confusion of what he is looking at The poet: what the fuck? The camera pans down and we see that in the coffin is a bags of sand arranged in the shape of a person with s smiley face drawn on the bag that’s its head. As the poet is throwing them out of the coffin The crow perches on the tomb stone The crow: you know I feel like its my fault, what just happened. I could have picked someone else for this job, someone who would have just done the job and not get lost in vengeance. The poet: oh come on I no one died in there that didn’t deserve it The crow: boy, that was a place of work you were bound to get some people who weren’t your enemy. The crow fly’s away. The poet finally realizes what he has done. From behind we heir detective g enis G enis: no don’t you dare think you get to just shuffle off after what you just did. The poet: its over boy there nothing that can be done now G enis: oh no all I need from you is for you to listen. After all the monologeing you have done I think its time for you to listen to someone else. You know iv done my research most people who get resurrected like you kill the ones who wronged them but you no. you weren’t satisfied with just righting a wrong. You had to go on a venerable killing spree. You know how people respond in this situation. After your actions do you know just how mennny retaliatory attack on bolts sides that have taken place. More than I can count. Iv herd the story’s you went around monologeing to people about how violence is a dead end but you couldn’t exactly practice what you perched could you. The violence is justified as a retaliation for more violence.. The poet just looks to the ground mournfully The poet: until we forget why we wanted each other dead. G enis: well mister poet have you eny eloquent words to go out on. The poet: (takes deep breath) And now I have become the master of death so its down to you to remove me of my final breath. So many have died what’s one more death. I have become the advisory of the light so put me to sleep. To endless night. The poet pulls the detectives revolver to his forehead The poet: one more request, can you tuck me in? The poet closes his eyes and whispers The poet: take away these harts of stone and give us harts of flesh The detective fires a single round into the poets forehead his business is over so he falls back dead. The detective looks to the shovel and begins re filling the grave. THE END PAGE # Panel #: Description CHARACTER Dialogue Panel #: Description CHARACTER Dialogue Panel #: Description CHARACTER Dialogue

 Thank you for your interest in the 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 is a fanfiction website that has existed since October 2000, specializing in The Crow comics created by fans. We are currently in need of an Artist who can draw in the style of James O’Barr or Alexander Maleev for a limited-colour 29 page one-shot comic book. Because it will be fanfiction there will not be any pay for this, it will be out of love for The Crow comics, and for your portfolio and promotion of your name. C3 has previously had projects with now famous comic book creators such as Ben Templesmith. I use 3 e-mail addresses, kemplin2@juno.com for small e-mails, jackkemplin@gmail.com for ones with large attachments, and collectivecrowcomics@gmail.com is technically the one these sorts of stories are normally submitted through, but submitting it through the jackkemplin one serves the same purpose. The plot for Scars of a Mother: In 1901 a prostitute watches her twin sons murdered in front of her by a gang of bandits, before she herself is also killed by them. One year later she finds herself still alive, but horribly scarred, and with a thirst for vengeance against those who murdered her sons. With the help of a mystical Crow she is able to seek retribution 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, and 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 Examples of the desired art style:   This glasgow smile is a major influence on The Woman’s scarred smile.  Plot:        Tristin Scott Writing:                  Jack Danya Kemplin Artist:  (artist) Lettering:              (letterer) C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2016 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. PAGE 1 PANEL 1: The outside of a bank. CAPTION Gettysburg, Pennsylvania, 1902 PANEL 2: Inside a bank robbery is going on, the bandits wearing cowboy-styled clothing. JOHNNY MOVE AND YOU ALL DIE! FARGUS Put the money in the bag! PANEL 3: The bank teller, a balding old man, with his hands in the air, shivers in fear. BANK TELLER Please don’t hurt us! PANEL 4: The leader of the bandits punches him across the face. JOHNNY  shut ya’ mouth! FARGUS  Yeah, hit that jackass! MARCUS  Quiet, Idiot! PANEL 5: Unnoticed by the bandits, A Crow swoops into the bank. THE WOMAN (off panel) Put your guns down, cowboys PANEL 6: The bandits turn around to face their confronter, but only see a crowd of frightened people with their hands up. MARCUS Who said that?! JOHNNY Place your statement, ma'am. PAGE 2 PANEL 1: The woman leans against the wall, in a shadowy corner, the brim of her hat obscuring her face. THE WOMAN You are not taking anything,  from anyone,  ever again! PANEL 2: Finally spying her, seeing that it is a petite woman, the leader gives a sadistic grin. JOHNNY Let me see your face, doll,  I like seeing my victims  before I kill them. PANEL 3: The Woman laughs maniacally with the shadow’s smile. THE WOMAN  HAHA HAHA HAHA! PANEL 4: She begins to walk towards her prey. The head bandit barks his commands  to his men, pointing at The woman as they fire at her, the rest of the people in the bank, falling to the floor, covering themselves, to escape the path of the bullets. THE WOMAN  Oh, you don’t remember me, Johnny? JOHNNY Don’t just stand there, you fools, SHOOT!!! SFX Bang Bang Bang Bang Bang PANEL 5: Their revolvers all click empty.  SFX Click Click Click PANEL 6: The bandits alone stand, everyone else on the floor; The Woman, fallen backwards, blood running from her corpse, her hat having flown off from the gun fire and fall. FARGUS We get her? JOHNNY Yeah, we got her PANEL 7:  The three men rush out of the bank, carrying the money. JOHNNY Now let’s take the loot, and get out of here! PAGE 3 PANEL 1: The people begin to slowly get up, still shaking, crying, hugging their spouses. PANEL 2: The Bank teller walks over to the mysterious woman. PANEL 3: He takes off his hat, holding it to his heart. BANK TELLER:   That miss sure was brave, such a shame… PANEL 4: Her skin is a dead grey, her lips covered in blood from a glasgow smile etched into her cheeks, Blood falling from her scalp, into her eyes and down to her scarred smile. PANEL 5: Distant above down angle view of the man standing over the woman’s body, blood pooling out from it in the shape of a crow. PAGE 4 PANEL 1: Inside of a lavish brothel, prostitutes  and their Johns lounging on the furniture and floor, drinking, fondling. PANEL 2: Johnny, Fargus, and Marcus enter, drunk, as they usually are. They are greeted by Nelly, the brothel’s madam, an elderly retired prostitute in an expensive dress. NELLY My, oh, my!  You boys look like you are in need… So watcha need? PANEL 3 : JOHNNY We want some whores! FARGUS Yeah! I need a good one too! MARCUS Yeah! No ugly ones! PANEL 4 : Fargus approaches a thin brunette with large breasts, who is nearly passed out, writhing on a sofa. FARGUS I found mine! PANEL 5 : Marcus approaches a thin black woman leaning against the wall near a floor lamp. MARCUS Gosh! I never had me a nigger before!  I heard you be wild women! BLACK WOMAN Meow! For only $100  you can find out, sugar!  PAGE 5 PANEL 1: In one of the rooms, there is a woman having sex with a man on a bed. This is an extreme closeup, we cannot make out who the couple are. PANEL 2: Another close up of the couple having sex, still unable to make out who these two bodies, covered in the sweat of lust, are. PANEL 3: Another, slightly less close up panel of the couple engaged in their deed. PANEL 4:  As the view widens, we see that the couple are The Woman and Johnny. PANEL 5: The Woman, years later, in a garden, with two sons, twins. PAGE 6 PANEL 1: The door to the brothel slams open as three men, in cowboy hats, their faces covered with handkerchiefs, enter, their guns pointed straight at the reader. SFX Slam JOHNNY Give us all your  money, jewels,  and any children  we can sell for child labour! PANEL 2: All of the prostitutes and Johns scurry for safety. Nelly shouting to one of the girls: NELLY Hurry, get what you can! PANEL 3: Nelly approaches the men. NELLY Look, we will give ya what we can Fargus An’ make it quick! PANEL 4: Nelly turns back to the cowering girls. NELLY Any of ya girls  who’ve been wanting to  get rid of your sons,  here is your chance PANEL 5: Turning back to the bandits. NELLY Now you boys know the drill,  we are whores,  this isn’t the first time  we’ve been robbed Only the male children,  you know the girls stay with us,  business is business PANEL 6: The Woman brings out a basket full of money and jewels, followed by several different young boys. THE WOMAN This is all we could gather! PAGE 7 PANEL 1: Marcus sees a young boy hiding, cowering behind a sofa, it is one of The Woman’s sons. MARCUS Hey! This one looks like  he will grow up nice an’ strong! We could get a pretty penny for him! PANEL 2: Marcus is struggling to pull the boy, Jack, out. MARCUS Damnit! I was right! This one Sure is strong! Fargus, give me a hand! JACK No, no, no! PANEL 3: Marcus and Fargus pull on the child, him, kicking and screaming, reluctantly emerging from the sofa, revealing young hands grasping at his feet. TIMMY No! Give me back my brother! You won’t take us, you won’t take us! FARGUS My word! Another! PANEL 4: Marcus is now holding up Jack, while Fargus is pulling Timmy out, it revealed that the boys are twins. FARGUS Identical twins! Boy did we get lucky! PANEL 5: Close up on Johnny, a gleam in his eye. JOHNNY Yes! They do look strong. We should get quite a bit when we sell them! PAGE 8 PANEL 1: The Woman grabs onto Johnny’s shirt, begging! THE WOMAN Please no! Those are my sons! PANEL 2: Nelly grabs one of The Woman’s shoulders, with a sad but stern look on her face. The Woman’s face streaming with tears as she continues to grasp Johnny’s shirt. NELLY Deary, come,  there is nothing you can do.  You heard them. THE WOMAN NO! NELLY Girl, you are still young!  You can have more children… Don’t get ya’self killed! PANEL 3: The Woman, distraught, not accepting her Madam’s advise, continues to tug at the man, tugging at his face-covering. THE WOMAN Please! Have mercy! Just let my sons go! PANEL 4:  Close up, straight on view of Johnny’s face, in full view, as the handkerchief is held tightly in The Woman’s hands near his face. THE WOMAN (Off panel) Please!!! PANEL 5:  Close up, straight on view of The Woman’s face, her mouth and eyes wide in shock! THE WOMAN Johnny! PANEL 6:  Johnny angrily backhands The Woman! JOHNNY Get ya paws off me ya filthy whore! PANEL 7:  The Woman falls to the ground. PAGE 9 PANEL 1: Jack and Timmy struggle to break free from Marcus and Fargus. PANEL 2: Jack and Timmy both attack Johnny, kicking at his shins and punching at his ribs. JACK Don’t hit my mommy! TIMMY Leave mommy alone! PANEL 3: Jack slides down Johnny’s body, smoke rising from a gaping hole in the back of Jack’s head; Timmy continues to hit at the leader of the bandits. The Woman, still on the floor, watches in terror. MARCUS Don’t worry, i’ll take care of the little brats! SFX Bang! THE WOMAN NNNOOOOOO!!!!!!! PANEL 4: Jack lays collapsed on the floor, the blood pooling around him. The Woman, weeping uncontrollably, her hands covering her face. Timmy Continues punching at the bandit. JOHNNY Woah, guys, we were supposed  to be selling these boys,  not shootin’ ‘em! PANEL 5: Timmy’s body now slumps down, smoke rising from the twin hole in his head. SFX Bang! FARGUS Johnny, man, we don’t have time for this! MARCUS Yeah! Let’s take the loot an’ go! PAGE 10 PANEL 1: As both boys’ bodies lay around Johnny, their blood soaking the floor, The Woman, hysterical, again rises, her hands clutching the shirt at Johnny’s chest. THE WOMAN No, no, my God, no! PANEL 2: Johnny again backhands her JOHNNY Now look what you have done! PANEL 3: Sending her to the ground. JOHNNY Don’t cha know what them boys coulda been worth! PANEL 4: The Woman sobs. THE WOMAN Not more than they were worth to me! PANEL 5: Fargus kicks The Woman in the face. MARCUS Harlot! Don’t talk to us like that! PANEL 6: Blood streams down The Woman’s face, running from her scalp, down into her eyes, and down her cheeks, following the lines of her tears. FARGUS Shame, she sure was purdy! PAGE 11 PANEL 1: Close up, straight on view as The Woman now looks up at Johnny and the others, a fire of hatred in her blood streamed eyes. THE WOMAN How Could you! I’ll make you sick monsters pay!!! Johnny, how could you? How could you- PANEL 2: Close up straight on view as The Woman falls to the ground, a gaping, smoking hole in her chest, Johnny’s hand, with the smoking revolver in it, can be seen at the side of the panel. SFX Bang! PANEL 3: View from above: Her gruesome corpse now joins her two sons, her blood merging with theirs. PANEL 4: View from above: Johnny now kneels down beside her, the smoke still rising from her heart. JOHNNY Hush hun...Ya’ breaking ma heart PANEL 5: View from above: A ghastly glasgow smile has just finished being carved into The Woman’s face by Johnny, who’s hand still grasps the knife, its tip still in the edge of one her her cheeks. JOHNNY Ya know I could never leave here  without seeing a smile on ya face PAGE 12 FULL PAGE SPREAD: View from above, The Woman’s corpse with it’s tears of blood, carved smile, and shot out heart, lays in  a sea of blood, her dead sons laying under her arms, which fold around them, like as if they are forever in her protective embrace. THE CROW Hey hun, it’s time to wake up PAGE 13 PANEL 1: At the bank: Distant above down angle view of the bank teller and patrons standing over The Woman’s body, its blood in the shape of a crow. PANEL 2: close up view of the woman’s body, surrounded in her own blood. PANEL 3: The blood begins to be sucked back into the corpse. PANEL 4: The floor is now clean. PAGE 14 PANEL 1: The scarred woman begins to come to, sitting up, holding her head like as if waking from a hangover. PANEL 2: The Crow lands on top of The Woman’s shoulder. THE CROW You must finish this, for you, for your children. PANEL 3: As The Woman rises to her feet, the people in the bank are taken back, gasping, at this seemingly miraculous sight. PAGE 15 PANEL 1: The Woman sit on a rope and plank swing which hangs from an old tree, the sky, grey and cloud filled, softly raining on her, The Crow, circling above her head. PANEL 2: Both of The Woman’s hands now lay against one of the ropes, her face against them, as tears fall down her cheek. The Crow on her other shoulder. THE WOMAN My Children…  they were life’s greatest gift,  and yet they were taken. THE CROW It’s not your fault, hun PAGE 16 PANEL 1: External, night: Fargus, now no longer wearing his handkerchief over his face, is walking into a bar. FARGUS I’m going to get some good whisky tonight! PANEL 2: Fargus sits at the bar, and raises his hand to order a drink. FARGUS Give me the best ya got! PANEL 3: The bartender eyes up and down Fargus’ tattered clothing. BARTENDER You sure you can pay for it? PANEL 4: Fargus pulls out a large sum of money and waves it in the bartender’s face. FARGUS Whatcha see here? Now get me a damn drink! PANEL 5: The bartender hands the drink to Fargus. BARTENDER That sure is a lot of money you have there… You wouldn’t happen to know  anything about that bank robbery  earlier today, would you? PANEL 6: Fargus angrily points his gun at the bartender; the bartender’s hands raised in fear. FARGUS I know notin’ about no robbery! PANEL 7: Fargus returns to his usual drunken grin. FARGUS Me cousin died an’ left me his fortune PAGE 17 PANEL 1: Fargus is drinking when he pauses, as he sees in the mirror on the wall on the other side of the bar, the reflection of a beautiful veiled woman standing behind him. Though he cannot see her face, he can see she has a voluptuous figure. THE WOMAN Fargus...I want you. PANEL 2: Fargus, drunk and horny, quickly spins around in his stool, to greet her. FARGUS Sugar, if your face looks as good  as the rest of you,  I just might want you too. PANEL 3: Fargus has quickly gotten up, excited for what might be coming his way. He is now groping at the sumptuous woman. FARGUS So...I take it ya saw ma dough? Well baby, I’ve a lot to offer ya PANEL 4: The Woman grins beneath her veil. THE WOMAN mmm...And I have so much in store for you And I promise, it will be hot! PANEL 5: Fargus is so eager, his tongue is almost hanging out. FARGUS Back to my place? THE WOMAN That would be perfect PAGE 18 PANEL 1: In Fargus’ room, he begins to take off his shirt, while still groping The Woman. Also, unnoticed by him, she, while pretending to grope him, has pulled his revolver out of its holster. FARGUS So doll, what’s the deal with the veil? Ya have an ugly face or something? PANEL 2: The Woman lifts the veil, revealing her scarred and bloody face. THE WOMAN You said I was “purdy” once PANEL 3: Fargus stumbles back in horror, shaking with terror. FARGUS How did you?- THE WOMAN Survive? I didn’t.  You see, there is a similarity between you and me. FARGUS W- what? PANEL 4: Close up of The Woman’s face, the rage and thirst for vengeance seething from her. THE WOMAN We are both monsters… And we are both dead! PANEL 5: The Woman shoots Fargus in the leg PANEL 6: Fargus falls down onto his gas heater, his arms spread across it like a crucifix. PANEL 7:  Close up on Fargus’ head and arms, as the skin of his hands and arms begins to get hot in the glow of the heater. FARGUS AHHHHHHHH!!! PAGE 19 PANEL 1: The Woman throws herself on top of Fargus, pressing her right arm down on top of his, causing it to press harder against the red-hot metal of the heater, and the skin to blister. FARGUS STOP!!! Have mercy! PANEL 2: The Woman holds the muzzle of the pistol up to Fargus’ head, his face covered in sweat. THE WOMAN The same kind of Mercy you showed my sons?! FARGUS I’m sorry PLEASE!!! I promise I’ll change!!! PANEL 3: The Woman stares deeply at Fargus, her rage burning hotter than the heater. THE WOMAN I’m afraid we just “don’t have time for this!” PANEL 4: The Woman rips out the heater’s gas line SFX hhisss PANEL 5: The Woman holds the pistol up against the weeping man’s right cheek, and kisses his left one. THE WOMAN    Up with the lambs,  down with the lark,  run to bed before it gets dark! PANEL 6: The Woman fires her revolver, igniting the gas, setting Fargus ablaze. SFX Boom! PAGE 20 PANEL 1:  The Woman stands outside, her arms wrapped around her, like as if she is shivering,  The Crow on her shoulder, Fargus’ burning house in the distance. PANEL 2: Close up of The Woman, hugging herself, a tear running down her cheek, The Crow still on her shoulder.   THE WOMAN What kind of monster have I become? THE CROW The monster you needed to be… Mama Death PANEL 3: Closer view of just her crying face and The Crow. THE WOMAN I just miss my sons All they were, All they could have been PAGE 21 FULL PAGE SPREAD:  The Woman leans in a gateway against the edge of a wooden fence, weeping uncontrollably,  The Crow atop the tall post. CAPTION (THE WOMAN) To never see them grow old To never see them become  the beautiful people they were to become I wanted to hold them forever in my protective embrace Just as I had from the moment they were born They knew they would always be safe in my arms I let them down My embrace wasn’t good enough It was my fault If only I had done something different Did I fail my children? Will I ever see them again? Will they ever forgive me? THE CROW You must first forgive yourself, hun They loved you more than the world PAGE 22 PANEL 1:  The Woman, still standing at the gate, looks at the building it leads to, and notices it is the brothel she used to call home. Through the window, she can even see Nelly, & several of her old friends. THE CROW Ouroboros THE WOMAN Home PANEL 2:  Through the window: Johnny and Marcus now walk into view of the window, Marcus with the black woman hanging onto him, kissing him, while Johnny talks with Nelly. THE CROW We return to the beginning  PANEL 3: Through the window: Marcus, the black woman, Johnny, and another woman stumble up stairs. THE CROW as the dragon devours itself PANEL 4: The Woman is now in the brothel’s back yard, kneeling in front of a rose bush, beside it, there is a gaping hole in the ground. One of her hands cups a rose, still attached to its vine, the other, touches the edge of the hole. The Crow, on her shoulder. THE WOMAN Yes, this is where it began PANEL 5: Close up view down the hole, small boney hands can be seen emerging from the dirt walls of either side of it. THE WOMAN Refused burial in hallowed ground? This ground is as holy as any THE CROW A deep pit A narrow well PAGE 23 PANEL 1:  The Woman pulls thorny, rose covered vines from the bush. THE CROW She lies in wait like a robber PANEL 2:  The Woman begins to weave them into a crown of thorns and roses. THE CROW Who has woe? Who has sorrow? Who has wounds without cause? PANEL 3:  Front view of her face, angry and heartbroken tears running down it  as she weaves the crown in front of her. THE CROW Who has redness of eyes? In the end it bites like a serpent and stings like an adder. PANEL 4:  She places the crown on her head. THE CROW “They struck me,” you will say, “but I was not hurt;” “they beat me, but I did not feel it.” PANEL 5:  A haunting view of The Woman’s face, crowned with thorns and roses, The Crow still atop her shoulder. THE CROW But in the end she is bitter as poison, Sharp as a double-edged blade, Her feet go down to death, her steps lead straight to the grave. THE WOMAN Behold, the thorny crown, set upon the head of Our Redeemer in order that all the thorns of the world may be broken! PAGE 24 PANEL 1:  Having entered the brothel, The Woman sees that both men left their belts, with their weapons, at the entrance. PANEL 2: She pulls the knife, the knife which carved the shadow’s smile on her cheeks, out from its sheif. PANEL 3: Side view: Marcus is sitting on the edge of the bed, a look of utter ecstasy across his face. PANEL 4: His face of pleasure continues as the top of the head of the black woman can be seen. SFX Galp galp galp PANEL 5: Front view: a look of orgasm comes across his face. PANEL 6: The Woman’s arms wrap around his neck, the knife in one of her hands. THE WOMAN Enjoying The Little Death? PAGE 25 PANEL 1:  Her free hand covers his mouth so he cannot make a sound, the knife now being held against his throat. THE WOMAN Betsy, take all of his money and go PANEL 2: The black woman takes the man’s pants, his pockets stuffed so full money is falling out of them as she rushes out of the room. Marcus desperately reaching towards his fortune. THE WOMAN Don’t worry hun, I’ll finish you off PANEL 3: The Woman slides the blade across his neck, his life rushing out PANEL 4: The Woman picks up a candle from the nightstand, illuminating her gruesome face as his eyes grow heavy. THE WOMAN Remember this face, Marcus?! PANEL 5: Marcus shivers with fear and shock. MARCUS HOLY MOTHER- PANEL 6: Marcus dies. PANEL 7: The Woman blows out the candle THE WOMAN Shhhhhh...it’s bedtime… Sleep, those little slices of death — how I loathe them. PAGE 26 PANEL 1: The prostitute Johnny was with, leaves the room where she was earning her living. PANEL 2: Johnny, who is still in the room,  is counting his money. JOHNNY Me an’ the boys did pretty good today! PANEL 3: The Woman appears behind him. THE WOMAN Your boys are dead, hun PANEL 4: Johnny drops his cigar in apprehension. JOHNNY N-no! You Can’t be real… ...you’re in my imagination THE WOMAN Oh, I’m real Johnny, how could you? How could you- PANEL 5: Johnny turns to The Woman, apathy in his eyes. JOHNNY I don’t know whatcha talking about  I was gonna sell them children for labour PANEL 6: Close up of her face, a sad look across it. THE WOMAN Johnny, they were your sons… PANEL 7: Johnny looks back with a curious look of trepidation. JOHNNY How? PAGE 27 PANEL 1: Another close in, sorrowful look of The Woman’s face. THE WOMAN Remember, remember that night? PANEL 2: The memory of Johnny and The Woman having sex. PANEL 3: Johnny questions, with a skeptical, pissed look. JOHNNY You were a whore, How the hell would you know who the father was? PANEL 4: The Woman now has a cold, knowing look. THE WOMAN Oh, a mother knows PANEL 5: Johnny begins to shiver in guilt and fear; The Woman growing in rage. JOHNNY They-They were my sons?! THE WOMAN Yes, and you and your friends killed them in cold blood! PAGE 28 PANEL 1: Johnny shoots The Woman in the heart with his revolver.  SFX Bang PANEL 2: To Johnny’s shock, she does not react to the smoking wound in her chest. THE WOMAN You already shot out my heart, remember? PANEL 3: The woman pulls out  the knife THE WOMAN Now let’s see if you have one PANEL 4: The Woman begins to carve Johnny’s chest open. THE CROW A day of retribution, for vengeance against their enemies. The blade shall devour and be sated, it shall be drunk with their blood. PAGE 29 PANEL 1: The Woman, weak, tired, and emotionally exhausted, is illuminated by the crack of dawn as she exits the brothel’s doors. THE WOMAN I’m coming home, my children… PANEL 2: She begins to enter the hole next to the rose bush, sitting at it’s edge, her feet inside of it. Her face looks dehydrated, thin, and gaunt, blood covering her hands and lower arms. CAPTION (THE WOMAN) Now I lay me down to sleep, I pray the Lord my soul to keep PANEL 3: She lays, dead inside of the pit, her skin now dry, stretched across her bones, the bony hands of her sons, touching either side of her. CAPTION (THE WOMAN) If I should die before I wake, I pray the Lord my soul to take. END OF SCRIPT

On Halloween, in crime-ravaged, decrepit Detroit, a young woman, Shelly Webster, is seriously wounded, while her rock musician fiancé, Eric Draven, is shot and thrown to his demise from the window of their loft apartment. Beat cop and Police Sergeant Daryl Albrecht, along with a detective called Captain Hook, accompanies Shelly to the hospital, where she eventually perishes from her injuries. A narration recounts the legend of a crow that carries souls to the land of the deceased; if a person perishes in tragic circumstances, the crow can resurrect their restless spirit to set things right. One year later, Shelly and Eric's graves are visited by Sherri, a young girl the pair cared for due to her neglectful mother. A crow lands on Eric's gravestone and taps on it, resurrecting him. Disoriented and distressed, Eric returns to their ruined loft and experiences flashbacks of the attack: a gang of men—Tin Tin, Funboy, T-Bird, and Shank—attacked the couple because they were protesting forced

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 NO 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 As he returns to the world of the living, and her that of the spirit. CAPTION (AUDREY) Must I dream and always see your face PAGE 25 PANEL 1 Nick can no longer see Audrey as her faded spirit stands before him. PANEL 2 And he begins to leave the cemetery. PANEL 3 Audrey is now joined by the spirits of her parents, as Nick exit the cemetery gates. CAPTION (AUDREY) This is our last goodbye I hate to feel the love between us die But it's over, Just hear this and then I'll go You gave me more to live for More than you'll ever know PAGE 26 PANEL 1 Nick and his mother are in his parent's house. NICK I think I am going to try again with Rebecca PANEL 2 JULIA You think things will work out this time? PANEL 3 NICK I have a feeling they just might END OF SCRIPT

Thank you for your interest in the 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 is a fanfiction website that has existed since October 2000, specialising in The Crow comics created by fans. We are currently in need of an Artist for a full colour 4 issue comic book mini-series, the art style may be either Traditional Comic style (Marc Silvestri/Michael Turner/Randy Queen: Witchblade, Darkness, DarkChylde, Fathom), or Art Nouveau (Alphonse Mucha), or Ben Templesmith-style, or Bud Cook-style or Connie Faye-style. Because it will be fanfiction there will not be any pay for this, it will be out of love for The Crow comics, and for your portfolio and promotion of your name. C3 has previously had projects with now famous comic book creators such as Ben Templesmith. I use 3 e-mail addresses, kemplin2@juno.com for small e-mails, jackkemplin@gmail.com for ones with large attachments, and collectivecrowcomics@gmail.com is technically the one these sorts of stories are normally submitted through, but submitting it through the jackkemplin one serves the same purpose. Plot: In ancient Thebes, Pharaoh Amenhotep III’s newest and youngest bride, Tadukhipa, is caught in the embrace of High Priest Nakht; when the Pharaoh discovers this, he has his guard’s mutilate and curse both of them, mummifying and burying them alive, far away from one another, so they may never rest nor find each other again. The goddess Ma’at, seeing this great injustice, chooses to send The Crow to resurrect them, so that balance can be brought back to the scales of justice by her feather of truth. This series will consist of 4 issues: Issue 1 tells the story of the avatars’ affair & murder. Issue 2 telling the first half of the story from Tadukhipa’s point of view. Issue 3 telling the first half of the story from Nakht’s point of view. Issue 4 they find each other & work together to end the story. More plot details: Whenever Tadukhipa & Nakht reminisce of their deaths on their respective issues, they were chased by the guards, Nakht rushed Tadukhipa to the Temple of Ma’at where he hoped they could hide. While in there they prayed before a giant statue of Ma’at, begging for protection & justice. The other temple priests then appear out of nowhere & grab ahold of them & lead the guards & the pharaoh in. While still in front of the great statue of Ma’at, Tadukhipa & Nakht’s bodies’ are slashed up (Leaving Crow-like markings), they are wrapped up, & placed, alive, into sarcophagi. They are then buried on opposite sides of the desert. Amenhotep is 48, Tadukhipa is 15, and Nakht is around 20. When Tadukhipa returns, she, having been one of the queens, knows who the guards who did this to them were, so she goes after them. When Nakht returns he, having been the High Priest, knows who the lower-priests who did this to them were, so he goes after them. They meet up at the end to kill the remaining guard’s & priests as well as the pharaoh. There will be two Crows in this story, the one guiding Tadukhipa will be albino & female, & named Munnin; the one guiding Nakht will be black & male, & named Huggin. The rejuvenating rain that falls on the mummy avatars, will be a blood red rain. At one point towards the end of the final issue, Tadukhipa disguises herself as a dancer with Isis-wings & a sword, so she may kill the Pharaoh. In doing so, she will look like Ma’at, goddess of Justice. Munnin was sent to her by Ma’at, Huggin sent to Nakht by Thoth, husband of Ma’at. The Goddess Ma’at witnessed their murders. Ma’at & Thoth are both depicted as birds. CHARACTERS Tadukhipa: A 15 year old Mitanni princess who’s father Tushratta arranged for her to marry her uncle, 48 year old Amenhotep III, Pharaoh of Egypt. At her wedding, she meetings Nackt, later falling in love with him, and when their affair is discovered, the pharaoh has them both mutilated, & mummified & buried alive. She is resurrected by the goddess Ma’at & The Crow, to bring justice & balance. Artistic inspiration for Tadukhipa: ___________________________________________________ Nackt: A 20 year old Egyptian High Priest of the Temple of Ma’at in the Karnak Temple Complex. He presided over Amenhotep & Tadukhipa’s wedding, later falling in love with her. He was killed along with her when their affair was discovered. He was later resurrected by the god Thoth & The Crow, to bring justice & balance. Artistic inspiration for Nakht: ___________________________________________________ Amenhotep III: The 48 year old Pharaoh of Egypt, he is sickly, has rotting teeth, and looks older than his years. He has reigned over Egypt since he was 12 years old and has many wives including Tadukhipa, her aunt Gilukhipa, his high-queen Tiy, & he has even married 3 of his own daughters. When he discovers Tadukhipa & Nackt’s affair, he has them mutilated, mummified, & buried on different sides of the desert. Artistic inspiration for Amenhotep III: ___________________________________________________ Plot: Tristin Scott & Jack Danya Kemplin Writing: Jack Danya Kemplin Art: (artist) Lettering: (letterer) Editing by: Jack Danya Kemplin C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2017 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 1: Temple of Love PAGE 1: Panel 1: The harsh sun shines down on the ancient city of Thebes, in Egypt. CAPTION Thebes, Egypt 18th Dynasty Panel 2: From a balcony, the pharaoh Amenhotep, while a servant fans him, arrogantly scoffs at the exhausted slaves toiling below in the background, constructing monuments. AMENHOTEP If they only knew the glory their work shall bring to the gods, they would labour with more joy, and take pride in their toils. We all must suffer to bring them honour. Panel 3: Another servant, a messenger, holding a sealed, rolled up papyrus scroll, enters the room which leads to the balcony; Amenhotep still being fanned in the foreground. MESSENGER Your Majesty, a message has arrived from the king of Mitanni AMENHOTEP Bring it to me PAGE 2: Panel 1: Still being fanned, and with the messenger standing in the background, the Pharaoh reads the unrolled scroll. CAPTION “To my Nimmureya, Amenhotep III, the king of Egypt, my brother, whom I love and who loves me: For you may all go well. For your household, for my Kilu-Hepa, Gilukhipa, my sister, your wife of 20 years, who you love, may all go well. For your wives, for your sons, for your magnates, for your chariots, for your horses, for your troops, for your country, and for whatever else belongs to you, may all go very, very well. For I, Tushratta, the king of Mitanni, who loves you, your brother-in-law; For me, all is not well--The Hittites desire my kingdom and are attacking us. We are in need of a great army, yet one we have not. We therefore must ask of this from you, my brother, whom I love. In thanksgiving for the sending of your troupes, I Tushratta, King of Mitanni, and my Queen, Juni of Mitanni, shall give our Tadu-Hepa, Tadukhipa, our daughter, to be the wife of my brother, whom I love. May Simige and Sauska go before her. May they make her the image of my brother's desire. May my brother rejoice on that day. I herewith send her, and she is on her way. May my brother now honor her at his pleasure. May Sauska, Ishtar, the mistress of heaven, protect us, my brother and me, a 100,000 years, and let us act as friends. May Simige and Sauska grant my brother a great blessing, and exquisite joy. May they bless him and may you, my brother, live forever.” Panel 2: Amenhotep lays the scroll down and dictates to the messenger. AMENHOTEP Inform Tushratta that I agree to his deal, and tell the generals to prepare the troupes, they are to leave for Mitanni immediately. PAGE 3: Panel 1: Amenhotep returns to the balcony, looking over the construction. Panel 2: And looking back, he calls for one of his wives. AMENHOTEP Gilukhipa, come! I have news to share with you. Panel 3: The 35 year old woman joins next to him. GILUKHIPA Yes, my lord? AMENHOTEP Your brother, Tushratta, is under attack from the Hittites, so I am sending our armies to defend his kingdom. GILUKHIPA That is most gracious of you AMENHOTEP In return, he is sending me a new wife GILUKHIPA Whom, my lord? AMENHOTEP Your niece, Tadukhipa Panel 4: Gilukhipa is somewhat shocked at hearing this, but restrains her look, so as to not appear as if in protest to the pharaoh. GILUKHIPA But she is so young AMENHOTEP You have not seen her in many years, and time goes by quickly. You must remember that if I were but a few years older, I could have been your father; yet look at us now. Tadukhipa is 15 years old, well within marriage age. Panel 5: Amenhotep looks out at the sunset with a weathered and saddened look on his face. AMENHOTEP She is young, and I am old; the years have passed before me and I grow closer to leaving this world every day. Though I have one surviving son, Amenhotep IV; my eldest son, Thutmose, whom I loved, and who was to succeed me in ruling this land, died. We can never know when we will pass on to the next life--what if my younger son also dies before me? Then who will rule once I am gone? Who will carry on my dynasty? Who will make sure I am mummified properly, with all of the things I shall need in the afterlife? Panel 6: Amenhotep turns to Gilukhipa. AMENHOTEP You were sent to me in the hopes that you would bear me children, and in these 20 years, though you have been good and faithful, more sons you have not been able to give me. Tadukhipa is young, she has many years for which she can give me sons. GILUKHIPA Yes, my lord. PAGE 4-5: Double page spread: An epic battle, the Mitanni and The Egyptian armies slaughtering the Hittites. PAGE 6: Panel 1: From a different balcony Amenhotep, fanned by his servant, looks down onto the main street of Thebes, watching the procession of the arriving Tadukhipa. Panel 2: Distant street level view: She is riding in a chariot, plated with gold and inlaid with precious stones, being drawn by a pair of horses with gold & jewelled reigns, followed by a fleet of camels adorned with gold and precious stones. Panel 3: Closer view, focusing on Tadukhipa: She is wearing a purple, green, & crimson dress, and adorned in bejewelled golden bracelets, armlets, necklaces, and a diadem headpiece. Her hair is long, full, black, and beautiful; her skin, soft, youthful, and without blemish. Her calm, assured countenance shows that she is a princess, doing her royal duties. PAGE 7: Panel 1: View from distant above at a slight angle to the right: Inside of The Temple Complex of Karnak, Amenhotep and Tadukhipa are next to each other, kneeling in front of a giant statue of Ma’at. Between them & the statue stands the temple High Priest, Nakht, who is standing and also facing the statue, his arms lifted in praise, in one hand he is holding a book. Filling the temple, on either side of the main aisle, stands countless Egyptians. NAKHT We stand here, as in life and death, before the gods, whom we must all honour, praise, and offer thanksgiving. Panel 2: Normal angle view, from slightly behind and to the right of Amenhotep and Tadukhipa, looking towards Nakht and the statue: Nakht now faces the kneeling couple, his arms holding the book out towards them. Nakht is young and Handsome. NAKHT Place your hands upon the Book of The Dead, the book authored by the god Thoth, the book which we must all live and die by. Panel 3: Close up: Amenhotep’s hand now rests confidently upon the book, as Tadukhipa timidly places her hand over his. CAPTION (TADUKHIPA) I may not wish to marry this man, my uncle, who is old enough to be my grandfather; but I am a princess of Mitanni, and I shall do my duty. Panel 4: Looking from Tadukhipa’s perspective at Nakht, who is looking back at her with romantic desire in his eyes. CAPTION (TADUKHIPA) Wow, that priest is the most handsome man I have ever seen! Get a hold of yourself, Tadukhipa, a princess’ life is not her own, princesses do not have the luxury of choosing whom they marry. Panel 5: Looking from Nakht’s perspective back to Tadukhipa, who is gazing at him with similar romantic interest and desire. CAPTION (NAKHT) This woman is as beautiful as the goddesses! What am I thinking, she is the new queen, of course she looks like a goddess; I must not allow myself to get distracted by that which is the pharaoh’s. PAGE 8: Panel 1: As the kneeling Amenhotep & Tadukhipa’s hands lay upon the book, Nakht, despite his feelings, continues presiding over the ceremony. NAKHT May the goddess Hathor bring you love, may Kebechet bring you purity on this day, may Isis protect your marriage, may Tawaret bring you many children and may Bes and Bastet protect them, and may the goddess Ma’at use your union to bring order and balance, justice and harmony to your kingdoms, and may they reign for 100,000 years, in this life and the next, and forever and ever. Panel 2: From Nakht’s perspective: The aged Amenhotep looks over, lustfully, at the nubile Tadukhipa, as she hesitates before saying her words which are to seal the bond. Panel 3: Normal, semi-side perspective: Tadukhipa stares deeply at Nakht, him equally so at her, as she speaks. Amenhotep continues to look at her lasciviously. TADUKHIPA I enter into his home, I shall move all of my belongings into his house, I shall dwell within it all my life. Panel 4: Nakht says the closing prayer. NAKHT It has been declared in front of the gods! Declared upon the Book of The Dead! All have witnessed this oath! May the feather of Ma’at weigh it, and see that it has been made in truth within the depths of your hearts. May the gods protect and guide you, may they find honour in this union, and may this kingdom prosper forever. Panel 5: Straight on view from Nakht’s perspective: Amenhotep and Tadukhipa have risen to standing, their hands which were on top of the book, now clasped together in union. The crowd behind, on both sides, breaks out in roars of cheering. NAKHT We have a new queen! PAGE 9: Panel 1: Distant shot: A large, lushly decorated bedroom, one of the walls is made up of ornate pillars, beyond which the slowly setting sun glows softly red. In the left of the view is a bed, fit for a pharaoh and his new queen, with feather stuffed mattress and pillows, and covered in silks of the richest colours. Near it stands Tadukhipa in her wedding dress, behind her is her aunt Gilukhipa, helping to undress Taduhipa, preparing her for her night with the Pharaoh. Panel 2: Straight-on close-up of Tadukhipa, looking slightly nervous; Gilukhipa, with a gentle and wise look, standing behind her, unwrapping parts of the dress off of Tadukhipa. TADUKHIPA Aunt Kilu-hepa-- GILUHIPA My dear, it’s Gilukhipa now, we are no longer of Mitanni, we have left it and its names behind. We now belong to the pharaoh, and as such, are now daughters of Egypt and must go by Egyptian names. Panel 3: Tadukhipa, with a lovingly look, turns to face her aunt; Gilukhipa, having been in the same situation, tries to both comfort and advise her niece. TADUKHIPA Oh, my dear Aunt, do you not miss our home at all, do you not miss your old friends, your old name? GILUKHIPA Of course I miss it, I miss seeing the sun rise over its horizon, seeing the beauty of the clothes, tasting the food, hearing the sweet words and the songs of the Mitanni; but Egypt has now been my home for 20 years, I have grown accustomed to this land, to its foods, its songs, and its names--I am now just as much Gilukhipa as I was Kilu-hepa; and you shall be as much Tadukhipa as you were Tadu-hepa, you will get used used to this land, in time. Panel 4: Gilukhipa returns to her removing of Tadukhipa’s garments and preparing Tadkhipa for her night with her husband. Tadukhipa still worried, unsure, and questioning her place in the future. TADUKHIPA And Amenhotep, is he a good husband? GILUKHIPA He has given me an amazing roof over my head that only the gods can dream of, rich clothing, and exotic foods, for all these years, does that not make him a good husband? TADUKHIPA But what his temperament, his personality? Is he a friend? Do you get along? Panel 5: They turn to one another again, as Gilukhipa tenderly tries to tell Tadukhipa the realities of life which one must accept in order to be thankful for what they are handed in life. Tadukhipa still wrestling with these things which confront who she is inside. GILUKHIPA Tadu, You know I am not his first wife, nor even his second; his true love will always be his first, the Great Royal-Wife Tiye, mother of his seven children, mother of three of his later wives. His heart beats for her, and they rule together. TADUKHIPA So he does not care for you? GILUKHIPA He has taken good care of me, isn’t that enough? PAGE 10: Panel 1: Tadukhipa gently wraps her hands around Gilukhipa’s lower arms, and looks at her aunt with a face that searches for answers on life, on the heart, on one’s dreams, as if pleading for her aunt to understand how she feels. TADUKHIPA Dear aunt, do you never yearn for a man who actually loves you, one who the very sight of makes your heart flutter? Panel 2: Gilukhipa, with a strong and regal, though slightly sombre face, looks at Tadukhipa, placing her hand on her niece’s upper arm. Tadukhipa looks down, with a sad, yet sternly dutiful face. GILUKHIPA A princess of Mitanni and a wife of the Pharaoh is not allowed such whims, you know that. TADUKHIPA I know… Panel 3: Gilukhipa’s perspective: From slightly above, extreme close up on Tadukhipa’s face as she looks with large, questioning, almost hurt, eyes. TADUKHIPA ...but have you never experienced that? Panel 4: Gilukhipa becomes agitated by Tadukhipa’s insistent questioning, her prying breaking Gilukhipa’s heart, reminding her of how she felt at that age right after she arrived in Egypt, while she was awaiting Amenhotep; breaks her heart to see her niece struggling the same--breaks her heart that she has to snap Tadukhipa into reality, and break her heart. GILUKHIPA It doesn’t matter whether I have or not! You should refrain from such thoughts, they will only get you in trouble. We belong to the pharaoh, if we were to stray, we would be punished and know the jaws of Ammin. It is best to be thankful that the gods have blessed us with such honour and luxury, and know that a princess is not free to love anyone other than her lord and her land. Panel 5: Gilukhipa’s perspective: Tadukhipa, now standing almost nude, with only small bits of transparent fabric hanging over her breasts and crotch, looks downwards, her eyes cold and rigid with the knowledge of her duties and that no matter how much she wishes or desires something, that she does not have control over her own life; yet through her eyes’ dead facade, can be seen their puffiness with her sorrow and a faint tear of heartbreak running down her cheek. TADUKHIPA Yes, I understand, Kilu...Gilukhipa, my wise and beloved aunt, now sister. PAGE 11: Panel 1: Gilukhipa lovingly places her hands on Tadukhipa’s cheeks, gently lifting her nearly nude niece’s sombre head. GILUKHIPA Be good to Amenhotep, give him a son, and he will be very good to you-- SFX Step Step step Panel 2: Perspective from the entrance to the room: Standing in the entrance, to the left, back facing the viewer, stands Amenhotep. In the distance of the room, Tadukhipa stands, her lithe, young body nude except for the transparent fabric which drapes over her breasts and crotch; she stands, looking incredibly sexual in figure, yet also vulnerable, her face full of trepidation. Her aunt Gilukhipa elegantly scatters away. GILUKHIPA --Here, your bridegroom comes to claim his maidenhead. PAGE 12: Panel 1, 2 & 3: The aged Amenhotep circles Tadukhipa like a vulture, eyeing her supple body like a piece of meat, ready to be devoured. Tadukhipa nervously standing before him, almost shaking like a kitten faced with a ravenous dog. AMENHOTEP Yes… ...good… ...I see you are even more beautiful than Gilukhipa was all those years ago Panel 4: Close-up: Amenhotep stands to the right of Tadukhipa, his face extremely close to hers, his rotted, crumbling, blackened teeth, close to her mouth; her beautiful, youthful face, nervously wretching back in both apprehension of what she knows is to come, and disgust at his foul breath, as he seedily interrogates her, his left hand running across her lower belly, she responding meekly. AMENHOTEP You have a fine body to produce heirs. Did your aunt prepare you for what is to come? TADUKHIPA Yes, my lord. Panel 5: He stands tall behind her, his thin, wrinkled, blotchy, almost mummified looking arms wrapping around her, cupping and squeezing the bottom of her breasts, pushing them upward; her face falls at his torturous taunting foreplay, her eyes closed, thin streams of tears falling from them, her lips bitten sorrow and fear. Amenhotep’s face flushed with lustful ecstasy. AMENHOTEP And you understand your duties? TADUKHIPA Yes, my lord. Panel 6: Amenhotep, still standing behind Tadukhipa, grabs her hair with his right hand, pressing his face against her scalp, his nostrils flared as he breathes in her scent. AMENHOTEP And you are ready? TADUKHIPA ...Yes... AMENHOTEP Good Panel 7: Amenhotep violently throws Tadukhipa onto the lush, decadent bed. AMENHOTEP Then let’s get to it! PAGE 13: Full page: Amenhotep’s perspective: The bed runs tall across the vision, engulfed in Amenhotep’s dark and ominous shadow. Tadukhipa laid atop it, her arms drawing her backwards towards the headboard, her hands clenching the blankets in terror. PAGE 14: Full page: Amenhotep’s ominous shadow over the bed, shows that he is carelessly walking away. The blankets are recklessly bunched up, Tadukhipa arms wrenched above her head, grasping desperately onto the blankets, her face covered in tears and wincing in pain, the fabric over her crotch, drenched in blood. PAGE 15: Panel 1: Gilukhipa appears above Tadukhipa’s writhing body- GILUKHIPA Tadu...Tadu, I am so sorry... Panel 2: -lovingly wrapping it in clean linens- GILUKHIPA ...He is becoming erratic in his old age... Panel 3: -cradling her bloodied and weak niece. GILUKHIPA ...He used to not be like this... Panel 4: Tadukhipa, fragile, bruised, weakly looks at her dear aunt. GILUKHIPA ...I am so, so very sorry. I should have known he was starting to go mad when he began to take on his own daughters as wives to produce heirs--I am so sorry. PAGE 16: Panel 1: Dawn breaks around the aunt who has been cradling her tender niece throughout the night. GILUKHIPA We must carry out the rituals now. Panel 2: Gilukhipa runs a string of twine between two of the pillars- GILUKHIPA There are traditions which must be kept Panel 3: -And hangs over the string, Tadukhipa’s blood-soaked coverings. GILUKHIPA The people must see that their pharaoh has been honoured and his new bride is doing her part to continue the royal lineage Panel 4: Gilukhipa closes up around Tadukhipa a full opaque white linen dress- GILUKHIPA Now you must be purified- Panel 5: -and shrouds Tadukhipa’s head in a similarly coloured veil. GILUKHIPA -through the sacred baths in the temple. PAGE 17: Panel 1: Guards carry Tadukhipa through the street in a lectica / litter / sedan chair / sedia gestatoria, flanked with guards carrying flabella. Gilukhipa stands on the lectica behind Tadukhipa’s throne. Panel 2: The guards have now lowered the lectica to the ground, in front of a large stone door within the temple complex. Tadukhipa steps off of the Lectica onto the stone floor, while Gilukhipa is ahead of her, Gilukhipa’s arm about to push open the large door. CHARACTER Dialogue Panel #: Gilukhipa opens the door to reveal a large Mikvah CHARACTER Dialogue Panel #: Description CHARACTER Dialogue Panel #: Description CHARACTER Dialogue Panel #: Description CHARACTER Dialogue Ghusl Future things to write for this issue: The Pharaoh agreeing to send the statues at a later date, once Tadukhipa has born him children. Tadukhipa often takes leave to go to the temple & pray, so that she may spend time with Nakht (Comment on her foreign beauty and wonderful smelling her hair). One night, a fellow priest spies on their affair, & informs the pharaoh. Shortly after the pharaoh is informed of this, she returns home. The Pharaoh sicks his guards on her, she running from them. She runs to the temple to inform Nakht that the affair has been discovered & she is being chased. They try to find a hiding place in the Temple of Ma'at, but can't. So they pray before the giant statue of Ma'at, begging for protection & justice. The other temple priests then appear out of nowhere & grab ahold of them & lead the guards & the pharaoh in. While still in front of the great statue of Ma’at, Tadukhipa & Nakht’s bodies are slashed up (Leaving Crow-like markings), they are wrapped up, & placed, alive, into sarcophagi. They are then buried on opposite sides of the desert. Issue 2: Tadukhipa’s story PAGE 1 Panel 1: The harsh sun shines down on the ancient city of Thebes, in Egypt. CAPTION Thebes, Egypt 18th Dynasty Panel 2: The silhouettes of two men treck across an endless waste of desert, thebes in the distant background behind them. Panel 3: Closer, torso-up shot of the two men, both looking slightly dehydrated, MAN 1 looking angry, while MAN 2 looks sorrowed and annoyed. MAN 1 Now look what you’ve done! Gone and gotten us banished! I told you to not be so reckless in our endeavours. MAN 2 Hey, how was I to know there was a temple guard watching me? MAN 1 You must be an idiot to not think the Priests of Amun would protect the treasures of the gods! I should have never became friends with you, look at where it has gotten me, I am going to die in this desert- PAGE 2 Panel 1: MAN 1’s complaints are interrupted when he trips forward. MAN 2 laughs. MAN 1 -Aaaarrrrgggggg! MAN 2 Hahaha! Panel 2: He has tripped over a large mound of freshly upturned sand. He begins to sit up, and brush himself off, while MAN 2 looks on. MAN 1 What would they bury this far out here? MAN 2 Hey, we might find our treasure after all! Panel 3: MAN 1 isn’t going to let MAN 2 get all of the credit for this, the two semi-playfully argue. MAN 1 Thanks to me, not you! I tripped on it. MAN 2 Yeah, but if it wasn’t for me, we wouldn’t be out here. Panel 4: The men, with their hands, start scooping away at the mound. MAN 1 Well don’t just stand there! Help me dig it out! MAN 2 Last one to it is a dung beetle! PAGE 3 Panel 1: Extreme close up on carved wood covered in ominous-looking hieroglyphs, MAN 2’s pointed finger running across it. MAN 2 (Off Panel) That which lies within this sarcophagus is cursed to ever wander, never to find rest. At the end of time, may the feather of Ma’at pass judgement and the scales of Anubis be tilt against them, let Ammit devour their heart. Panel 2: The two men, now standing in the large hole they have dug into the ground, nervously stand before a sarcophagi, which is covered end-to-end in the ominous hieroglyphic curse. MAN 2 Uumm...on second thought, you open it! You are right, you deserve it. MAN 1 No, you, my good friend. You are the reason we are out here, after all. And besides, you are the one who was so hungry for treasure, so please, have at it. MAN 2 Okay, but if it is treasure, I get all of it. Panel 3: Close up on the upper side of the sarcophagus, a clay seal prominently centred in the framing. MAN 2 (Off panel) Now to get a rock large enough to break this seal Panel 4: MAN 2, in the foreground, picks up a large rock, the sarcophagus behind him, MAN 1 behind it, and over the top of the hole they are in, can be seen the horizon, which is quickly filling with swirling, enchanted, dark clouds. MAN 2 This should do MAN 1 Hurry up, a storm is coming in; let’s open this, find out whatever’s inside, and then find cover! Panel 5: Close up of MAN 2’s hands smashing the rock against the seal, it crumbling. SFX Smash MAN 2 Well if you want any of whatever is inside, help me push this lid open! Panel 6: The two men push the lid as the storm builds in the background. MAN 1 This better be gold and gems, and not some damn corpse! [Pant Pant] MAN 2 Of course it is treasure, why else would they want to scare us away from opening it by writing some bogus curse. [Pant Pant] PAGE 4 Full Page Splash: Close up, straight on: The face and upper torso, with crossed arms, of a barely wrapped, dry, rotted, female mummy with a face contorted in agony, pops up from the open sarcophagus! The lighting is darkened by the stormy sky. TADUKHIPA AAAAAaaaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhh!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! PAGE 5 Panel 1: The men frantically hurry to get out of the hole, away from the corpse, and to try and find some shelter from the oncoming storm which rages in the sky. MAN 2 Let's get out of here! MAN 1 She’s not our only concern, how about the storm?! MAN 2 There’s got to be somewhere we can go! MAN 1 We are in the middle of desert! There’s nothing around us but sand! TADUKHIPA AAAAAaaaaaaaaaaaaaaaaaaaaaaahhhhhhhhhhhhhhhhh!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Panel 2: Shot from below, looking straight up into the sky: A single white crow feather glides down in a circular pattern from the heavens. Panel 3: The feather wafts above Tadukhipa’s mummified corpse. Panel 4: The feather lands upright in Tadukhipa’s hair, wedging its quill into a thin strip of wrapping which encircles her head. Blood-red rain sprinkles against her. SFX Ka SFX Drip Drip Drip Panel 5: It begins to rejuvenate her- SFX Drip Drip Panel 6: -partly repairing, restoring, and hydrating her pale, parchment-like corpse- SFX Drip Drip Panel 7: -until her skin, while still pale with death, has become supple; her muscles and curves have returned. The wounds from the attack on her remain, but the effects of death and mummification have been repaired. SFX Drip Drip PAGE 6 Panel 1: Issue 3: Nakht’s story PAGE 1 Panel 1: Panel stretched long across the top of the page: The harsh sun shines down on the ancient city of Thebes, in Egypt (Exact same as panel 1 of issues 1 & 2). CAPTION Thebes, Egypt 18th Dynasty Panel 2: Almost identical to panel 1, but with the enchanted swirling storm clouds coming in. Panel 3: Same, but with even more clouds & darker, the daylight blotted out, & lightning flashing across the landscape. Panel 4: The rain is soaking into the sand, causing the objects beneath to begin to rise up. SFX eeerr eeerr eeerr Panel 5: Nakht’s sarcophagus slowly rises out of the sand. SFX Eeeeeeeeeeerrrrrrrrrrrrrr Panel 6: it has risen completely out. PAGE 2 Panel 1: Lightning strikes the sarcophagus. SFX KLASH Panel 2: close up on the lightning striking the seal. SFX KLAZZ-CRACK Panel 3: The lid blows off! SFX KLA-BOOM-SPLICK Panel 4: Nakht’s lifeless mummy lies inside the broken, charred, smoking sarcophagus. SFX Sizzle Sizzle PAGE 3 Panel 1: Shot from below, looking straight up into the sky: A single black crow feather glides down in a circular pattern from the heavens. Panel 2: The feather lands on Nakht. SFX Ka Panel 3: Blood-red rain begins to pour down on Nakht-- SFX Drip Drip Drip Panel 4: It begins to rejuvenate him, bringing reparative hydration to is dry, parchment-like skin. SFX Drip Drip Drip Panel 5: His eyes open and he breathes life. NAHKT [gasp] Issue 4: Their Story’s End PAGE 1 Panel 1: PAGE #: Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words Panel #: Description of panel. CHARACTER Spoken words

Ten years ago, in Gotham City, Eric Draven and his girlfriend Shelly are shot and thrown to their demises from the window of their loft apartment. Police Sergeant Daryl Albrecht accompanies Shelly to the hospital, where she eventually succumbs from her injuries. A narration recounts the legend of a crow that carries souls to the land of the dead; if a person loses their life in tragic circumstances, the crow can resurrect their restless spirit to set things right. In present day, Shelly and Eric's graves are visited by Sarah, a young girl the pair cared for due to her neglectful mother. A crow lands on Eric's gravestone and taps on it, resurrecting him. Disoriented and distressed, Eric returns to their ruined loft and experiences flashbacks of the attack: a gang of men—Bozo, Happy, Chuckles, and Grumpy—attacked the couple because they were protesting forced evictions in their apartment building, which the gang’s leader, the ruthless crime boss The Joker, intended to seize. Realizing

Plot: A.L. Bellettiere (Deaderman) Jack Danya Kemplin (Holy Guyver) Writing: Jack Danya Kemplin Art: (artist) Lettering: Jack Danya Kemplin C3: Collective Crow Comics Editor: Jack Danya Kemplin The CrowTM © 2014 James O’Barr (under exclusive license to Top Dollar Comics, Inc and Crowvision, Inc.) The CrowTM 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. PAGE 1 PANEL 1 A deserted city, dark, gray, cloud covered, and empty. Not a single person can be seen, the streets and curves are even completely devoid of cars. CAPTION The whole city is dead Empty It's been like this for a year now PANEL 2 The only movement that can be seen is dead leaves blowing in the air, and a single, large, black Crow, circling the a building. CAPTION Everyone must have evacuated Leaving me like always No one ever cares about me Heck, maybe I'm the reason they all left PANEL 3 The Crow perches on the windowsill in front of our protagonist THE CROW Caw KEVIN At least I have you Mr Crow PANEL 4 Kevin, looking out into the gray, abandoned city, pets The Crow's head KEVIN Am I really that bad? Why does the world hate me? Then again, what do I have to give it? PANEL 5 It starts to rain as Kevin continues his sullen brood KEVIN I'm only Kevin Peters 16 years old Short and thin Muddy brown hair and eyes Never even been kissed PANEL 6 The Crow flies away KEVIN I guess even you get sick of my sad ranting at times PAGE 2 PANEL 1 Turning around Kevin starts to walk back towards the inner parts of his apartment. As he does this we see a speaker embedded in the wall. THE VOICE You will never amount to anything, Kevin! You are nothing, less than nothing! KEVIN I know, I know. That is The Voice I hear it every night Always blaring, always taunting me PANEL 2 Kevin sits on his bed, a bare striped mattress on the floor, with only a pillow and no covers. Next to it is another speaker embedded in the wall. THE VOICE You're a loser, Kevin, a loser! KEVIN And lately it has gotten worse I hear The Voice more and more frequently THE VOICE You are nothing but a punk-ass kid! PANEL 3 Kevin pushes himself back against the wall, wrapping his arms around his legs, bringing his knees in, looking scared. KEVIN I wish I could say that it only appeared when everyone else vanished I wish I could say that was why everyone left PANEL 4 KEVIN But that's not true They left because of me I know it THE VOICE No one loves you! You don't have any friends no girlfriend no one would ever fuck you! PAGE 3 PANEL 1 Kevin, still sitting on his mattress against the wall, his knees still tucked in with his arms, but his face now lays smashed against his knees, tears streaming down his cheeks, soaking into the black jeans which cover those knees. KEVIN The truth is The Voice was here long before everyone left Years even... PANEL 2 Kevin remembers being 9 years old, sitting in the living room, his mother helping him with the day's homework. ADRIENNE (MOTHER) Ms. Winter planted 50 flowers in her garden. Then next morning she only had 27 flowers left. How many flowers have gone missing from Ms. Winter’s garden? KEVIN 23? ADRIENNE Good- PANEL 3 The front door slams open, Kevin's father, tall, big, and rough, stands in the doorway with an angry look on his face. SFX Slam BRIAN (FATHER) -What the Hell do you think you are doing?! PANEL 4 Kevin's mother jumps straight up with a scared look on her face, Kevin next to her looks scared too. ADRIENNE Brian! I was only helping Kevin with his homework- PANEL 5 Kevin’s father, with one hand out, ready to slap her, angrily towers over Adrienne, Kevin huddled near her legs, her shielding him with one of her arms. BRIAN -Dinner is supposed to be done the moment I get home! ADRIENNE I know, and it is cooking, I just thought I- BRIAN -That's just it Adrienne! You don't think! ADRIENNE Brian, Kevin needs help! PANEL 6 Brian hunches down, staring angry at little Kevin, shouting at him. BRIAN What, boy! Ya too dumb to do your own homework! Or you just too lazy to work for yourself?! PANEL 7 Back to the present, Kevin still a shivering ball against the wall THE VOICE You’re just too dumb and lazy! PAGE 4 PANEL 1 Anger flashes across Kevin's tear strewn face as he balls up one of his fist, gritting his teeth KEVIN All these yours The Voice has been taunting me! PANEL 2 An 11 year old Kevin sits at the desk in his room trying to do his homework, but his parents can be heard through the wall. ADRIENNE Brian don't! Please! SFX Whack BRIAN Fuck, Adrienne! I don't know why the hell I stay here! I can easily get better pussy at the bar! PANEL 3 11 year old Kevin begins gripping the desk in fear and anguish as his parents fight in the other room ADRIENNE Brian, please don't say that...I promise things will be better BRIAN How can they ever be better, Adrienne! Ha?! All I got here is a dumb disobedient wife, and a dumb disobedient kid! PANEL 4 11 year old Kevin crumples his homework in one hand as the voices behind the wall continue BRIAN Boy, dun know nothin'! Failing in school! An' fo' what?! Ha?! THE VOICE You're just stupid! PANEL 5 Still on the bare bed, 16 year old Kevin's fist still clenched at the thought of the memories, as The Voice blairs from the speaker. THE VOICE A failure! KEVIN I am a failure! I couldn't make anyone happy! PANEL 6 11 year old Kevin is dressed for school, his backpack over his shoulders. Kevin's mother, down on her knees in front of him, grabs him in both arms, and violently shakes him in desperation ADRIENNE Kevin, now please, you've got to listen in class today, so you can pass. KEVIN (In tears) I know mother… ADRIENNE Then why do you keep failing?! PANEL 7 Close up of 11 year old Kevin subbing in his mother's arms KEVIN I don't know...I have trouble sleeping at night PAGE 5 PANEL 1 On the bed, 16 year old Kevin's anger melts back into extreme anguish and sorrow KEVIN I couldn't make anyone happy THE VOICE You're a failure! No one loves you! PANEL 2 14 year old Kevin rushes through the Freshman halls of his high school, his clothing tattered and second hand, the same black jeans and hoodie he always wears, his hair the oily mess it always is. PANEL 3 As he passes, several students stand in front of their lockers making fun of him. WINDY Oh my god, Sandy! Yuck! It's that Kevin kid! SANDY Like eww! I know what you mean, Windy. Does he ever change cloths? THE VOICE You're dirty! You're dirty! You're dirty! WINDY And that hair! He must not shower! SANDY AND WINDY Gross! THE VOICE You're dirty! You're dirty! You're dirty! PANEL 4 Kevin stands at his locker, his face behind the door so the girls cannot see him crying SANDY I bet he has mold growing in his armpits SANDY AND WINDY Hahaha! THE VOICE You're nothing but a breeding ground for scum! Takes scum to know scum!

The nineties. Not the best decade for comic book adaptations. Richard Donners Superman did well in the seventies and Tim Burtons Batman got the tone for the Dark Knight right near the end of the eighties. This could have been what made the studios see the potential for big bucks in turning stories of the sequential art into something a little bit more cinematic back then. Not many comic book movies made this era turned out well though. This movie however was an exception. While many other movies made this era only (or mostly) survived by being so bad that they were good, this one respected the story and tone of the work it was based on and met success. Though possibly not only for its quality, something I'll get to later. The story: Rock musician Eric Draven (Brandon Lee) and his fiancée Shelly Webster (Sofia Shinas) gets attacked and killed by a gang on a dark October night. One year later Eric rises from his grave, now undead and guided by a mysterious crow. He remembers what

Because it will be fanfiction there will not be any pay for this, it will be out of love for The Crow comics, and for your portfolio and promotion of your name. The plot for Dead Winter: In the 1800's there was a fur trapper who lived in the mountains of Montana above a very religious & superstitious town. One night, while he was at home, boiling dinner in his cauldron; the townspeople came with torches, locked him inside of his house, & burned it down to kill the supposed "warlock". The trapper was a kind soul, who did not seek revenge for his own life. In modern times, a black family who just moved to the area has finished building a new cabin on the site where his home once stood. But the townspeople are suspicious of these newcomers, and do not like black people; they believe the family may practice voodoo. When the townspeople come to subject this family to the same fate their ancestors did him, the soul of the trapper cannot bare to see them do it to someone else, and he is resurrected by The Crow. Josiah A burned alive Mountain Man fur trapper, whose hat is made out of a crow and coat of a black bear. This picture is a major influence on Josiah’s look Lougenia 17 year old Goth of Colour. Looks similar to Yasmin Benoit, but wears Bauhaus, Siouxsie, Sisters of Mercy, and The Cure shirts. Issue 1 The story of Josiah He returns from a long trip of trapping, carrying his spoils on his back. He returns home, sheltering from the bitter cold which he had called home for the past several weeks. He starts cooking some meat & root-vegetables in a cauldron Ladles some into a bowl & sits down to eat Unseen by him, from a distant birds-eye view, we see a mob coming up from the village, their torches lit. Josiah is startled by slanderous preaching coming from outside his house We now see the hateful preaching going on outside, lead by Reverend John Goodfellow Smoke and fire start to come into Josiah’s house, they have lit it on fire! The building collapses into cinders & ashes. Issue 2 200 years later LeRoy Clovis, his wife Zeline, & their daughter Lougenia have moved from Louisiana to Dixon Montana, and have just finished building their log cabin (unbeknownst to them, on the same spot as Josiah’s). They are a black family, & their daughter is a Goth of Colour. They are starting to get settled in when they hear a knock on the door It is Reverend John Goodfellow the 6th and his wife Sarah, from the town below. They while putting on “Good Christian” faces, clearly suspect the Clovis family of being voodoo practitioners, especially Lougenia. The Clovis family decide to go out and explore their new town, but they instantly feel out of place, all of the stern white faces stiaring at them with judging eyes, whispering, covering their children’s eyes as the family walk by, marking their businesses as closed when the family walks up to the doors. Lougenia at home, late at night, practices her voodoo, asking for spiritual guidance and protection for her family from those who have passed on. After performing this invocation, an ethereal Crow flies into her open window, perches on her bed post, and gives an ominous warning. Issue 3 A few more scenes happen with the Clovis family out shopping and such, & the townspeople acting odd around them, making hushed hateful comments. Intercut with the townsfolk being prejudice, are scenes of Lougenia at home, at night, doing her spells, The Crow continuing to warn her of the townspeople, but promising protection. One night, the Clovis family is sitting at home, eating dinner, when they hear a commotion outside They look to see who it could be, & see Reverend Goodfellow leading a modern mob. The mob is about to set fire to the house, when up from the kitchen floorboards rises Josiah! He smashes through the door and with a cry of “Never again will you shed innocent blood with your religion of lies and hate!” he begins his slaughter. Plot: Jack Danya Kemplin & Tristin Scott Writing: Tristin Scott Artist: (artist) Lettering: (letterer) C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2016 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. PAGE 1 PANEL 1: CAPTION Dixon, Montana, 1846 A Crow flies alongside the icy Rocky Mountains, circling over the small town of Dixon below, which is made up of several cabins around a small central churchhouse. PANEL 2: On the snow covered, icy mountains, amidst the heavy frozen wind, descends Josiah, a fur trapper, returning from a long trip of trapping, carrying his spoils on his back. PANEL 3: He makes his way towards a log cabin high up on the mountain, far separated from the town below it. PAGE 2 PANEL 1: Josiah closes the door behind him as he enters his cabin. Josiah Six weeks since I slept in your bed, next to your fires, I shall sleep peacefully tonight. PANEL 2: he starts a fire underneath the cauldron. PANEL 3: Tossing into it some meat and root-vegetables. PANEL 4: He ladles the stew into a wooden bowl. PANEL 5: Sitting down at his wooden table. PAGE 3 PANEL 1: Outside, bird’s eye view: An angry mob of the villagers, lead by Reverend John Goodfellow, marches toward Josiah’s cabin with lit torches. REVEREND JOHN GOODFELLOW They marched across the breadth of the earth PANEL 2: Josiah finishing up his dinner. PANEL 3: The townsfolk are now outside his house, their torches burning strong and bright, like their prejudice hatred hatred. REVEREND JOHN GOODFELLOW God’s people of the beloved city, and they surrounded the camp, PANEL 4: Close up, worm’s view, of their leader, his bible in hand, the fires from the torches burning red in his eyes. REVEREND JOHN GOODFELLOW and fire came down from God out of heaven, and devoured the devil that deceived them, and he was cast into the lake of fire and brimstone, where the beast and the false prophet are, and shall be tormented day and night for ever and ever! PANEL 5: The townspeople, rallied into a frenzy of hatred by their leader’s sermon, begin to shout. FAITH Die, warlock! HOPE Burn in the lake of fire! CHARITY Taste eternal torment and brimstone! PAGE 4 PANEL 1: Josiah is startled by the commotion outside, rising from his table in fear. PANEL 2: Extreme close up on his terror stricken eyes. PANEL 3: Josiah remembers when he first entered this town. PANEL 4: All of the stern puritan-like faces staring at back at him with judging eyes. PANEL 5: Whispering to one another. PANEL 6: Covering their children’s eyes as he walked by. PANEL 7: Marking their businesses as closed when he walked up to the doors. PAGE 5 PANEL 1: We return to the worm’s eye view of the Reverend amidst continued readings of condemnation. REVEREND JOHN GOODFELLOW Let burning coals fall upon them: let them be cast into the fire; into deep pits, that they rise not up again. PANEL 2: Josiah’s house begins to fill with smoke and glow with fire from the outside! PANEL 3: Josiah panic stricken, tries to get out. PANEL 4: Outside: But the door has been blocked, boarded up from the outside! JOSIAH(OFF) I beg of you! Let me out! I’m a good man! FAITH Burn, creature from Hell! CHARITY Die, devil!!! PAGE 6 PANEL 1: The fires close in on Josiah. PANEL 2: His flesh beginning to boil JOSIAH (Spanning this and panels 3 & 4) AAAAAAAAAAAHHHHHHHHHHHH!!!!!! PANEL 3: And char PAGE 7 PANEL 1: The cabin is collapsing around the badly burned Josiah. PANEL 2: It collapses completely on Josiah, crushing him. PANEL 3: Outside: Straight on view of the Reverend, still holding his bible open, Josiah’s collapsed house burning in the background like a huge bonfire amidst the black sky and the white snow; the townspeople still tossing their torches into the growing fire. REVEREND JOHN GOODFELLOW And Death and Hades were cast into the fire. This is the second death, And whosoever was not found written in the book of life, was cast into the lake of fire. PANEL 4: Morning, The Crow flies overhead as smoke rises from the blackened spot on the snowy mountain. THE CROW They have set fire to thy sanctuary: they have defiled the dwelling place of thy name on the earth. PAGE 8 PANEL 1: CAPTION 140 years pass LeRoy Clovis, a tall and lanky, well cut, black man in his early 40’s, is driving his car, his wife, Zeline, a beautiful hour-glass figured black woman in her early 40’s, is in the passenger seat, & their daughter Lougenia, a 17 year old, tall and thin, Goth of Colour, lays in the back seat, her arms crossed over her chest, her sunglasses shielded face looking bored and upset. LEROY Honey, you should really look out the window, The mountains create quite a view. ZELINE Never had a view like this in Louisiana. LOUGENIA I Don’t care! I want to be with my friends. PANEL 2: The family stand outside of their car, Lougenia’s door still open, and look at a newly built cabin on the side of the mountain. LEROY Well, it’s finally finished, isn’t it a great? ZELINE It’s a dream! LEROY And imagine all of the skiing, camping, the fresh air! LOUGENIA Yeah, and the cold, And the wind, And the frostbite, and no friends. ZELINE You can make new friend. PANEL 3: Inside, they are unpacking. PANEL 4: When they hear a knock at the door. SFX Knock Knock LOUGENIA Suddenly there came a rapping… ZELINE Hush! PANEL 5: LeRoy goes to answer the door, Zeline stands up, and Lougenia continues digging through her stuff. LEROY I’ll get it, it is probably people from Dixen, come to welcome us. LOUGENIA Or to sacrifice us to their cult… ZELINA Lougenia! PAGE 9 PANEL 1: LeRoy opens the door, revealing a man who looks almost identical to Reverend John Goodfellow, and a woman, who closely resembles one of the women of the village from so long ago. They stand there, their faces as puritan-like as ever, the woman holding a plain looking humble loaf of bread. LEROY Clovis residence, Hi, we are new here. REVEREND JOHN GOODFELLOW THE 6TH Yes, we all have watched as your lovely home has been being built these past few months. I’m Reverend John Goodfellow the 6th, and this is my good wife, Sarah. SARAH We have come to represent the town, and give you a Dixen welcome, Here, have some freshly baked bread. PANEL 2: LeRoy waves them in, as Zeline takes the bread; Lougenia rolls her eyes. LEROY Why Thank you, come on in! I’m LeRoy, this is my wife Zeline, and this is our special little girl, Lougenia. PANEL 3: Rev. Goodfellow and Sarah sit down on the sofa, LeRoy and Zeline pulling up chairs, LeRoy next to Goodfellow, Zeline next to Sarah. LEROY So, could you tell us a little about the area? REVEREND JOHN GOODFELLOW THE 6TH Yes, The town of Dixen was founded in the 1800’s by my ancestor Reverend John Goodfellow the 1st and was made up of him, his wife Chastity, And the good people of their church LOUGENIA (Whispering/Off) See, I told you they were a cult ZELINE (Whispering) Lougenia! PAGE 10 PANEL 1: Trying to move past his daughter’s comments, LeRoy continues to try and engage in pleasant conversation. LEROY So...this is a really fantastic spot up here, overseeing the town, great for skiiing… Why hasn’t anyone built up here before? REVEREND JOHN GOODFELLOW THE 6TH Oh...Someone did, once PANEL 2: LeRoy, a little surprised by this fact, inquires; Lougenia come up and stands behind her father, leaning over his shoulders. LEROY Really? We didn’t see any former building, what happened, was there an avalanche or something? LOUGENIA(Whisper) I bet it burned down...Sacrifice… ZELINE Lougenia! No more! PANEL 3: The Reverend and Sarah have stern looks on their faces, LeRoy and Zeline have looks of concern. REVEREND JOHN GOODFELLOW THE 6TH She is correct… the previous house did burn down… in 1849 ZELINE What happened? SARAH It was awful… poor soul. LEROY Who? PANEL 4: The reverend in his stern way, tells the story. REVEREND JOHN GOODFELLOW THE 6TH There was a man who lived on this very spot, Josiah. He was not a very good man--he studied the dark arts. LOUGENIA Cool! ZELINE Lougenia! PAGE 11 PANEL 1: The Reverend continues the story, as he does, we see the fictional version of events, as the listener would imagine them. We see Josiah as an evil cloaked warlock walking through the town at night, and Reverend John Goodfellow the 1st, depicted as a kind man, standing before him, offering salvation, but the warlock holding out a hand in refusal. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) My forefather, John Goodfellow the 1st Had tried to save his soul, But the poor man would not listen. REVEREND JOHN GOODFELLOW THE 1ST You need not go down that dark path, we will help lead you into the light PANEL 2: The warlock, inside his house, stands in front of a Cauldron with a goat head and odd plant matter hanging out from the top. Blood red Candles are lit all around him. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) One night Josiah was at his cauldron, it filled with the flesh of animals and strange roots PANEL 3: The warlock dances before the cauldron like a wild man, a bottle of moonshine in his hand. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) The man was intoxicated with the spirits of evil PANEL 4: The warlock, while in his mad dance, bottle in hand, knocks over several of the candles. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) But praise the good Lord, he did not harm this town, Josiah, in his own intoxication, knocked over the candles of his demonic rituals PANEL 5: The warlock’s silhouette, slowly turning skeletal while dancing within the flames. CAPTION (REVEREND JOHN GOODFELLOW THE 6TH) And burned in the hellfire that he so desired PAGE 12 PANEL 1: The family was shocked when they heard this horrible story. LOUGENIA So you are telling me that we’re standing over an unmarked grave? REV. JOHN GOODFELLOW THE 6TH Yes. Lougenia gets up from the sofa and stuffs something in her bag. PANEL 2: LEROY C’mon Lougenia,Josiah has no reason to haunt this place! Lougenia storms to her room and slams the door. PANEL 3: LEROY Reverend, I’m so sorry. REV. JOHN THE 6TH No, no, it’s okay, you nice folks come to us if you need anything! LEROY Thank you! Sarah shakes LeRoy’s hand. PANEL 4: They leave. PAGE 5 PANEL 1: Zeline goes to check on Lougenia. PANEL 2: Zeline sees Lougenia packing her clothes, her IPod, and her diary. PANEL 3: ZELINE That was very rude of you. LOUGENIA There is a unmarked grave on our property, and that leads to angry ghosts, God Damn it! PANEL 4: ZELINE HEY! You watch your mouth! LOUGENIA I’m 17 fucking years old, when will you stop treating me like a child?! PANEL 5: she storms out of the house. PAGE 6 PANEL 1: Zeline gasps as LeRoy walks in. ZELINE That’s it! I can’t take it anymore! PANEL 2: LEROY It’ll be alright honey, you’ll just have to give it time. ZELINE Maybe to you, but not for me! We’re disturbing the dead for christ’s sake! PANEL 3: Zeline storms to their room and slams the door. PANEL 4: LeRoy sighs heavily. PANEL 5: LeRoy sees his daughter sitting on the front porch. PANEL 6: LEROY Look… I know it’s been rough for all of us. LOUGENIA I know… i bet you guys always hated me… PANEL 7: LeRoy hugs his daughter. LEROY No! We don’t hate you. We love you! Come back inside. It’s cold out here. LOUGEINA Okay, Dad. PAGE 6 PANEL 1: CAPTION The next day the Clovis family decide to go out and explore their new town. LEROY Isn’t this nice? Our 1st family outing in a new town! PANEL 2: but they instantly feel out of place. PANEL 3: all of the stern white faces staring at them with judging eyes, whispering, covering their children’s eyes as the family walk by, marking their businesses as closed when the family walks up to the doors. PANEL 4: ZELINE Well, this is weird. PANEL 5: LEROY Probably they’ve haven’t seen new faces in a long time. LOUGENIA Probably they’re weird… LEROY I highly doubt that, sweetie. PANEL 6: The Clovis family heads home, trying to forget the whole incident. PAGE 7 PANEL 1: A pale beam of light from the full moon streams through the open window of Lougenia’s bedroom, falling on the floor illuminating a spot where an alter-table sits. Lougenia, in the background, stands at her wardrobe, pulling up the final sleeve of her ritual dress. PANEL 7: Late at night, Lougenia practices her voodoo. LOUGENIA Oh, spirits of the beyond,please send a messenger to protect my family! PAGE 8 PANEL 1: Suddenly,a Crow sits on her bed post. Nobody can see it but her. PANEL 2: THE CROW Be warned of the townspeople, child! PANEL 3: Lougenia at first thought The Crow was a demon, but she now thinks this spirit bird is an angel if it’s trying to warn her. PANEL 4: LOUGENIA But, how? PANEL 5: The Crow flies out of Lougenia’s window, making her question who will save her family. PAGE 8 PANEL 1: CAPTION The next day… PANEL 2:

Thank you for your interest in the 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 is a fanfiction website that has existed since October 2000, specializing in The Crow comics created by fans. We are currently in need of an Artist for a limited-colour 29 page one-shot comic book. Because it will be fanfiction there will not be any pay for this, it will be out of love for The Crow comics, and for your portfolio and promotion of your name. C3 has previously had projects with now famous comic book creators such as Ben Templesmith. I use 3 e-mail addresses, kemplin2@juno.com for small e-mails, jackkemplin@gmail.com for ones with large attachments, and collectivecrowcomics@gmail.com is technically the one these sorts of stories are normally submitted through, but submitting it through the jackkemplin one serves the same purpose. The plot for Ange de la Mort: In New Orleans, at the local college there is a student named Lillian Toussaint, the only child of a wealthy family. Her parents are friends with the even more wealthy Edwin family, who’s son is the school’s lead quarterback, and whom Lillian’s family is desperately pressuring her to marry. But while in college Lillian has secretly began a lesbian relationship with a butch woman named Veruka Dekay. Their relationship is cut short when the quarterback discovers the secret relationship and arranges for him and his teammates to lynch Veruka. After the killing, Lillian, who realizes who committed it and why, feels no choice but to do as her family wishes and marry him. Racked with guilt and despair, the morning after the honeymoon, Lillian hangs herself while he is in the shower. Unable to rest with the horrors which have been committed against Lillian and herself, Veruka returns to the land of the living, to haunt the football players. 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, and 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 Concept: Trista Musco Plot: Trista Musco and Jack Danya Kemplin Writing: Jack Danya Kemplin Artist: (artist) Lettering: (letterer) C3: Collective Crow Comics Editor: Jack Danya Kemplin The Crow™ © 2016 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. PAGE 1 PANEL 1: A distant landscape of dense and wild southern swamp trees, amongst the gnarled branches hangs a barely noticeable silhouette of a human body dangled from a rope attached to one of the branches. CAPTION Southern trees bear a strange fruit PANEL 2: Close up of leaves splattered and dripping with blood. CAPTION Blood on the leaves PANEL 3: Close up of the large tree’s massive winding roots, blood dripping on them and pooling between them. CAPTION and blood at the root PAGE 2 PANEL 1: Mid-distance shot of the body swinging by it’s neck from the tree, it’s features still not completely visible. CAPTION Bodies swingin' in the Southern breeze Strange fruit hangin' from the poplar trees Pastoral scene of the gallant South PANEL 2: Close up, birds-eye view of Veruka’s face, her eyes bulging from the pressure of the noose around her neck, the whites of her eyes have turned to blood red as the vessels within them haemorrhage and burst, the blood running down her face like tears. CAPTION The bulgin' eyes and the twisted mouth PANEL 3: Her body hangs there as weeks turn into months, her flesh beginning to rot. CAPTION Scent of magnolias sweet and fresh Then the sudden smell of rotting flesh PAGE 3 PANEL 1: The Crow lands on the shoulder of the rotting, hanging body. CAPTION Here is a fruit for the crows to pluck PANEL 2: The Crow stays perched on her shoulder as time continues to pass, lightning flashing as torrents of rain fall, the body swinging in the cold wind. CAPTION For the rain to gather, for the wind to suck PANEL 3: The sun now beats down on the body as it is almost done rotting, what leathery skin it has left stretches across the haunting face, its blood tears still visible. The Crow remains at its boney post. CAPTION For the sun to rot PANEL 4: Close up: The now heavily weathered rope barely holding onto the corpse. PANEL 5: The rope snaps, the body falling through the air, towards the ground. The Crow, seemingly shocked by the sudden loss of its perch, taking wing in the exact spot where it once sat. CAPTION for the tree to drop PANEL 6: Mid-distance: Veruka’s semi-skeletal body lays on the ground in the shadow of the ancient trees, The Crow circling above it. CAPTION Here is a strange and bitter crop PAGE 4 PANEL 1 TOP BORDER: An EKG pulse line passes over entire the page, one pulse detected, and in the space of the peak is an image of Lillian. PANEL 1: Worm’s Perspective: Close up on Veruka’s face, her decayed corpse lays on the ground below the tree, The Crow circling over head. PANEL 1 BOTTOM BORDER: A second EKG pulse line, another pulse later on the line, in the space of the peak Veruka and Lillian embracing, Lillian looking passionately up into Veruka’s eyes. PANEL 2 - 1ST INNER PANEL: A bolt of electricity cuts horizontal-diagonal across the page, along the way it forms a panel displaying a memory: Dark, close-up of a nude, beaten Veruka, one man kicking her in the stomach while the other one slips a noose over her head. MARK Dyke! SFX (kick) Kak VERUKA Uumpf EDWIN Lilly’s mine, you wife-stealing bull-bitch! SFX (Rope) Shliipp PANEL 2 - 2ND INNER PANEL: The winding bolt of electricity branches out into a second panel displaying another memory: Dark, birds-eye-perspective from up in the tree, close-up on Veruka’s panicked, struggling face, her hands frantically tugging at the tightening rope around her neck, her body flaying as it is hoisted up the tree, the silhouette of two men pulling on the rope below. VERUKA }gasp{ Please }gasp gasp{ PANEL 2 - 3RD INNER PANEL: The bolt branches into a third memory panel: Dark, birds-eye-perspective from the tree, extreme close-up on Veruka’s face, pulled taunt in its struggles, her eyes bulging from the pressure, her hands desperately grasping the ever-constricting rope at her neck. VERUKA }gasp gasp gasp{ PANEL 2 - 4TH INNER PANEL: The bolt branches into a fourth memory panel: Same as previous, but now Veruka’s eyes have exploded from the pressure, their blood flowing down from their sockets, forming into dark tears. Her hands have fallen to her sides, her mouth hangs open, she is dead. Below the silhouetted men grin. EDWIN That’s what your kind gets MARK T’was good n’ tight pussy though, bet it never had a dick ‘til ours PANEL 2 - BACKGROUND PANEL: Same as Panel 1, except now the body of Veruka which lays on the ground, has been restored to how it was in life, with the exception of the blood tears which still trace their path down her cheeks, and the whites of her eyes which are stained red with blood, making her silver-grey irises look ghostly. PAGE 5 PANEL 1: Electric bordered memory: Veruka protectively embraces Lillian, comforting her, as Lillian, in tears and with a deeply worried face, talks to Veruka. LILLIAN He won’t stop until he has me. Veruka, I am so scared Edwin is going to find out about us. PANEL 2 The electric border branches into another panel: This panel is identical to the panel “Page 4 Panel 2 - 3rd Inner Panel”. Below this panel is another EKG pulse line running horizontally across the page, indicating another strong heart beat. PANEL 3: Veruka’s restored corpse surges with life! It rolls on the ground, gasping for breath, and not realising how much time has passed, her hands shoot up to her throat, frantically tugging at the rope around her neck- VERUKA }gasp gasp gasp{ PANEL 4: -but now the weathered and broken rope crumbles at her tearing grasp and falls away; Veruka rushing to breathe, her lungs taking in air for the first time in a year. VERUKA }heew heew{ PANEL 5: Veruka lifts her head in agony, One of her arms reaching forward, her hand grasping the dirt beneath it, as she mournfully mouns- VERUKA Lillian PAGE 6 PANEL 1: First-person-perspective: Veruka’s hand brushes aside a bush, revealing The Crow flying in a full moon lit night sky, hovering over a grand, well kept, yet unlit, mansion. A large trellis, covered in creeping vines, runs up the side of the building to a bedroom window balcony on the second floor. VERUKA (Whispering) Lilly, please don’t worry about me PANEL 2: Normal/Third-person perspective: Veruka’s naked body climbs up the trellis towards the balcony, the railing of which The Crow sits on. PANEL 3: Profile-view: Veruka has made it the top, her arm in the foreground laying across the railing, grasping it as she struggles to pull herself up, the other reaching out towards the window; The Crow perched on the railing on the other side of her. PANEL 4: Now on the balcony, Veruka opens the glass French doors that lead to the bedroom; The Crow flying in. VERUKA Lillian? PAGE 7 PANEL 1: Veruka walks into the dark room. Everything looks overly neat, put in its place, spotless, like some sort of exhibit, unlived in; the bed-covers lie flat, perfectly squared without a wrinkle. The Crow stands perched on the canniped bed post. VERUKA Lillian, are you asleep? PANEL 2: Veruka lays her palm upon the bedspread, her face filling with concern in realising that Lillian isn’t there. VERUKA Lilly? PANEL 3: Veruka rotates the knob which turns on the lights, illuminating the dark room to reveal its sterile, presentation-like state; Veruka stares in bewilderment, her concern not diminishing. VERUKA What? Why’s her room look so...unlived in? PANEL 4: Veruka sits on Lillian’s bed. Next to the bed, against the wall, is a nightstand, on which sits a book with a latchet and a heart shaped lock. VERUKA Lilly, where are you? PAGE 8 PANEL 1: Veruka notices the book; The Crow standing next to it on the nightstand. THE CROW Something worth reading? PANEL 2: First-person-perspective: She picks the book up, focusing on its heart shaped lock. PANEL 3: Third-Person-Perspective, Close up: With her other hand, Veruka touches the heart-crowned key which hangs between her breasts. PANEL 4: Lillian, blushing and nervous with romantic butterflies fluttering within her, holds out a heart-topped key to Veruka. LILLIAN Veruka, I want to give you this, It’s the key to my heart. PANEL 5: Close up: Grasping the key, Veruka pulls on it, breaking the fine chain. VERUKA The key to your heart PAGE 9 PANEL 1: Close up: Veruka inserts the key into the lock SFX (Key) Shlick PANEL 2: Close up: She turns the key, the lock springing open. SFX (Lock) Click PANEL 3: Veruka opens the book. PANEL #: Birds-eye-View - Close up: The book lies open, flat across her naked thighs, her left hand resting on the bottom of the left page, her right hand across the top of the other. On the pages are words written in beautiful feminine cursive from a red pen, each lower case “i” dotted with a heart. CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue July 16, 2001 I am excited to be going to college, to a new school, to meet new people, and learn new things...But I also don’t see why my parents are even letting me attend, I guess it is just another thing for them to brag about, about how their “Little Lilly” is a “College educated woman”, even though they will only be happy with me being a trophy wife to some rich man, never destined to work a day for myself, never to make my own name in the world, never to walk my own path, but forced to further theirs. August 20, 2001 Today was the first day of school; the classes went well, and I really enjoyed meeting my professors. Leave it to my parents to make sure that I have as many classes with Edwin as possible. Edwin, the boy who from my earliest years our parents have been pushing us to get married, playing with us like their little dolls; and Edwin, always thinking he owned me, that I was his “Little wife”, that he had some claim over me as promised to him by his parents! August 23, 2001 Typical! Edwin couldn’t even go a week without threatening someone over me! I was just chatting with some guy in class before the lecture began, and Edwin walks in, sees us talking, and runs over, all puffed up, yelling and pushing the guy! Damn it!! Can’t I even talk to people without him getting in their faces, beating them up, and yelling at me?! Edwin Goldman disgusts me, and I will never marry him! August 30, 2001 Of course Edwin got picked for lead quarterback, and he’s been bragging about it all day. I don’t know why things like that even matter to him, it’s not like it’s going to be his career, he is going to go into the family business, but I guess a man has to look like a man...makes me sick! They have to beat up one another to feel good about themselves...Well the team can have him, I want nothing to do with any of them! October 28, 2001 Last night was the Halloween Social at school, The story of Lillian's family, of her relationship with Veruka, of the murder, the forced marriage, and the suicide is revealed when Veruka reads Lillian's diary, which Lillian continued to write in until moments before her death, even detailing what she was going to do and why. Lillian hangs herself with her wedding veil the morning after her wedding, to symbolise how he raped, hanged, and killed her, just as he had literally done to her beloved Veruka. END OF SCRIPT My Mirror Does Not Define Me By Kyler Prescott A 14 year old trans-man who committed suicide after being bullied. My mirror does not define me: Not the stranger that looks back at me Not the smooth face that belongs to someone else Not the eyes that gleam with sadness When I look for him and can only see her. My body does not define me: Not the slim shoulders that will not change Not the hips that give me away Not the chest I can’t stand to look at When I look for him and can only see her. My clothes do not define me: Not the shirt and the jeans That would look so perfect on him But that I know would never fit me When I look for him and can only find her. And I’ve been looking for him for years, But I seem to grow farther away from him With each passing day. He’s trapped inside this body, Wrapped in society’s chains That keep him from escaping. But one day I will break those chains. One day I will set him free. And I’ll finally look in the mirror And see me-- The boy I was always meant to be. WILLA 1993-2016 By William Lavinia It is several months before July 20th, 1993. The nurse has called to tell my mother over the phone that she is having a son. My mum is effusive, she mentions her husband has previously only had daughters. Then nurse pauses, and tells my mother to hold. When she returns to the line, she says: I'm so sorry, that was my mistake, the test shows you are having a daughter. That baby's name was Willa. She was born two months early and kept in Sick Kids Hospital for a month. She weighed 3lbs 12oz. Willa could never quite understand why she disliked pink. She couldn't tell you why she made her mother cut the bows off her clothing or why she despised the word 'actress'. Willa liked boys. She was right on track for girlhood. Willa like Disney princesses and dress-up. Her favourite Disney princess was Hercules. Her favourite song was I Can Go the Distance. Willa lost herself in theatre, where you could find her most often cast as every little boy in famous theatre cannon. She was always good at playing boys. Willa called herself a collection of characters. Willa spent a lot of time alone. Willa went through estrogen puberty. Willa was a 34C. Willa wore Revlon No 740 "Certainly Red" lipstick. Willa wore high heels everyday and bleached her hair. Willa's bra and underwear always matched. Willa was a doll I dressed. She gave me confidence and grace and protection. One summer, the most important theatre director in my life told Willa that she was wearing a mask. When Willa was 18, she moved to Canada. Willa liked girls. Willa could no longer wear heels everywhere. Her sense of identity began to fracture. She cried when she tried to read about sapphic sex. Willa still loved the way she looked in nude pictures. Willa couldn't have her breasts touched. Kink brought Willa new options, new words, new head spaces. Non-binary Identity gave her an anchor and guide as she became they. We were no one then. William was a very dark door in my brain, and I didn't have the neural connections to know what was behind it. but time passed, and one day, I did. As if someone had shown me the other side of a quarter I'd been carrying around my whole life: What if, I wasn't a masculine woman? What if, I was a feminine man? What if, I was a drag queen? I began to see myself. William's door was finally unlocked. On a day in 2016, at no particular time or place, Willa's name was manifested for the last time. and I became Will. I think we killed her when I shaved my head. The next day, I went under the knife. I sacrificed the source of much of her power, for the rebirth of a real boy. I am only 1 1/2 years old. On October 26, 2018, Willa came back from the dead. She goes by Archie Maples now. and on April 20th, 2019, while listening to music from my girlhood, every part of me came together to lay her to rest for good. In blood and ink. She is part of my story. She taught me much. She made me a better man. I wouldn't trade my time as her for anything. Though female assignment has caused me hardship, without her, I wouldn't be the creature I am today. My mutant self. Today I am thankful for my womanhood, which is still a part of my non-binary self. I am thankful for all the moon blood I shed, for the intimate understanding of my femme identity, for my hips, for late night women's washrooms, for a childhood that gave me permission to be soft. Today I am thankful for Willa. May she Rest in Peace. July 20th 2019 By William Lavinia Today I am twenty-six years old, yet I am also turning two. I have only been celebrating William's birthday for two years. Everything is different now, we didn't just start a new chapter, we're writing a whole new playbook. Last year I felt like an egg. Brand new, freshly shorn, lost in testosterone sauce. Then my hair began to grow back, and my face began to sharpen. My sense of identity began to sharpen along with it. I can see it, the way people are beginning to react to me differently. I've seen several sparks in cis-men's eyes these last few months, like they were actually seeing me as a queer boy for the first time. I feel positive about coming into my masculine form, positive that my 'boy' headspace is beginning to match my idea of my 'boy' body. I also feel complicated by it. For I am not always a 'boy'. I am a femme too. We live in symbiosis together. I am more than most can hold. I am small, I am strong, I am romantic, my Venus is in Gemini. I am a sadist, I am a service sub. My nails are sharp, my toes are shellacked, my pussy is fat, my cock is small and juicy. I've had it with trying to hide any part of me, and I will not apologise for my sexual, queer, trans life, I will share all of it! If it in any way makes room for any of my beautiful trans siblings, I will gladly put myself on display. PAGE # PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue PANEL #: Description CHARACTER Dialogue

Open on space. Cardinal Hordriss voice “On the planet Earth, in the days of the first Roman Empire a General on the battlefield would be accompanied by a friend or slave. In the event of the General’s victory in battle the companion would whisper into his ear the words – memento mori. Remember that you have to die...” The camera finds a vast spaceship. The camera slowly approaches the vessel as Hordriss speaks. Seconds after Hordriss concludes the vessel begins exploding from the inside. Cut to Hordriss walking calmly down a corridor of the exploding ship. He reaches the TARDIS and enters. Cut to the console room. Hordriss enters. We see a cute Cybermat scoot in behind him. He closes the doors and dematerialises the ship. Cut to an exterior as the TARDIS dematerialises while the surroundings explode. Cut to the console room. Cardinal Hordriss “Most satisfactory.” Hordriss takes a small, battered book from inside his coat and writes in it. We see the Cybermat bump into his

On April 15, 2023, the Ku Klux Klan decided to attack a church of majority of black people, in Harlem, New York district, United States. It was all about making some noise, hitting some of those in the church and running away. But unfortunately, four children under the age of 10 were killed in the crossfire with the police. The black leaders thought that nothing good was going to come out of the police and FBI investigations, but the main perpetrators were arrested and sentenced to life in prison. But this is not enough for one of the fathers, of the murdered children, now he is going to take revenge on them. For that he will pay 50 million euros to Lex Luthor, leader of Hydra. Sandra Harris, a beautiful 20-year-old, is the daughter of the chief of the Ku Klux Khan. Their father, Carl Harris, was also one of those convicted by the justice system for the death of the children. She sunbathed in the swimming pool of her house, in a two-piece bathroom that left nothing to the imagination.

Ah yes, The Spirit. In 1940 cartoonist Will Eisner created The Spirit, a character who first appeared as the main feature of a tabloid-sized comic book insert distributed in the Sunday edition of Register and Tribune Syndicate newspapers. Popularly referred to as "The Spirit Section", the insert ran from June 2, 1940 to October 5, 1952. Although predominantly a mix of crime drama, noir and mystery. The series defied reader expectations by wildly experimenting with genre and tone, including horror, slapstick comedy, romance, fantasy, metafiction and science fiction. In some stories, the role of the Spirit himself amounts to only a cameo appearance, with Paul Gravett noting that the character would often take a "back seat to the small dramas of losers, dreamers and ordinary joes", and that the series as a whole was, "as much as anything, about the human spirit". At the peak of its popularity, "The Spirit Section" was included in 20 American newspapers, with a total circulation of five

The quotes used on the show might not be the "entire" actual quote written and may be edited for the shows purposes. Stated at the first and/or last of an episode: 15 seasons thus far. Season 1 "The belief in a supernatural source of evil is not necessary. Men alone are quite capable of every wickedness." -Joseph Conrad "All is a riddle, and the key to a riddle...is another riddle." -Ralph Waldo Emerson "Try again, fail again. Fail better." -Samuel Beckett “Try not, do or do not." -Yoda “The farther backward you can look, the farther forward you will see." -Winston Churchill “When you look into an abyss, the abyss looks into you.” -Friedrich Nietzsche “Imagination is more important than knowledge. Knowledge is limited. Imagination encircles the world." -Albert Einstein “There are certain clues at a crime scene which by their very nature do not lend themselves to being collected or examined. How's one collect love, rage, hatred, fear...? These are things that

Meanwhile with Kevin and Wilhelm.... The two were inside a large chamber that had a large version of the Compass of Order inside that is actually Zarathustra. Kevin and Wilhelm were at the tip of the crystalline platform that is shaped like the sword. "The moment has finally come. Mary Magdalene has awakened. She will lead all consciousness to Zarathustra." Wilhelm walked towards the very tip while his back is facing Kevin. "All that remains is for her to insert the key." Kevin stood silent and Wilhelm...He is no fool. He was able to read Kevin’s concern and believed it might be related to T-elos’s defeat. "Are you worried?" Wilhelm asked him "It was not T-elos who awoke, but KOS-MOS. That wasn’t part of your script." "No, there’s no problem." Kevin turned his back away from Wilhelm. "Mary Magdalene and Shion. Everything is in our hands. The two rings of Zarathustra began to glow and the Relics of Anima above the rings that circled around also began to glow. Meanwhile on Fifth

He Who Killed Legend I am Faith, Faith Edison. I am the origin of this lonely story. And so begins the beckoning of legends, Spring The Ripper. “September begins like any other september only less chilled to the bone and more of a cold fire, like breathing jagged metal against bare flesh. I remembered what i was doing and caught my balance before going down to the Reaper’s End, a watery grave for many suicides and unlucky drunks, or childern like me who’s head is a cloud for most of the time spent walking. And so my own luck is spent going to the market square, and picking up food for my addict of a mother and well, i cannot say a father because he is no father to me… not that he’s not kind or a terrible person but for the reason he isn’t my father. My biological father is a serial killer, and i know this because before my mother kicked him out he used to take me with him when he would feel like killing… A gesture you think a person like the spring ripper, would hide from anyone let alone his own child or his wife, however our family is not as innocent as we let on. We were one of the oldest families in england. Our family were rich thieves and serial killers who killed for sport, only that is until one day when our family had a hiccup that resulted in our family becoming history. Now we remain more than just a shell in an empty mansion with more money then we know what to do with and my mother is addicted to opium.” 1799 “September ends and murder is on high, soldiers, however under Great Britain's steel hand clasp the American rebellion. As for me? Well i took up my father’s merciful mantle, and so far. It has been a thrill, a thrill of agony for those who cross the Spring Ripper’s Daughter." 1812 The year i surpassed my father. "October begins and ends just as quickly. November… I felt the same rush as when i had first taken a life, however this feeling i am feeling now? It is a feeling unbeknownst to even me, i cannot explain such agony as it goes and comes as quickly. Or maybe i am getting old, not as old as my father i hope.” Spring The Ripper. “I was so sure i was ready to face my own daughter after many years long passed. However, i am also sure she has felt the same about this meeting for so long, But i am not sure how we will be meeting this year, will it be under blades? or will it be with tears? I am not sure what path my daughter has chosen, And i am not willing to gamble with both her life and mine if i happen to be wrong.” Jack The Ripper. “Killers all and victims none, For fear of being murdered is on raising after the daughter of the grim reaper himself declared herself, the new Spring The Ripper. However facing both me and her faithless and worthless killer of a father. She will die.” Faith Edison. “After all, this is the day i finally meet my father and the Spring The Ripper legend. Again with this feeling of agony, again, and again, will it cease never to be? Never i supposed will this agony cease. I am my father’s daughter after all. And a killer who took on such a heavy mantle.” He Who Killed Legend. Ireland. Many years have passed since the day faith and her father fought hand to hand. However, the outcome of that fight was strangely outnumbered two to one or was it? As examined, Only one person fought that day and it was not faith… So then who was this person who killed the ripper? It was a deranged doctor nicknamed with the title of Jack The Ripper, a title passed down from his mother, who remained a mystery, until the day upon which soldiers were sent to an island named Ireland to investigate one mystery. The truth of what happened to Faith Edison, and her family during the event that closed Britain off from the world. But why ireland? Why would the infamous Edison family move into the one place where they would be forgotten? Questions are empty and solid, but have no meaning behind the research done to secure any viable data. So in theory we have nothing, but a story passed down from generation to generation of the remaining Edison family, we have everything. Other than what we have been told, Ireland is starting to wear me out.