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~ Issue # 55 ~ Epilogue: No Two Dreams Are Ever The Same ~

PAGE 1, PANEL 1

Half page panel. Similar to panel 1 of issues #1, 17, 32, 39,44 and 47. Wide shot of space with stars and pulsars, and full of swirling, colours and great gaseous clouds. The top of the Earth, the northern hemisphere, is at the bottom of the panel. Above it in the centre of the panel is what appears to be a rip in space, filled with a dazzling golden and white light that pours from it.

CAPTION: “So, is that it? Is that the end?“

CAPTION: “Not quite, there’s just a little more to go. A few things I still want to say.”

PAGE 1, PANEL 2

Two panels on this vertical tier. Close now on the rip in space with just the very tip of Earth’s northern hemisphere at the bottom of the panel. The whole panel fainter as we go into the light.

CAPTION: “Such as?”

CAPTION: “Well, I guess the end of the story was really the previous chapter, but it just feels like it should get some proper closure.”

PAGE 1, PANEL 3

We’re going into the light with the stars of space now only faint at the edges of the panel. The centre of the panel is almost a whiteout but we can see the faint but distinct shape of the rebuilt Crystal City, which is very much like the old one but now with gold and silver arched bridges that span out from its centre.

CAPTION: “So you want to see where they all end up, if they get a happy ending?”

PAGE 1, PANEL 4

Two panels on this vertical tier. Wide shot of one of the city’s highest towers, with a beautiful orange and purple sky spread behind it.

SCRIBE ( O.P ): Yes, to be honest, it just doesn’t feel like the story is quite done.

PAGE 1, PANEL 5

A closer shot now and we see the acolyte stood on the balcony, young, robed and winged, partly in shadow, looking out over the city. Through the arch behind him we see the silhouetted figure of the scribe sat at the ornate table and writing in the journal.

SCRIBE: There’s still things that need to be said.

PAGE 1, PANEL 6

Half page panel. Close up of the scribe’s hand holding a quill which is made from an angel’s feather. The journal itself is filled with angelic writing, symbols and detailed drawings. One of the drawings is of Lucy, repeating the last image from issue # 54, page 22.

SCRIBE: And besides I’m not ready to let them go.

PAGE 2, PANEL 1

Insert.

Head and shoulders semi- profile shot of Lucy, head bowed, thoughtful. She’s very much as we remember her but perhaps with more white highlights in her hair. She’s barely aged though.

ARTIST NOTE: Insert is in the top left corner of panel 3.

CAPTION: “Not yet.”

CAPTION: Twenty years ago I made a deal.

PAGE 2, PANEL 2

Insert.

Head to waist semi- profile shot of her, we see now she’s looking down at her ‘familiar’ Delilah, who is perched on her arm. Lucy is dressed in her burgundy waistcoat with grey trousers.

ARTIST NOTE: Insert is in the top right corner of panel 3.

CAPTION: Now time‘s up.

PAGE 2, PANEL 3

FULL PAGE SPLASH: It’s spring time, with all the colour and vibrancy that brings, all golden and sunlit hues. In the foreground Delilah is now in full flight. In the background is the cottage first seen in issue #47, which has now been fully restored. Bright white washed walls, fresh paint, old but still immaculately cared for, with its well tended garden. Stood on the steps that lead up the garden Lucy watches as Delilah goes.

CAPTION: Sandwick, Shetland. CAPTION: And there‘s people I need to say goodbye to.

ARTIST NOTE: The chapter title is written at the bottom of the full page splash, Epilogue: No Two Dreams Are Ever The Same.

QUOTE: No two dreams are ever the same, nor any life lived well.

The first sub title is A series of conversations and other things.

The second sub title is Once we were six. Now we are three.

PAGE 3, PANEL 1

Insert.

Full shot of Delilah, now flying through the blue of the morning sky.

CAPTION: Soho, London.

ARTIST NOTE: Insert is in the top left hand corner of panel 2.

PAGE 3, PANEL 2

Page width panel. High view of her flying over the London streets and rooftops.

PAGE 3, PANEL 3

Page width panel. High view looking down on Delilah swooping down towards the bookshop with Solomon and Cob stood outside. Both of them are very much as we remember them, though Solomon’s beard is more grown out and his coat is black.

PAGE 3, PANEL 4

Two panels on this bottom tier. Head to chest semi- profile shot of Solomon holding his hand out as Delilah comes down to land on it.

PAGE 3, PANEL 5

High view of Delilah soaring upward into the air in the foreground, with Solomon and Cob below, watching her as she goes.

PAGE 4, PANEL 1

Page width panel. We follow Delilah on the next part of her journey. Wide shot of her flying over the spires and colleges of Cambridge. It’s still morning with a beautiful clear blue sky.

CAPTION: Kings College, Cambridge.

PAGE 4, PANEL 2

Page with panel. Wide shot of her flying over the courtyard of Kings College, where the two familiar figures of Gwen and Magnus Hollander are stood on the path that surrounds the lawn.

PAGE 4, PANEL 3

Three panels on this bottom tier. Full profile shot of Gwen with Magnus behind her, holding her hand out for Delilah to land on it. Magnus, being immortal, hasn’t aged and still wears his ever present white suit. Gwen is now in her 40’s, she’s still very much as we remember her but now wears clothes that better reflect her position. She is wearing glasses, a grey tweed thigh length jacket, with an open white blouse and simple black trousers.

PAGE 4, PANEL 4

Head to waist shot of her leaning in close to Delilah like she’s listening.

PAGE 4, PANEL 5

High view of Delilah soaring upward into the air in the foreground with Gwen and Magnus below, watching her as she goes.

PAGE 5, PANEL 1

Page width panel. Wide shot of the sea, its waves swelling and then crashing against the rocks and high cliffs further up ahead and against the cloudy mid morning sky is the small shape of Delilah.

CAPTION: Garobaer, Iceland.

PAGE 5, PANEL 2

Page width panel. Head to waist semi- profile shot of Sam with her daughter, Abby, and her ‘familiar, Idaho, the three of them looking up as they see Delilah approaching through the cloudy sky. Sam is very much as we remember her, though now with brown hair instead of blonde and wearing jeans and a jumper. Abby is about fifteen years old, with shoulder length blonde hair. Both of them stood in front of a farm house and out buildings.

PAGE 5, PANEL 3

Page width panel. Head to waist shot of Sam with Delilah perched on her hand, with the hazy sun breaking through the clouds.

PAGE 6, PANEL 1

Insert.

Close up of a bell tower ringing. In the background of the panel are the roofs of the other buildings and the blue sky with the night sky above. On the wall is the shadow of Delilah flying past.

ARTIST NOTE: Insert is in the top left hand corner of panel 2.

S.F.X: Dong, Dong, Dong.

PAGE 6, PANEL 2

Page width panel. Wide shot of a Mediterranean styled town on a mountainside surrounded by mist. It is day in the town itself but there is a night sky above it. It’s a strange and unearthly place.

CAPTION: The Pantheon.

PAGE 6, PANEL 3

Page width panel. Head to waist semi- profile shot of Amy and Adam, both of them looking up as they see Delilah approaching. There is a town square behind them, with steep steps that lead up to a sort of town hall. It’s all paved stones and the surrounding buildings are cracked and worn and overrun by creeping ivy. They are very much as we remember them, only looking about five years older due to their slower aging process. Adam still has a beard but it’s neatly trimmed, he’s wearing a white T shirt, and a waist length black jacket and trousers. Amy is wearing a waist coat like black vest and grey trousers.

PAGE 6, PANEL 4

Two panels on this bottom tier. Full profile shot of Amy and Adam facing each other, with Delilah now perched on Amy’s hand. Both of them leaning in close to Delilah like they’re listening.

PAGE 6, PANEL 5

High view of Delilah soaring upward into the air in the foreground with Amy and Adam below, watching her as she goes.

PAGE 7, PANEL 1

Page width panel. Wide shot of the vast rocky landscape of Asgard, the sky stormy with flashes of white light, and flying against this maelstrom is the tiny determined shape of Delilah.

CAPTION: Asgard.

PAGE 7, PANEL 2

Page width panel. Wide shot of the city of Asgard, now far more resembling the city it once was, gleaming, rebuilt, its towers glistening and floating above are the great Asgardian galleons.

PAGE 7, PANEL 3

Three panels on this bottom tier. Low angled shot of one of the city’s many streets, the life now fully returned to it, filled with commoners and nobles, soldiers and horses and various market stalls, and flying high above the roofs of the buildings we see Delilah.

PAGE 7, PANEL 4

In the foreground is Delilah flying toward one of the highest towers.

PAGE 7, PANEL 5

Full profile shot of Skye with the city behind, dressed as a noble lady, stood on a balcony, with Delilah perched on its wall.

PAGE 8, PANEL 1

Page width panel. In the foreground are the ruins of an artillery battery, dark against the early afternoon sky as Delilah flies overhead.

CAPTION: Scattery Island, Republic of Ireland.

PAGE 8, PANEL 2

Page width panel. Full shot of the ruins of a old monastery with Delilah flying high over a gradual slope as she heads toward it.

PAGE 8, PANEL 3

Three panels on this bottom tier. Full shot of Gabriel, crouched by a pile of rubble and a waist high wooden post, half turned as he hears Delilah approach. He’s very much as we remember him, dressed in a grey shirt and trousers with an unbuttoned burgundy waistcoat. Mathias is asleep on a nearby window ledge.

PAGE 8, PANEL 4

Full profile shot of Gabriel stood by the wooden post which Delilah is now perched on. Mathias is now awake and watching.

PAGE 8, PANEL 5

In the foreground Delilah is flying away, with Gabriel in the background watching her go, stood on the top of the gradual slope with the old monastery behind, Mathias now sat beside him.

PAGE 9, PANEL 1

Three panels on this top tier. Full shot of Gwen leaving, walking through the grounds of the Kings College courtyard seen earlier on page 4, with Magnus in the background, watching her go.

PAGE 9, PANEL 2

Head to waist shot of Solomon leaving with the bookshop and Cob in the background, who is watching him as he goes. The bookshop is pretty much as we remember it but now painted anew.

PAGE 9, PANEL 3

Head to chest shot of Sam leaving, going down the slope, with Abby and Idaho, stood in front of a stone cottage, watching as she goes.

PAGE 9, PANEL 4

Three panels on this bottom tier. Full shot of Amy and Adam leaving the pantheon, walking along a gravel road, with the mountain and the Mediterranean town in the background behind

PAGE 9, PANEL 5

Head to waist shot of Skye leaving, framed by a portal as she steps into it, with one of Asgard’s courtyards in the background.

PAGE 9, PANEL 6

Head to chest shot of Gabriel leaving, with Mathias behind him, sat in front of monastery ruins, watching him as he goes.

PAGE 10, PANEL 1

Two panels on this top tier. Head to waist shot of Lucy from behind, stood at her bedroom window, looking down onto the cottage garden below, with the gravel drive and the trees beyond. On the windowsill there is a pile of books, poetry collections with Lucy’s name on them, Ancient Songs, Winter & Rhyme and Ruminations. At the end of the garden path is the familiar white light of a doorway forming, Gabriel stepping out of it. CAPTION: So, one by one, as I hoped they would, they start arriving.

PAGE 10, PANEL 2

Full shot of Gabriel from behind, stood on the garden path, the doorway now gone, with Lucy watching him from the bedroom window.

CAPTION: As I expected, he is first.

PAGE 10, PANEL 3

Page width panel. Full profile shot of them both stood on the path, facing each other, with the rest of the garden in the background, both taking a moment, it’s been a while since they��ve seen each other and in the quiet they’re just letting that sink in.

CAPTION: And I know before this day is done we will talk of many things, remember many things.

PAGE 10, PANEL 4

Two panels on this bottom tier. Full shot of them walking up a grassy slope, with the coast behind and below them and the sea beyond.

CAPTION: But the things that should be said, well , as always, they’ll remain left unsaid.

PAGE 10, PANEL 5

Head to waist shot of them from behind, now stood in front of the ruins of an old stone cottage that has long since lost its roof. The garden is overgrown and surrounded by a broken stone wall.

CAPTION: And honestly, I’m not sure it really matters.

PAGE 11, PANEL 1

Page width panel. Full profile shot of them stood between the cottage’s stone garden wall and the edge of the nearby cliff top, both of them looking out to sea as seagulls flock in the sky.

CAPTION: That isn’t what this is about.

LUCY: Well, here we are?

GABRIEL: Yes.

PAGE 11, PANEL 2

Three panels on this tier. Head to waist profile shot of both of them, with the coastline and sea in the background behind them.

LUCY: Delilah had some trouble tracking you down.

GABRIEL: I’ve been moving around a lot lately.

LUCY: And why is that exactly?

GABRIEL: What do you mean?

PAGE 11, PANEL 3

Head to chest semi- profile shot of them, with Lucy in the foreground.

LUCY: I mean I’m worried about you, big bro, ever since things went bad with the new gods you’ve just been moving from one place to another, never staying for long, never settling. PAGE 11, PANEL 4

Similar to the previous panel but now a head and shoulders profile shot.

LUCY: Bout the only place I know you’re gonna turn up for sure these days is when you’re checking up on how Epiphany‘s ` doing.

GABRIEL: I’m fine.

LUCY: You know, every time you tell me you’re fine I know you’re not. PAGE 11, PANEL 5

Three panels on this bottom tier. Similar to the previous panel but now Lucy is turned to Gabriel, with a knowing look on her face.

LUCY: You’re not gonna tell me are you?

PAGE 11, PANEL 6

Head and shoulders semi- profile shot of Gabriel with no dialogue.

PAGE 11, PANEL 7

Head to chest semi- profile shot of them with Lucy in the foreground.

LUCY: Do me a favour then, if not me, then just tell someone, okay.

PAGE 12, PANEL 1

Half page panel. In the foreground is Gabriel walking away, past the garden wall of the old cottage and in the background we see Lucy in a full shot from behind stood at the edge of the cliff.

CAPTION: Melody. Jack. Well, this is it,

PAGE 12, PANEL 2

Two panels on this vertical tier. Full shot of her, now from the front, stood at the top of the craggy cliff, her hair blowing in the wind.

CAPTION: That day I told you about. I’m not sure exactly how long I’ve got left, but it’s not long.

PAGE 12, PANEL 3

Wide shot of the waves crashing against the rocks at the bottom of the cliff.

CAPTION: The Creator wasn’t too specific, just twenty years, more or less.

PAGE 12, PANEL 4

Two panels on this vertical tier. Head to chest semi- profile shot of her.

CAPTION: I’ve barely aged a day, but I can feel it.

PAGE 12, PANEL 5

Similar to the previous panel but now it’s a head and shoulders shot.

CAPTION: It’s like things are slowing down, like the world’s moving on and I’m being left behind.

PAGE 12, PANEL 6

Half page panel. Overhead shot of her stood at the edge of the cliff with the sea and rocks far below, her hair still blowing in the wind.

CAPTION: Or maybe I’m just getting old.

PAGE 13, PANEL 1

Page width panel. Head to waist shot of her from behind, hair blowing, as she looks over at Levonwick Cemetery, which is up ahead.

CAPTION: I’ve invited a few people around, friends and family, that kind of thing.

CAPTION: Funny thing is I feel nervous, and feeling nervous isn’t something I usually do.

CAPTION: Just isn’t me.

PAGE 13, PANEL 2

Page width panel. In the foreground are silhouetted headstones and between them we see Lucy in a full shot walking up the slope to the cemetery’s old stone wall with the sea and the horizon beyond.

CAPTION: I’ve been on my own a long time now. Didn’t plan it. Just happened. Not sure I could’ve found anyone that really compared any- way.

CAPTION: They’ll be waiting when I get back, and all I want to do is stay here,

PAGE 13, PANEL 3

Page width panel. Full profile shot of her crouched in front of a headstone, head bowed, with her palm placed tenderly on its front.

CAPTION: But I invited them, so I guess I better show up.

CAPTION: I just hope we can have a nice day.

PAGE 13, PANEL 4

Insert.

Close up full shot of the top half of the headstone where the part that has Jack Simpson’s name is partly obscured by her hand.

ARTIST NOTE: Insert is in the bottom right corner of panel 3.

CAPTION: Just one more day. Me and them.

PAGE 14, PANEL 1

Three panels on this top tier. Wide shot of a pub in the village of Sandwick. It’s old fashioned, cottage style, with white washed walls and a thatched roof. In the foreground is a village green and red post box. The sign reads: The Colwyn Arms.

SOLOMON ( O.P ): You want to tell me why you wanted to meet here first.

PAGE 14, PANEL 2

Wide shot of both Gwen and Solomon sat outside at a table in the pub’s beer garden, two half finished drinks in front of them.

GWEN: Because this is Lucy’s day.

SOLOMON: And?

PAGE 14, PANEL 3

Head to waist profile shot of them facing each other across the table.

GWEN: And it isn’t about what’s going on with us.

SOLOMON: You’ve never been one to pull your punches, no point in starting now.

PAGE 14, PANEL 4

Three panels on this bottom tier. Similar to the previous panel but now a head to chest shot of them with Gwen leaning for-ward.

GWEN: Okay, we’re not friends, Sol. Not anymore. Not after what you did in the Immortal Wars.

SOLOMON: Yeah, I got that. No going back.

PAGE 14, PANEL 5

Forehead to chin semi- profile shot of Gwen, her face filling the panel.

GWEN: Exactly, but today isn’t just any other day, so I thought just for today we put our differences aside, just for today we remember what we used to be. Everything else can wait for now.

GWEN: For her.

PAGE 14, PANEL 6

Similar to panel 2 with another wide shot of them in the beer garden.

SOLOMON: For her.

PAGE 15, PANEL 1

Two panels on this top tier. Head to waist shot of Lucy walking down the slope away from the cemetery, the sun now high in the sky.

PAGE 15, PANEL 2

Full shot of her from behind walking along the gravel drive to her cottage.

PAGE 15, PANEL 3

Page width panel. Head to waist profile shot of her stood by the garden gate, with Gabriel in the garden facing her, who’s clearly been waiting for her to return, with Delilah perched on the wall.

LUCY: They here?

GABRIEL: Did you doubt it?

LUCY: Guess not.

PAGE 15, PANEL 4

Two panels on this bottom tier. Head to chest semi- profile shot of her.

CAPTION: Okay, game face, Lucy.

PAGE 15, PANEL 5

Full shot of her from behind, now walking along the side of the cottage to the garden at the rear, with Gabriel just behind her, the hazy daylight highlighting their figures, almost dreamlike in quality.

CAPTION: Time to face the music and dance.

PAGE 16, PANEL 1

FULL PAGE SPLASH: Lucy’s P.O.V, looking into the back garden, where old friends and family are stood waiting for her. Sam and Solomon are the nearest, with Gwen just behind them, then Amy, Adam and Skye in the background of the panel.

CAPTION: And here they were indeed. Each of them. Those who have gone through so much.

CAPTION: Each one here in answer to my request. For one final day,

CAPTION: In honour of our shared journey.

PAGE 17, PANEL 1

SPLASH: In the foreground of the panel is an old, rotted over-turned boat. In the background is a full shot of Gabriel and Gwen walking along the shore, both of them just in their shirts, no shoes, the sea lapping at their feet, the sky blue, broken by cloud.

CAPTION: Of our shared loss.

GABRIEL: It’s good that you came.

GWEN: Did you think I wouldn’t, really?

GABRIEL: No, it’s just after how we left things, I thought maybe …

PAGE 17, PANEL 2

Three panels on this bottom tier. Similar to the previous panel with the boat in the foreground, but now Gabriel and Gwen are closer.

GWEN: I didn’t blame you, either of you. I still don’t. Grace made her own choices. She was an experienced agent. She disobeyed orders. I never blamed you. I just needed some time out.

GABRIEL: And now?

PAGE 17, PANEL 3

Head to chest shot of them with the boat just at the edge of the panel.

GWEN: And now, time’s passed. Things are different.

PAGE 17, PANEL 4

Full shot of them from behind, now having passed the over-turned boat which we can now see from the opposite direction.

GABRIEL: And the Academy?

GWEN: The Academy? Well, it’s been decided it might be best if I take a break for a while.

PAGE 18, PANEL 1

Two panels on this top tier. Full shot of them now by the sea and Gwen is crouched, cupping her hands in the foam of the waves, with Gabriel stood over her as seagulls flock in the background.

GABRIEL: Decided by who?

GWEN: By me actually. I thought once the world governments were let in on you lot being real, things would change for the better. Well, I guess they have, we’re more chroniclers now than spies, but …

PAGE 18, PANEL 2

Close up shot of Gwen’s hands as she lets the waves wash over them.

GWEN: Maybe I’ve just been doing this for too long.

PAGE 18, PANEL 3

Two panels on this tier. Head to chest semi-profile shot of Gabriel still stood over Gwen and looking down at her, frowning.

GABRIEL: What is it, tell me.

PAGE 18, PANEL 4

Full shot of Gwen still crouched by the waves, staring down at them.

GWEN: I’ve done good. I know I have. Being Head of the Academy actually means something a lot better than it used to, but I can’t help wondering what I gave up to get that done.

PAGE 18, PANEL 5

Two panels on this bottom tier. Head and shoulders semi- profile shot of Gwen, thoughtful, sadness etched deep in her face.

GWEN: Sometimes I wonder if I could’ve had a family, you know, done the normal stuff.

PAGE 18, PANEL 6

Wide shot of them, with Gwen still crouched and Gabriel stood over her.

GWEN: But truth is, I only ever saw myself growing old with Sab.

PAGE 19, PANEL 1

Page width panel. Full profile shot of Lucy and Sam. On the left of the panel Sam is stood among the sand dunes and looking out over the sea and beyond with Lucy stood behind on the right of the panel, their figures obscured by grass in the foreground.

LUCY: I wondered where you got to. SAM: Sorry, I just needed some space.

PAGE 19, PANEL 2

Three panels on this tier. Head to waist shot of Sam, staring out to the sea thoughtfully, with a full shot of Lucy stood behind her.

LUCY: How’s Abby?

SAM: She’s good, yeah, she’s good.

LUCY: So, what’s wrong?

PAGE 19, PANEL 3

Full profile shot of Sam and Lucy, with Sam now turned around to face her. SAM: We’re not here for me.

LUCY: I asked you here for us to talk, so let’s talk.

PAGE 19, PANEL 4

Head to waist profile shot of them facing each other. There‘s clearly something Sam wants to say but she‘s finding it difficult.

SAM: It’s just, I’ve feel like I’ve betrayed you somehow, because there’s someone not here, who should be, today of all days.

LUCY: Absalom.

PAGE 19, PANEL 5

Three panels on this bottom tier. Similar to the previous panel but now it’s a head to chest profile shot of them facing each other.

LUCY: And you blame yourself. I get it.

SAM: I’m not sure you do, if you did …

PAGE 19, PANEL 6

Similar to the previous panel but now Sam is looking shocked, completely unprepared for the fact that Lucy is already ahead of her.

LUCY: I’d never forgive you, is that really what you think? SAM: What?

PAGE 19, PANEL 7 Head and shoulders semi- profile shot of Lucy, staring at her sister. LUCY: I know, I’ve known for a while. It took me a good long time to figure it out, but when I did a lot of things finally made sense.

PAGE 20, PANEL 1

Three panels on this top tier. Forehead to chin semi- profile shot of Sam, the weight she’s been carrying for so long now so clear.

SAM: And you never said anything.

PAGE 20, PANEL 2

Similar to page 19, panel 7, with a head and shoulders semi- profile shot of Lucy, no anger or blame in her expression, just understanding.

LUCY: What was there to say, was there anything I could have said that would have made it better? You had an impossible choice to make, one I‘m not sure I would’ve been brave enough to make.

PAGE 20, PANEL 3 Head to waist profile shot of them facing each other, Lucy now closer.

SAM: I thought you’d hate me, at least be angry.

LUCY: I was angry, mostly I was disappointed though.

PAGE 20, PANEL 4

Three panels on this bottom tier. Head and shoulders semi- profile shot of Sam, half turned, her expression full of shame, the long held guilt she’s been holding on to clearly weighing on her. SAM: Fair enough.

PAGE 20, PANEL 5

Head to waist profile shot of them, but now Lucy has her hand resting on Sam’s shoulder, and Sam is looking down, full of emotion. LUCY: No, disappointed that you had to go through that alone. We should have made that decision as a family, we should have been there for both of you, and that’s on us, not you.

PAGE 20, PANEL 6

Full shot of them from behind now both looking out to the sea.

SAM: When exactly did you get so wise?

LUCY: I’m not sure I ever got wise, I just got a whole lot older.

PAGE 21, PANEL 1

Page width panel. Full profile shot of Gabriel and Amy stood facing each other on a stone bridge that crosses a stream, with the stream foremost in the panel. In the background is the sun setting.

GABRIEL: You’re still angry with me, aren’t you? You didn’t say anything earlier, which I appreciate, but I’m right, aren’t I?

PAGE 21, PANEL 2

Two panels on this tier. A closer head to waist profile shot of them.

AMY: No, not angry. Not anymore.

GABRIEL: But? … PAGE 21, PANEL 3

Head to chest semi- profile shot of Amy with the sunset behind her.

AMY: You left us. You just walked away and left us behind. I’m not angry, I’m not even disappointed. I’m just confused.

AMY: We woke up one day and you were just gone and we were left to pick up the pieces. We just want to know why. You owe us that.

PAGE 21, PANEL 4

Two panels on this bottom tier. Similar to panel 2 but now a head to chest shot.

GABRIEL: You want to know why I left?

AMY: Yes.

PAGE 21, PANEL 5

Head and shoulders semi- profile shot of Gabriel, his head bowed.

GABRIEL: I left because it was my fault. I got too close, I got too involved. I didn’t see what was happening and I should have.

PAGE 22, PANEL 1

Half page panel. Full shot of Gabriel, now turned away from Amy and looking down at the running water, not meeting her gaze.

AMY: You grew too close to them, to her, is that such a bad thing?

GABRIEL: Yes, that’s what made me blind. If I had seen how she really felt ... I knew she felt unfulfilled, resentful even, but I never realised, it never occurred to me that it was anything more than that. I failed them. It wasn’t my job to be their friend.

PAGE 22, PANEL 2

Two panels on this vertical tier. Similar to the previous panel but now it’s a head to waist shot and Amy is standing closer to him.

AMY: You think what happened was your fault?

GABRIEL: How could I not.

PAGE 22, PANEL 3

Head to chest shot of Gabriel with a head to waist shot of Amy behind.

AMY: Because it wasn’t. They made their own choices. All of them.

GABRIEL: I let you down. I let them down.

AMY: You never let any of us down, not until you left anyway.

PAGE 22, PANEL 4

Two panels on this bottom tier. Head to chest profile shot of them with Amy now stood beside him and in the foreground of the panel.

GABRIEL: How are they?

AMY: Better, but there’s a long way to go.

PAGE 22, PANEL 5

Similar to the previous panel but now it’s a head and shoulders shot.

GABRIEL: It’s still possible though, yes?

AMY: Yes, but not with us.

PAGE 23, PANEL 1

Three panels on this top tier. Full profile shot of them stood on the bridge, the sky behind them now a splash of orange and grey.

GABRIEL: What?

AMY: We’re done, Gabriel. We’ve done about as much as we can.

AMY: We’re not going back.

PAGE 23, PANEL 2

Similar to the previous panel but now it’s a head to waist shot of them.

GABRIEL: And the Creator agrees with this?

AMY: He does. Yeah, surprised us too.

AMY: But he gets it. He knows we’ve taken it as far as we can.

PAGE 23, PANEL 3

Similar to the previous panels but now it’s a closer head to chest shot.

GABRIEL: Where will you go?

AMY: We’re staying here. Well, not here, exactly, not Shetland, but we’re coming home.

PAGE 23, PANEL 4

Two panels on this bottom tier. Full shot of them from behind, with the stream beyond running between fields and rocky outcrops. AMY: The Creator has given us a second chance, well, third, but who’s counting, and it’s up to us to do the best we can with that. GABRIEL: And what will you do?

PAGE 23, PANEL 5

Head and shoulders semi- profile shot of Amy, the sky now a striking orange red behind her as the day slowly seeps into twilight.

AMY: Anything, everything. Be honest, I haven’t got a clue. For the first time in over twenty years I’m gonna get up and not know what I’m gonna do, and I can’t wait to be that person again.

PAGE 24, PANEL 1

Three panels on this top tier. Full wide shot of Solomon stood with Skye beside a natural pond and a rocky outcrop, the sky now more grey, the orange red of sunset barely a sliver on the horizon. SOLOMON: You okay Skye?

SKYE: Yeah, kind of Sol.

PAGE 24, PANEL 2

Full shot of them, but Skye is now crouched, dipping her hand in the water.

SOLOMON: Everything okay back home?

SKYE: Not really, it was for a while, but it’s got kinda tricky, there’s people that say I shouldn’t be in charge no more, that I never shouda been.

PAGE 24, PANEL 3

Head to chest shot of Skye reflected in the water with Solomon stood over her.

SOLOMON: Who? No, don’t tell me, Morgana.

SKYE: Maybe she’s right.

PAGE 24, PANEL 4

Three panels on this bottom tier. Head to chest semi- profile shot of Solomon looking down at her, full of understanding for her.

SOLOMON: No, she’s wrong. You’re Lady Sif, a true daughter of Asgard, of noble and royal blood, adopted daughter of Odin himself.

SOLOMON: You don’t get much more legitimate than that.

PAGE 24, PANEL 5

Similar to panel 2, Skye is still crouched by the pond, with her hand now out of the water and she’s turned and looking up at Solomon.

SKYE: I was wondering, well … I was thinking maybe you could come back for a while, help me out, you used to be a king, didn’t you.

SKYE: You’re good at that stuff, well, I suppose I’ve got good at it too, but well …

PAGE 24, PANEL 6

Wide shot. Similar to panel 1 with Solomon and Skye now both standing, both half smiling, looking at each other with affection.

SKYE: I’ve missed you, Sol.

SOLOMON: I’ve missed you too, Skye.

PAGE 25, PANEL 1

Page width panel. Evening. The sky is now a twilight grey, the clouds on the horizon dark against it. Head to waist shot of Adam, his hair blowing. Behind him are the ruins of a farm house and its yard, and Lucy is approaching in the background.

LUCY: So, you’re rejoining the world then, huh?

ADAM: Yeah, looks that way. LUCY: You sure you’re ready for a normal life.

PAGE 25, PANEL 2

Two panels on this tier. Head to waist shot of him half turned to her as she passes him by to stand at his side, the farm behind them.

ADAM: Yeah, I think so, I’m actually kind of looking forward to it. I haven’t done normal since the night I walked into that alleyway.

PAGE 25, PANEL 3

Head to waist profile shot of them with Adam in the foreground.

LUCY: Wow, there’s a blast from the past.

ADAM: Tell me about it.

PAGE 25, PANEL 4

Similar to the previous panel but now Lucy is fully turned to him.

LUCY: So, Adam m’ boy, what the hell are you going to do with a normal life?

PAGE 25, PANEL 5

Head and shoulders semi- profile shot of Adam, looking up at the twilight sky thoughtfully, like he’s looking to his own future.

ADAM: You know what, I think I’m going to write a new book.

PAGE 26, PANEL 1

Page width panel. Full wide shot of Lucy and the others gathered in the back garden, a night sky full of stars hanging above them. Lucy is sat on the steps with Solomon and Skye. Gabriel and Sam are stood nearby talking. Gwen, Amy and Adam are sat at the table. All of them together for the end of Lucy’s final day. All of them lit by a lantern light on the table and the moonlight.

CAPTION: And so, as night crept in we gathered together.

CAPTION: We talked of old times.

CAPTION: The good and the bad.

PAGE 26, PANEL 2

Three panels on this tier. No dialogue. Head to chest shot of Lucy holding up her wine glass, toasting to both Thor and Dempsy.

CAPTION: We remembered friends and family long lost.

CAPTION: Thor and Richard Dempsy.

PAGE 26, PANEL 3

No dialogue. Head to chest shot of Gabriel holding up his beer glass, toasting to both the departed Anna Caspian and Kate Walker.

CAPTION: Anna and Kate Walker. PAGE 26, PANEL 4

No dialogue. Head to chest shot of Sam holding up her wine glass, toasting to both her departed siblings Absalom and Sariel.

CAPTION: Absalom and Sariel.

PAGE 26, PANEL 5

Two panels on this bottom tier. No dialogue. Head to chest shot of Gwen holding up a beer bottle, toasting to both Redgrave and Sab.

CAPTION: Redgrave and Sabrina Hoyt.

PAGE 26, PANEL 6

Head to waist semi- profile shot of Lucy looking down at her glass, not toasting Abbadon but remembering him in her own way.

CAPTION: Even Abbadon.

PAGE 27, PANEL 1

Page width panel. Lucy, Gabriel, Sam and Solomon are sat around the table, which now has empty plates, glasses and bottles on it. Gwen, Skye, Amy and Adam are stood, clearly drunk, arm in arm as they sing, sagged and holding each other up.

CAPTION: We ate. We drank. We sang.

PAGE 27, PANEL 2

Three panels on this bottom tier. Full shot of Skye, lost to the music, dancing with Solomon, the others sat at the table behind them.

CAPTION: Some of us even danced.

PAGE 27, PANEL 3

Head to chest semi- profile shot of Lucy watching them, a smile of perfect contentment on her face. This is the final day she hoped for.

CAPTION: One last perfect day.

PAGE 27, PANEL 4

In the foreground is a head to waist shot of Amy and Adam arm in arm as they leave the garden, with Sam, Gwen and Skye just behind them, and Lucy, Gabriel and Solomon now sat at the table.

CAPTION: Finally we said our good nights.

CAPTION: And then we slept.

PAGE 28, PANEL 1

Page width panel. In the foreground is a head to chest shot of Gabriel leaving the garden, with a full profile shot of Lucy and Solomon sat at the table and facing each other in the back- ground, their figures lit by the lantern light on the table and the moon.

CAPTION: Well, at least, some of us did. LUCY: You’ve been pretty quiet.

SOLOMON: Sorry.

LUCY: No problem, I’m just glad you’re here.

PAGE 28, PANEL 2

Two panels on this tier. Head to waist profile shot of them facing each other across the table, two half glasses between them.

SOLOMON: To be honest, for a long time I wasn’t sure you’d want me here. LUCY: Why? PAGE 28, PANEL 3

Head to chest semi- profile shot of Solomon, his face half in shadow.

SOLOMON: Well, we didn’t exactly agree on how I handled things in the Immortal Wars. I know you didn’t approve of what I did.

PAGE 28, PANEL 4

Two panels on this bottom tier. Forehead to chin semi- profile shot of Lucy, her face also half in shadow and half lit by the lantern. LUCY: And you thought I wouldn’t want you here because of that.

LUCY: I thought you knew me better than that.

PAGE 28, PANEL 5

Head to chest profile shot of them, now leaning forward, a bit closer.

SOLOMON: Okay, then I’m glad I came.

LUCY: Me too.

PAGE 29, PANEL 1

Three panels on this top tier. Head and shoulders semi- profile shot of Solomon. No dialogue, looking down, considering something.

PAGE 29, PANEL 2

Similar to the previous panel, but now he’s looking directly at her again.

SOLOMON: Lucy …?

PAGE 29, PANEL 3

Forehead to chin semi- profile shot of Lucy with a knowing smile.

LUCY: Sol.

PAGE 29, PANEL 4

Two panels on this vertical tier. Close up forehead to chin shot of Solomon.

SOLOMON: There’s things I never said to you, a lot of things.

PAGE 29, PANEL 5

Similar close up forehead to chin shot of Lucy looking at him in return.

LUCY: I know. Do you really think after all this time I didn’t know. PAGE 29, PANEL 6

Half page panel. Head to waist profile shot of them facing each other, leaning in even closer with their hands clasped across the table.

SOLOMON: Damn, I’m really going to miss you, Lucy Morningstar.

LUCY: And I’m going to miss you too, my wise king.

PAGE 30, PANEL 1

Three panels on this top tier. Head to waist shot of Lucy from behind, stood looking out of her bedroom window, dressed in her familiar grey waistcoat and black trousers, her hand placed thoughtfully on the stack of her poetry books on the window sill.

CAPTION: I was up before the sun rose. I didn’t sleep, didn’t feel I needed to.

PAGE 30, PANEL 2

Close up of her hand grabbing her burgundy coat as she leaves the room.

CAPTION: Not anymore.

PAGE 30, PANEL 3

Full shot of her walking away from the cottage, along the gravel path, now wearing her coat, leaves blowing in the foreground.

CAPTION: I just wanted to be awake, be outside, nothing more, just walking,

PAGE 30, PANEL 4

Three panels on this bottom tier. Full shot of her from behind, stood on the beach, with the sea lapping at the sand in front of her. The sky cloudy and grey but with a hazy sun filtering through.

CAPTION: just tasting the salt in the sea air, taking in everything I possibly could.

PAGE 30, PANEL 5 In the foreground is a white lily with Lucy in the background in a profile shot walking down a grassy slope past rocky outcrops.

CAPTION: Everything felt more real. Every colour more vivid, more vibrant.

PAGE 30, PANEL 6

Head to chest shot of Lucy in the foreground, with a grassy cliff edge behind her, with the sea, the grey sky and the hazy sun beyond.

CAPTION: Every sound clear and new. Like I’m hearing them for the very first time.

GABRIEL ( O.P ): You’re up early, sister.

PAGE 31, PANEL 1

Page width panel. Full profile shot of Lucy and Gabriel facing each other, stood in front of an old Norwegian church, white with a steeple/ clock tower, the sky still grey and the sun still hazy. LUCY: You too it seems.

GABRIEL: I couldn’t sleep, and besides I …

LUCY: Me too.

PAGE 31, PANEL 2

Two panels on this tier. Head to chest shot of Lucy from behind, with Gabriel in a head to waist shot stood facing her.

GABRIEL: I remember when you were young, when you spent hours walking along the shore of the Eternal Sea, sometimes for days. PAGE 31, PANEL 3

Head to chest semi- profile shot of Gabriel, clearly remembering.

GABRIEL: While others flew you walked. You were always different.

PAGE 31, PANEL 4

Two panels on this bottom tier. Head to chest semi- profile shot of Lucy.

LUCY: Yeah, makes me wonder if I was always more mortal than angel. PAGE 31, PANEL 5

Similar to panel 3 with a head to chest semi- profile shot of Gabriel.

GABRIEL: Mortal or immortal, you have always been a Morningstar.

LUCY: Damn straight.

PAGE 32, PANEL 1

Three panels on this top tier. Head to chest semi- profile shot of Gabriel.

GABRIEL: I thought Sam might be here.

PAGE 32, PANEL 2

In the foreground is a semi- profile shot of Sam from behind, looking down on Lucy and Gabriel stood by the Norwegian church.

LUCY: She is, I guess she’s got her own way of saying goodbye.

PAGE 32, PANEL 3

Head and shoulders semi- profile shot of Sam as she observes them.

PAGE 32, PANEL 4

Three panels on this bottom tier. Head to waist shot of Lucy now turned away from Gabriel, with him stood behind her in a full shot.

LUCY: Okay, big bro, I think the rest of this journey I gotta do alone.

PAGE 32, PANEL 5

Similar to the previous panel but now it’s a head to chest shot of Lucy.

GABRIEL: Lucy, I’ve never been good at saying goodbye.

LUCY: Really? Then I won’t ask you to say it.

PAGE 32, PANEL 6

Full shot of them hugging each other, a final goodbye embrace between them.

LUCY: Don’t won’t you breaking the habit of a lifetime.

PAGE 33, PANEL 1

Half page panel. Full shot of Lucy walking away, up a grassy slope, with the church in the background, Gabriel now joined by Sam and both of them are stood in front of it, watching her go. CAPTION: And so I turned and I walked away.

CAPTION: From my family.

CAPTION: From my life.

PAGE 33, PANEL 2

Two panels on this vertical tier. Similar to the previous panel but now it’s a head to waist shot of her, only the steeple now in view.

CAPTION: Walking toward the unknown, to what lay beyond., I felt a great sense of sadness and melancholy, but also much to my surprise, a sense of hope.

PAGE 33, PANEL 3

Similar to the previous panels but now a head and shoulders shot of her.

CAPTION: Ahead, the sea met the horizon, a new day dawning.

CAPTION: My last day.

PAGE 33, PANEL 4

Two panels on this bottom tier. Head to chest semi- profile shot of her, her hair blowing, with the farm ruins seen earlier in the background.

CAPTION: As I walked on it felt like the veil of the world was slowly being lifted, like I finally understood the universe and it finally understood me.

CAPTION: I could see my life clearly, like a story,

PAGE 33, PANEL 5

In the foreground is a full shot of Lucy from behind, with the silhouetted shape of a familiar figure stood waiting up ahead of her.

CAPTION: with a beginning, middle and end.

ELLIE: Well, here we are, Lucy Lou.

PAGE 34, PANEL 1

Page width panel. Full profile shot of Lucy and Ellie now stood closer and directly facing each other, with a cliff edge nearby behind them, and beyond that the sea and the grey sky and hazy sun.

LUCY: The end of the road.

ELLIE: Oh, nothing so final. Come on, it’s time. I showed you around. LUCY: I won’t be able to come back though, will I? PAGE 34, PANEL 2

Two panels on this tier. A closer head to waist profile shot of them.

ELLIE: No, not like this anyway.

LUCY: I won’t see them again.

ELLIE: Well, I didn’t say that.

PAGE 34, PANEL 3

Similar to the previous panels but now it’s a head to chest shot of them.

LUCY: I …

ELLIE: Shush now, Lucy Lou, it’s time. We’ve got a long way to go, but I promise you we’ll swing by here again some day.

PAGE 34, PANEL 4

Two panels on this bottom tier. Head to chest semi- profile shot of Ellie, looking upward, like she’s looking to somewhere beyond.

ELLIE: First though, I’ve got a whole universe to show you. PAGE 34, PANEL 5

Head and shoulders semi- profile shot of Lucy, half turned, with a knowing smile, the sky behind her exploding with light.

LUCY: Okay then, impress me.

PAGE 35, PANEL 1

FULL PAGE SPLASH: Full shot of Lucy and Ellie from behind, stood at the edge of the cliff, their figures growing faint, as shafts of sunlight begin shining through the grey of the sky.

CAPTION: When it came to it I thought I‘d find myself looking back on all the regrets.

CAPTION: The words never said.

CAPTION: The things left undone.

PAGE 36, PANEL 1

Page width panel. Sunset. Wide shot of a grassy slope that leads up to a cliff edge and walking up it are Gabriel and Sam, followed by Solomon, Gwen, Amy and Adam. All of them carrying Chinese Lanterns in their hands, catching the wind.

CAPTION: But it didn’t feel like that at all. For the first time I felt the weight of it lifted.

PAGE 36, PANEL 2

Page width panel. A closer shot of them ascending the grassy slope, their faces thoughtful, sad, wistful, feeling the weight of it all.

CAPTION: All of it.

PAGE 36, PANEL 3

A wide shot of the top of the cliff in the foreground as they reach the pinnacle of the grassy slope, their figures partly obscured.

CAPTION: And for the first time in a very long time I had no idea what lay ahead.

PAGE 37, PANEL 1

Insert.

A full semi- profile shot of Gabriel lighting his lantern with Solomon’s lighter, the others gathered behind him in the background.

ARTIST NOTE: Insert is in the top left hand corner of panel 2.

CAPTION: I guess we all need to move on.

CAPTION: We all need to change.

CAPTION: We have to.

PAGE 37, PANEL 2

FULL PAGE SPLASH: On the right of the panel the group are now all stood in a semi- profile shot at the edge of the cliff top. Gabriel and Sam stood at the front, with Solomon and Gwen, then Amy, Adam and Skye as they watch the lanterns they’ve lit float off into the evening sky, Delilah circling through the air nearby.

CAPTION: Otherwise what’s the point.

~ The End ~

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~ Issue # 54 ~ A Handful Of Dust, Part 3 Of 3: A Symphony Of Stars ~

PAGE 1, PANEL 1

FULL PAGE SPLASH: Full shot of Lucy and Ellie, both of them floating against a sky full of stars, their figures shimmering like starlight, their hair floating above them like they’re underwater. Ellie has his hands on each side of Lucy’s face, her head tilted backward as she begins to go through a momentous change.

CAPTION: A while ago I told my brother sometimes wishes really do come true.

CAPTION: Even then I had no idea what that really meant.

CAPTION: I just knew what I wanted it to mean.

PAGE 1, PANEL 2

Insert.

Head and shoulders semi- profile shot of Lucy, with Ellie’s hands and we can see her familiar red highlights are turning a pure white, illustrating that some kind of change is taking place.

ARTIST NOTE: Insert is in the bottom left corner of panel 1.

CAPTION: But there are things that you hope for and things you never expect.

PAGE 1, PANEL 3

Insert.

Close up of one of her eyes with the surrounding stars reflected in it.

ARTIST NOTE: Insert is in the bottom right corner of panel 1.

CAPTION: And then there are those crazy impossible moments when these two things come together.

ARTIST NOTE: The chapter title, the subtitle and quote are all written beneath the full page splash with no border around them.

Chapter title is A Handful of Dust, Part 3: A Symphony Of Stars.

The sub title is A reckoning. A request. A parting.

QUOTE: By dawn‘s light we will welcome the days to come and say our goodbyes against a symphony of stars.

PAGE 2, PANEL 1

Page width panel. This panel is a plain black background with white writing.

CAPTION: ACT I

PAGE 2, PANEL 2

Page width panel. Night. Exterior shot of the old library as seen in both issues #51 and 52, where Abbadon is currently hiding out.

LUCY ( O.P ): Have to say, not exactly the kind of place I expected to find him. PAGE 2, PANEL 3

Three panels on this bottom tier. Full shot of Gabriel, Lucy and Sam from behind, stood in the dilapidated foyer of the old library. In front of them is a wide spiral staircase that leads up to a first floor balcony where the shadowy figure of Abbadon can be seen.

SAM: How the mighty have fallen. GABRIEL: These days he probably has vary limited options. ABBADON: As always Gabriel is right.

PAGE 2, PANEL 4

Head to waist shot of Abbadon leaning on the balcony rail, looking down, his hood up, his burned face mostly lost to shadow.

ABBADON: I apologise for the state of our surroundings but I’m sure you understand, circumstances being what they are.

PAGE 2, PANEL 5

Head to chest semi- profile shot of Lucy looking upward at him.

LUCY: Yeah, it must be really tough being a war criminal.

PAGE 3, PANEL 1

Three panels on this top tier. Overhead shot of Abbadon stood on the balcony looking down, with Gabriel, Lucy and Sam looking up.

LUCY: Why do I get the impression you were expecting us.

ABBADON: I had no doubt you would find me sooner or later, sister. I must admit though, I expected it would be later. How did you …?

PAGE 3, PANEL 2

Overhead shot of Sam looking up at him and glaring fiercely. She’s still feeling his betrayal profoundly and can barely contain it.

SAM: We had some help. You’ve made a lot of enemies in your time.

PAGE 3, PANEL 3

Overhead shot of Gabriel, similar to the shot of Sam in the previous panel. GABRIEL: Where’s Gwen? If she has been harmed her in any way.

PAGE 3, PANEL 4

Three panels on this bottom tier. Floor level full shot of Gabriel from behind looking up at Abbadon who is gazing from the balcony.

ABBADON: She is perfectly safe, I assure you. Come up, join us.

GABRIEL: I remember the last time you gave me such an invitation.

PAGE 3, PANEL 5

Head to waist profile shot of Abbadon looking down at them, hands resting on the balcony, seeming completely at ease with himself.

ABBADON: I assure you I intend you no harm. We are family after all.

PAGE 3, PANEL 6

Head to chest profile shot Gabriel, Lucy and Sam now climbing the spiral staircase, with Gabriel in front, glancing behind to the others.

LUCY ( Whispering ): You get the feeling he wanted us here?

GABRIEL: Without a doubt.

PAGE 4, PANEL 1

SPLASH: In the foreground is a full shot of them from behind as they reach the first floor, which is a large open octagonal shaped space with about a dozen high wooden book shelves dominating it. In far better condition than the basement the walls have stone arches and windows. In the background is a full shot of Gwen, seemingly asleep and held in a form of person sized crystal which is suspended in mid air, and in front of this is Abbadon facing them, the unseen ghost of Sariel beside him. Sections of the room are lit by moonlight through the windows and they are two white pillars that act as a kind of feature.

LUCY: No … what have you done to her?

ABBADON: A memory prison. She’s perfectly safe for now, but if she isn’t released her memories will eventually consume her. SAM: This is twisted. Even for you, this is twisted. Why would you?

PAGE 4, PANEL 2

Two panels on this tier. Full profile shot of Abaddon facing them, partly in shadow, partly in moonlight, Sariel beside him.

ABBADON: Because I want you to see what it feels like to have everything taken away from you, to have everything you have sacrificed for be gone in a moment, to see it die in front of you. PAGE 4, PANEL 3

Similar to the previous panel but now a head to waist profile shot.

SARIEL: Yes, make them understand, brother, make them understand what they have done, every time they have wronged us. PAGE 4, PANEL 4

Two panels on this bottom tier. Head to chest semi- profile shot of Lucy, staring at him with disgust, struggling to comprehend his reasons.

LUCY: This isn’t you, you’re sick, the whole power thing I could understand, that was always you, but this … what happened to you?

PAGE 4, PANEL 5

Head and shoulders semi- profile shot of Abbadon, his face partly hidden under his hood, holding his hand to his mouth as he coughs. ABBADON: Cough … Perhaps dying has given me a new perspective.

PAGE 5, PANEL 1

Three panels on this top tier. Head to waist shot of Gabriel, Lucy and Sam, the three of them looking shocked at this revelation.

SAM: Dying? How?

PAGE 5, PANEL 2

Head to chest semi- profile shot of Abbadon smiling bitterly, with Sariel now leant in close to him, whispering gently in his ear.

ABBADON: It seems my survival after the battle in the Void is to be short lived. Whatever Gwen’s power did to me its effects are lasting. I thought it appropriate that you saw the results. SARIEL: See the lack of regret in their eyes, brother, the false sincerity. They care no more about your fate than they did mine.

PAGE 5, PANEL 3

Similar to panel 1 but now it’s a closer head to chest shot of them.

SAM: You want us to suffer? Is that it, really? We’re your family.

GABRIEL: So, what do you want, tell me, how do we get her out?

PAGE 5, PANEL 4

Two panels on this tier. A split panel with the left side of the Gabriel’s face on the left of the panel and the right side of Abbadon’s face on the right of the panel, both merging in the centre. ABBADON: You have to do one simple thing.

GABRIEL: And that is?

PAGE 5, PANEL 5

Forehead to chin semi- profile shot of Abbadon, lit by the moonlight, his one good eye shining blue and bright, piercing. ABBADON: Kill me.

PAGE 5, PANEL 6

Two panels on this bottom tier. Head and shoulders semi- profile shot of Lucy reacting with both stunned horror and disgust.

LUCY: What? What kind of sick game is this?

PAGE 5, PANEL 7

Head to chest semi- profile shot of Sariel leant in close to him again.

ABBADON: The only one I have left. I have taken many things from you today, this will be my last. This I shall take to my grave.

SARIEL: To our grave, brother.

PAGE 6, PANEL 1

Three panels on this top tier. Full profile shot of Gabriel and Abbadon now facing each other. Their figures are highlighted by the moonlight that’s falling through a window in the background.

GABRIEL: We will not kill you, Abbadon.

ABBADON: Then you condemn Gwen to the same fate as you did Absalom.

PAGE 6, PANEL 2

Head to chest profile shot of Lucy and Sam with Sam in the foreground.

SAM: This isn’t right.

LUCY: This is on you, Abbadon, you and your fucked up games.

PAGE 6, PANEL 3

Head and shoulders semi- profile shot of Abbadon filling most of the panel, with Sariel leant in close, just at the edge of the panel.

ABBADON: All I ask is you end my life the way I want it to end.

SARIEL: See how they refuse to even grant this simple request. Samuel knows though, she understands. We know what she did, don’t we.

PAGE 6, PANEL 4 Two panels on this tier. Forehead to chin shot of Abbadon, eyes piercing. ABBADON: What about you, Samuel?

PAGE 6, PANEL 5

In the foreground is a head to waist shot of Abbadon from behind with a full shot of Sam facing him, lit by the moon light. SAM: No, never.

ABBADON: Not even to save a life?

SAM: Not even that. Believe me I’ve learned the hard way what granting that kind of wish for someone does to a person.

PAGE 6, PANEL 6

Two panels on this bottom tier. Similar shot of Abbadon to panel 4.

ABBADON: Yes, I know.

PAGE 6, PANEL 7

Head and shoulders semi- profile shot of Sam stuttering on her words, her expression a mixture of both regret and guilt as she realises Abbadon is referring to their brother. She knows he knows. SAM: I …

PAGE 7, PANEL 1

Half page panel. Head and shoulders semi- profile shot of Gabriel. GABRIEL: He wants Gwen to look at us like we look at him, don’t you.

GABRIEL: If we kill you to save her she’ll never look at us the same way.

PAGE 7, PANEL 2

Two panels on this vertical tier. Head to chest shot of Lucy, frowning, figuring out this twisted game that Abbadon is playing.

LUCY: So either way you have your revenge.

PAGE 7, PANEL 3

Similar to panel 1 but now it’s a head to waist semi- profile shot.

GABRIEL: I’ve always thought you capable of many things, but something as petty as simple revenge feels beneath you, brother.

PAGE 7, PANEL 4

Two panels on this vertical tier. Head to chest semi- profile shot of Abbadon.

ABBADON: Time grows short. Cough … If you do not kill me she will surely die.

PAGE 7, PANEL 5

Head to chest semi- profile shot of him glancing about on hearing Epiphany, his expression not of surprise but mild curiosity.

EPIPHANY ( O.P ): Not if I have anything to do with it.

PAGE 7, PANEL 6

Half page panel. Full shot of Epiphany stood in the doorway to the upstairs room, silhouetted against the moonlight. In one hand she’s holding the sagged, pale form of a possibly dead Mr Sparrow and in the other hand she’s holding a bloodied angelic blade. She has a cut on her forehead and a bruise on the side of her face, hinting to the fact that they fought before his apparent demise.

EPIPHANY: I think this is yours.

PAGE 8, PANEL 1

Page width panel. On the right of the panel Epiphany is stepping over Mr Sparrow, who is now crumpled on the floor, passing both Lucy and Sam and determinedly headed straight toward Gabriel, Abbadon and the memory prison, knife in hand.

LUCY: How did you? …

EPIPHANY: I’ve been following you lot since you came to WinterSky House. Oh, by the way, your counter surveillance sucks.

PAGE 8, PANEL 2

Insert.

In the foreground is a head to chest shot of Gabriel from behind with a full shot of her approaching him, we want to give the impression here that we‘re not sure what she‘s headed toward. Is it her father, Abbadon or the memory prison that holds her daughter?

ARTIST NOTE: Insert overlaps the top left corner of panel 3.

GABRIEL: Epiphany? What are you doing here? EPIPHANY: Nice to see you too, dad. I’m here for my daughter, and I’m here for him. It’s time for me to finish this.

PAGE 8, PANEL 3

Page width panel. Full shot of her slashing the memory prison with the angelic knife, stepping forward and slicing it open instantly.

S.F.X: Craaaack! Smash!

LUCY ( O.P ): What the f-?

PAGE 8, PANEL 4

Page width panel. PO.V from inside of the memory prison, the crystal shattering and falling like a pane of glass in the foreground.

PAGE 8, PANEL 5

Insert.

ARTIST NOTE: Insert overlaps the bottom right corner of panel 4.

EPIPHANY: After all these years you still believe everything he says, don’t you? At least I was in a coma for twenty odd years.

PAGE 9, PANEL 1

Three panels on this top tier. Head to waist profile shot of Gwen, clearly disorientated, dressed in a white T shirt and pink pyjama bottoms, with Epiphany facing her, knife held at her side.

GWEN: Mum?

EPIPHANY: Hey kiddo.

PAGE 9, PANEL 2

Head to waist shot of Epiphany suddenly turning and swinging around, catching Abbadon off guard, violently and efficiently slamming her palm into his chin as he stumbles backward from her.

S.FX: Krak!

PAGE 9, PANEL 3

In the foreground is a shot of Abbadon now on the floor from behind, half sat up, fallen against one of the white pillars, the ghost of Sariel crouched beside him, with a full shot of Epiphany stood over him, looking down at him with utter disdain.

EPIPHANY: Can’t you see he just wants you to end his miserable life because he’s too much of a coward to do it for him self. SARIEL: Oh, isn’t she magnificent, so full of resentment and spite. PAGE 9, PANEL 4

Page width panel. Head to chest profile shot of Abbadon, sat up against the pillar, his mouth bleeding beneath his hood, with Epiphany crouched low and close, holding the blade to his throat.

EPIPHANY: It would have been so perfect wouldn’t it, if you’d died in that battle, a martyr to a noble cause, but instead here you are, a pathetic shadow of everything you thought you were.

EPIPHANY: It scares you to death doesn’t it, being paraded through the Crystal City, the thought of a public trial, of being forced to answer for everything you’ve done, like a common criminal?

PAGE 9, PANEL 5

Three panels on this bottom tier. Similar to the previous panel, but now we’re a little closer and Sariel has reappeared beside Abbadon.

EPIPHANY: I might be pretty screwed up, I’ve got no doubts about that, but at least I’ve never been under any illusions about who I am.

SARIEL: It seems this one knows you a little too well, brother.

PAGE 9, PANEL 6

Head to chest shot of Epiphany turned to her father and the others, her eyes burning with rage, with Abbadon in shot behind her.

EPIPHANY: You could never put him out of his misery, none of you, not unless he gave you a good enough reason, he knows that. PAGE 9, PANEL 7

Head and shoulders profile shot of her turned back to Abbadon, in really close now, slowly pressing the edge of the blade into his throat.

EPIPHANY: Me though, I’ve got more than enough reasons.

PAGE 10, PANEL 1

Three panels on this top tier. Head to chest semi- profile shot of Gabriel and Sam as they realise what Epiphany is intending to do.

GABRIEL: No! Epiphany, please, if you do this, if you kill one of our own then there’s no coming back from that. Once you step over that line then that’s it, forever. You truly will be lost.

SAM: Trust me, he’s right.

PAGE 10, PANEL 2

Close up of Epiphany now holding the blade very close to Abbadon’s eye. There’s a look in her eyes that’s dead, past caring. EPIPHANY: You still don’t get it do you, dad, I was lost a long time ago.

EPIPHANY: Your little Eph ain’t ever coming back. She never was.

PAGE 10, PANEL 3

Similar to the previous panel but now we’ve panned in a little closer. GABRIEL ( O.P ): Gwen is safe, you don’t need to do this.

EPIPHANY: No one’s safe long as he’s alive, don‘t you see that? He lied to me, he used me, he promised me we were family

PAGE 10, PANEL 4

Two panels on this tier. Head and shoulders shot of Abbadon and Sariel.

SARIEL: She’s struggling. She’s holding her anger in. I can feel it flowing, raging through her. Use it, use her, draw the darkness out of her. If she is the one to end your life it will destroy them. Each of them will feel guilt from their part in it.

SARIEL: Gabriel especially will never recover from it.

PAGE 10, PANEL 5

Head to chest profile shot of Epiphany and Abbadon, he’s leaning toward her now, close as he can get, defiantly goading her.

ABBADON: Do it, I should have known it would be you, none of them have that unique animal instinct like you do, they are weak, but you, you were always different, you were born to be a killer.

EPIPHANY: Stop it.

PAGE 10, PANEL 6

Two panels on this bottom tier. Similar to the previous panel and Epiphany’s internal struggle is really beginning to show itself.

ABBADON: You are a caged animal. Not a daughter or a mother, but a taker of lives. Your heart was stained from the moment you were born. It was there long before Callum, his death simply released it. It has always been a part of you, blackening your soul from the moment you took your first breath.

EPIPHANY: I said shut up.

PAGE 10, PANEL 7

Forehead to chin shot of Abbadon, a close up of his one good eye and a cruel smile on his lips as he tells her everything she doesn’t want to hear. The pain is ripping her apart and he knows it.

ABBADON: Use the blade, end my life, be what you are meant to be.

PAGE 11, PANEL 1

Three panels on this top tier. Close up of Epiphany’s hand holding the blade as she thrusts it forward toward Abbadon’s face.

EPIPHANY: As you wish.

PAGE 11, PANEL 2

Similar to the previous panel but now a hand is reaching down, instantly grabbing her wrist tight and stopping her from killing Abbadon.

EPIPHANY: What?

PAGE 11, PANEL 3

Full shot of her crouched, looking up to see that it’s Gabriel who has grabbed her wrist and now stood over her and Abbadon.

GABRIEL: I can’t let you do this.

PAGE 11, PANEL 4

Three panels on this tier. Head to chest semi- profile shot of Epiphany, her face full of anger and confusion as she stares at him.

EPIPHANY: I killed you and you’re still trying to protect me, why?

PAGE 11, PANEL 5

Head and shoulders semi- profile shot of Gabriel, returning her anger and confusion with calmness and a father’s love for his daughter.

GABRIEL: Because no matter what you do, no matter what you’ve done. You’re still my daughter, that will never change.

PAGE 11, PANEL 6

Full profile shot of them both, just a few inches between them now. Epiphany has dropped the blade. She’s leaning into him, staring into his eyes, like an animal sniffing to see if the danger has passed. She’s unsure, she wants to trust him but is she capable? She’s looking for any hint of the father she loved as a child. EPIPHANY: Are you still really him? You seem so … different.

PAGE 11, PANEL 7

Three panels on this bottom tier. Similar shot of Gabriel to panel 5. GABRIEL: I’m your father.

PAGE 11, PANEL 8

Head to chest semi -profile shot of Epiphany, head bowed, clearly considering if she should really trust what he’s telling her. It’s like she’s remembering who she once used to be.

EPIPHANY: No …

PAGE 11, PANEL 9

Full shot of them as she suddenly grabs him by the throat, catching him utterly off guard, raising him up off the floor and slamming him hard against the pillar, that brief connection now totally drained away as she once again embraces the rage inside her.

EPIPHANY: … Not anymore.

GWEN ( O.P ): No!

PAGE 12, PANEL 1

Half page panel. Full shot of Gwen and Epiphany stood in front of the pillar, Gwen with her hand tenderly on her mother’s arm, subtly standing between her and Gabriel. Epiphany has now let him go and he has slid to the floor, slumped up against the pillar, a trickle of blood running from his nose that he’s wiping away.

GWEN: No, please, mum, don’t do this, this isn’t the way. Please, you can come back from this, come back to me. I need you.

PAGE 12, PANEL 2

Two panels on this vertical tier. Head to chest semi- profile shot of Epiphany half turned to Gwen, thoughtful now. All of a sudden she looking very tired, it’s like after this brief explosion of rage the fight has gone out of her and there‘s nothing to replace it.

EPIPHANY: You’re wrong, I can’t come back, not now. I thought maybe I could, but … it would’ve been better if he’d killed me that night, stopped me for good right there and then.

PAGE 12, PANEL 3

In the foreground is a head to chest shot of Abbadon from behind. In the background is a full shot of Gabriel, Gwen and Epiphany. Gabriel and Epiphany are just staring over at him but Gwen is looking very much like she’s ready to attack him.

ABBADON: Yes, better for everyone, there’s nothing left. Finish it.

GWEN: Shut up, or so help me …

PAGE 12, PANEL 4

Two panels on this vertical tier. Head to chest semi- profile shot of Epiphany, half turned, staring at Abbadon, considering something.

PAGE 12, PANEL 5

Head and shoulders semi- profile shot of Epiphany leant in, inches from Abbadon, studying him closely, her face an emotionless mask, her expression giving nothing away at all.

EPIPHANY: Sorry to disappoint you uncle, but I’m not gonna kill you. You deserve it but you deserve to suffer more. I’ll see you paraded as the traitor you are before you draw your last breath.

PAGE 12, PANEL 6

Half page panel. Head to waist shot of Gwen and Epiphany, lit by moonlight. Gwen has her hand tenderly on her mother’s shoulder. For her part, Epiphany is just stood there, numbed, head bowed, for the first time since she woke looking utterly defeated and lost, like after everything she’s finally decided to give up.

GWEN: Mum?

EPIPHANY: I can’t do this, I can’t fight anymore.

PAGE 13, PANEL 1

Page width panel. This panel is a plain black background with white writing.

CAPTION: ACT II

PAGE 13, PANEL 2

Three quarter page vertical panel. Full exterior shot of the old library, bathed in moonlight with the night sky and clouds above. METATRON ( O.P ): I have waited a long time for this moment, Abbadon Morningstar. Your trial cannot begin soon enough.

PAGE 13, PANEL 3

Three panels on this vertical tier. Head to waist face on shot of Abbadon stood, his head partly bowed as he stares out at his siblings. Two angels are stood either side of him, holding an arm each in a way that illustrates that he is now very much under arrest.

ABBADON: Will none of you speak for me?

PAGE 13, PANEL 4

Head and shoulders semi- profile shot of Gabriel staring at his older brother. If he’s feeling anything for his plight he isn’t showing it. GABRIEL: We spoke for you a long time ago, brother, and this is how you repaid us. Even our patience has its limits eventu- ally

PAGE 13, PANEL 5

Similar to panel 3 but now a head to chest shot of Abbadon staring out from under his hood, the angels now almost off panel. ABBADON: Then this is where we say goodbye.

PAGE 14, PANEL 1

Half page panel. Head to waist profile shot of both Lucy and Abbadon facing each other for what may possibly be the last time. LUCY: You never could have won, you know that right?

ABBADON: I know, but I had to try.

PAGE 14, PANEL 2

Two panels on this vertical tier. In the foreground is a head to chest shot of Metatron walking away, Abbadon being led by the angels just behind, the ghost of Sariel at his side, with Gabriel, Lucy, Sam and Gwen watching as they take him away for his trial.

GABRIEL: Goodbye Abbadon.

ABBADON: At least I will still have you, sister, if nothing else.

SARIEL: We will have each other, brother.

PAGE 14, PANEL 3

Head to waist shot of Gabriel, Lucy, Sam and Gwen stood together.

LUCY: So, what do we do now?

GABRIEL: He’s their problem now.

PAGE 14, PANEL 4

Two panels on this vertical tier. Full shot of Epiphany, clearly traumatised, curled up in a corner of the room, highlighted by the moonlight, with the metaphor of the shadows encircling her.

LUCY ( O.P ): No, I mean about her.

PAGE 14, PANEL 5

Close up semi- profile shot of her face, her eyes blank and so tired. GABRIEL( O.P ): I wish I knew, but I don’t, not anymore.

PAGE 14, PANEL 6

Half page panel. Head and shoulders semi’ profile shot of Gabriel glancing behind himself as he hears the voice of the Creator. THE CREATOR ( O.P ): Perhaps, Lord Morningstar, I can help with that.

PAGE 15, PANEL 1

FULL PAGE SPLASH: Full shot of Gabriel from behind, stepping backward, suddenly no longer in the old library. He is stood on what appears to be a landscape made up entirely of cloud, lit by shafts of golden sunlight. Ahead of him, stood at the base of a staircase (resembling the heavenly one in ‘A Matter of Life and Death’ ) is the Creator, who is currently in the form of David Bowie, circa 1969, long curly hair, open shirt, etc.

THE CREATOR: I believe it is high time you and I spoke upon certain matters.

PAGE 16, PANEL 1

Three panels on this top tier. Overhead shot of Lucy, also no longer in the old library and is instead standing in a deserted street.

LUCY: What the f-? Not again.

THE CREATOR ( O.P ): My apologies, Lady Morningstar …

PAGE 16, PANEL 2

This panel is a homage to the cover of David Bowie’s ‘Ziggy Stardust and the Spiders From Mars’ album, with the proto Ziggy stood under the K.WEST sign, dressed in blue, guitar, etc. THE CREATOR: … But this seemed the most efficient way for us to talk.

PAGE 16, PANEL 3

Full shot of Lucy from behind stood in the middle of the street. The Creator is also now stood in the road, facing her, guitar slung over his shoulders in a homage to the alternate shot of the album.

LUCY: So I’m guessing we’re outside of time and space, that sort of thing?

THE CREATOR: In a way, yes.

LUCY: Okay, catching up now.

PAGE 16, PANEL 4

Three panels on this bottom tier. Head to chest semi- profile shot of the Creator, with the buildings of Heddon Street behind.

THE CREATOR: You know who I am?

PAGE 16, PANEL 5

Forehead to chin semi- profile shot of Lucy, her face filling the panel.

LUCY: I wouldn’t say know, it’s just something I felt soon as I saw you, but how can you be here, I mean, like this, you’re the Creator.

PAGE 16, PANEL 6 Head to chest profile shot of the Creator but with no panel border.

THE CREATOR: I created myself and everything within me, so I can take whatever form I chose. Today I prefer to chose this form.

PAGE 17, PANEL 1

Page width panel. Full profile shot of Lucy and the Creator facing each other, with the buildings of Heddon Street behind.

LUCY: Well, I’m liking the look Starman.

THE CREATOR: I tried it on for size quite recently and I found I rather liked it. It is based on the glam god known as ‘The Bowie.’ It seems your friend Solomon has a fondness for him.

LUCY: The Bowie, huh?

LUCY: You said you wanted to talk. What does the universe have to say to me?

PAGE 17, PANEL 2

Two panels on this tier. Forehead to chin shot of the Creator staring, though instead of Bowie’s infamous mismatched eyes we get two holes with stars and nebulas glimpsed through them.

THE CREATOR: I have watched you with great interest for a long time, Lucy Morningstar, ever since you first fell from grace.

THE CREATOR: I have seen the things that you have done, the choices you have made and how you waited to find the path you seek.

PAGE 17, PANEL 3

Head to chest profile shot of Lucy and the Creator facing each other. LUCY: You’ve seen a lot.

THE CREATOR: I have seen that which you have come to desire the most.

PAGE 17, PANEL 4

Two panels on this bottom tier. Forehead to chin semi- profile shot of Lucy, her expression now pretty sceptical as she eyes him.

LUCY: Never gonna happen though is it.

PAGE 17, PANEL 5

Close up shot of one of the Creator’s eyes and we’re looking through its open space onto an overhead shot of them facing each other, which suggests an overlapping unending kind of pattern.

THE CREATOR: Never say never, Lady Morningstar.

PAGE 18, PANEL 1

Full page vertical panel. Full shot of Gabriel walking through the cloud landscape. Beside him the Creator has now transformed into David Bowie during his mid 1990’s ‘Earthling’ phase, with the instantly recognisable Union Jack coat.

They are walking a twisting path made up of sunlight and through a huge gap in the clouds behind them we can see a cosmos of planets, gaseous clouds and vapour swirls of clashing psychedelic colours, but the most prominent colour in the foreground is a warm autumnal hue that comes from the sunlight.

ARTIST NOTE: In some ways this page echoes page 14 of issue #44.

GABRIEL: I wasn’t aware the Creator could take a mortal form.

THE CREATOR: I am an echo, and it is sometimes more informative to be among my creations rather than above them so to speak.

GABRIEL: Rather than be an all seeing eye?

THE CREATOR: Exactly. The god of gods often visited in my stead.

PAGE 18, PANEL 2

Four panels on this vertical tier. Closer head to waist shot of them now.

GABRIEL: For all the good it did him in the end.

THE CREATOR: Yes quite, and that is partly the reason I am here.

PAGE 18, PANEL 3

Head to chest profile shot of them, with a vapour swirl in the background.

GABRIEL: Where are the others?

THE CREATOR: Exactly where they were. In the library. Where you are. I guess you could say we’re between moments.

PAGE 18, PANEL 4

Full shot of them walking through a valley of clouds with the huge gap still behind them and the sunlight trail like a valley stream.

GABRIEL: I was under the impression you never intervened directly.

THE CREATOR: I didn’t, not for a very long time, but recent events have proved to me that perhaps I have been far too rigid in my thinking.

PAGE 18, PANEL 5

Full shot of them from behind walking across the sunlight trail into a glowing doorway, which is surrounded by a crystal like arch.

GABRIEL: I’m curious, the Creator doesn’t appear for just anyone.

THE CREATOR: Precisely, I am here, Lord Morningstar, to make you an offer.

PAGE 19, PANEL 1

Page width panel. In the foreground is a head to chest semi - profile shot of Lucy. The background is a homage to the cover of Bowie’s ‘Earthling’ album, with the Creator stood over looking the English countryside to the sea in the form of the mid 1990’s Bowie in his Union Jack coat, stardust seeping from him.

LUCY: Are you saying you can make me mortal?

THE CREATOR: If that is what you truly desire.

LUCY: You know what, for a long time I really wasn’t sure, but now I am.

PAGE 19, PANEL 2

Two panels on this tier. Head and shoulders semi- profile shot of Lucy, thoughtful but determined. She’s given this a lot of thought.

LUCY: I don’t want to live forever.

PAGE 19, PANEL 3

Head to waist shot of the Creator from behind, still in the mid 1990’s Bowie phase, still looking out over the English countryside, the stardust pouring from him and surrounded by an eerie blue glow.

THE CREATOR: Very well.

THE CREATOR: Eli?

PAGE 19, PANEL 4

Two panels on this bottom tier. Full shot of Lucy stood at the top of a grassy slope, with Ellie half way up it facing her. The countryside behind them still similar to the ‘Earthling’ album cover.

ELLIE: Hey Lucy Lou, I guess some wishes really do come true.

LUCY: Did you have anything to do with this?

PAGE 19, PANEL 5

Head to chest semi- profile shot of Lucy, giving Ellie a knowing smile. She has no doubt what her old friend is doing for her.

ELLIE ( O.P ): What, little ol’ me?

LUCY: Yeah, right.

PAGE 20, PANEL 1

Half page panel. Night. Overhead view. We’re looking down the façade of the old library onto the two figures of Gabriel and Gwen, who are stood on the stone steps of its main entrance. It’s snowing heavily, giving the scene a heightened fairytale like quality.

GABRIEL: She’s your mother, Gwen, I will only agree to this as long as you believe, as I do, that it’s the only option left to us.

GWEN: I do. I’m just not too sure it’s the best option though.

GABRIEL: I know, but ...

PAGE 20, PANEL 2

Two panels on this vertical tier. Full shot of them stood on the steps.

GWEN: But she can’t stay the way she is either. I can see it’s killing her, bit by bit she’s slipping away. If there’s even the slightest chance she can finally find peace then I say we do it.

PAGE 20, PANEL 3

Head to chest semi- profile shot of Gabriel, looking at Gwen, his stare piercing, gauging if she really understands what it means.

GABRIEL: And you understand what that means?

PAGE 20, PANEL 4

Two panels on this bottom tier. Head and shoulders semi- profile shot of Gwen, her head bowed sadly, clearly illustrating that she knows exactly what it means for Epiphany and for them.

GWEN: Yeah, I absolutely know what it means …

PAGE 20, PANEL 5

Full shot of Epiphany inside the old library, still curled up in the corner of the upstairs room, her figure half in moonlight and shadow.

CAPTION: “… It means we’re gonna have to kill her.

PAGE 21, PANEL 1

SPLASH: This panel is a homage to the cover of David Bowie’s 1999 album ‘Hours’ with the ‘Earthling’ era Bowie dying in the arms of his ‘Hours’ guise. The Creator has now taken the form of the ‘Hours‘ guise, with long hair and white jacket, and looking angelic. The English countryside back- ground has changed to the clinical, stark white of the album cover.

THE CREATOR: If you do this it is your choice and your choice alone, but know this Lady Morningstar, if you become mortal I can give you only twenty years of life, twenty years, and then you will fade and pass from this world forever.

PAGE 21, PANEL 2

Three panels on this bottom tier. Head to waist semi- profile shot of Lucy, mildly surprised that the Creator would see this as a problem.

LUCY: Only? Are you kidding? In twenty years I can write a thousand poems, I can fall in love again, I can be a mother again, I can properly feel the cold again or the wind upon my face.

PAGE 21, PANEL 3

Similar to the previous panel but now it’s a closer head to chest semi- profile shot of her. There’s a calmness there now, a kind of acceptance. This is something she’s been waiting a long time for.

LUCY: I can shiver, I can feel my bones ache in my body and I can finally grow with the world around me. I can truly be a part of this world.

PAGE 21, PANEL 4

Forehead to chin semi- profile shot of her, a quiet determination in her eyes, letting the Creator know she understands what she’s doing. LUCY: Trust me, big guy, twenty years is more than enough. I’ll live more in twenty years then I ever lived in an eternity.

PAGE 22, PANEL 1

Insert.

Head to chest semi- profile shot of the Creator with a kindly smile.

ARTIST NOTE: Insert is in the top left hand corner of panel 3. THE CREATOR: Very well. Eli, if you please.

PAGE 22, PANEL 2

Insert.

Head to chest shot of Ellie putting his hands on either side of Lucy’s face as a starlight like glimmer begins to glow about them.

ARTIST NOTE: Insert is in the top right hand corner of panel 3.

ELLIE: You ready for this honey bee?

LUCY: Old friend, I think I’ve been ready for this my whole life.

PAGE 22, PANEL 3

FULL PAGE SPLASH: Full shot of both of them seemingly floating against a sky full of stars, their figures shimmering like starlight, their hair floating above them like they’re underwater. Ellie has his hands on each side of Lucy’s face, her head tilted backward.

ARTIST NOTE: This is where we catch up with the opening pages. LUCY: And thank you.

PAGE 23, PANEL 1

Page width panel. This panel is a plain black background with white writing.

CAPTION: ACT III

PAGE 23, PANEL 2

Three panels on this tier. Morning. In the foreground is a head to waist profile shot of young Sophie Blake, crouched on the grass at the edge of a school yard, holding a leaf in her hand that she’s staring at, separate from the rest of the children. In the background her teacher, a woman who very much resembles Epiphany Morningstar is approaching from the school across the yard. The school itself is old, probably built in the early 20th century.

CAPTION: Bedford. Three Days Later.

CAPTION: St. Mary’s Primary School.

ELOISE: Sophie, aren’t you coming to play with the others?

SOPHIE: I just want to be on my own, Miss, if that’s okay?

PAGE 23, PANEL 3

P.OV shot looking up at Sophie studying the leaf in her hand with her teacher, Eloise Grey, stood over her, the winter morning light shining from above, giving the panel a kind of hazy hue.

ELOISE: Oh, I don’t think anyone really wants to be on their own, do they?

SOPHIE: Well, it’s just … I don’t think they like me, that’s all.

PAGE 23, PANEL 4 Full shot of Eloise now bent over as Sophie looks up at her, with the school yard, the children and the school itself behind them.

ELOISE: Have you tried talking to them?

SOPHIE: Um, no.

PAGE 23, PANEL 5

Two panels on this bottom tier. Close up shot of Eloise taking Sophie’s hand in her own, with the hazy winter sun glinting behind. ELOISE: Okay, why don’t you come with me then, they may surprise you. PAGE 23, PANEL 6

Full shot of them both from behind walking across the yard toward the other children, Eloise still holding Sophie’s hand.

ELOISE: People often do.

PAGE 24, PANEL 1

Page width panel. In the foreground is a head to chest semi- profile shot of Epiphany/ Eloise looking down and smiling contently. In the background is the right hand side of the school, and at its end a tree and a long railing that looks onto a road with houses behind. Two figures stood near the tree are watching.

GABRIEL: Eloise Grey, formerly Epiphany Morningstar. Primary school teacher. Lives in the city, raised in the country by her aunt, deceased. Single. No children. Devoted to her students.

GWEN: She seems so different, like there’s a light in her now.

GABRIEL: The darkness that was in her is gone.

PAGE 24, PANEL 2

Three panels on this tier. A closer full shot of the two watching figures, with the tree on the edge of the panel, who turn out to be Gabriel and Gwen, who are secretly looking in on how Epiphany is doing, with leaves blowing through the air in the foreground. GWEN: She doesn’t remember any of it?

GABRIEL: Nothing. She remembers a different life, a better life.

GABRIEL: Better than the one I gave her.

PAGE 24, PANEL 3

Head to waist shot of them with the leaves still in the foreground.

GABRIEL: Everything she was had to die for her to truly live.

GWEN: And she’s mortal now?

GABRIEL: Yes.

PAGE 24, PANEL 4

Similar to the previous panel but perhaps now it’s a head to chest shot.

GWEN: But happy?

GABRIEL: Happy enough.

PAGE 24, PANEL 5

Two panels on this bottom tier. Head to chest semi- profile shot of Gwen, her hair blowing across her face in the gentle winter breeze.

GWEN: So, we did a good thing?

PAGE 24, PANEL 6

Similar to panel 1, essentially book ending this page. In the foreground is a head to chest semi- profile shot of Epiphany/ Eloise looking down and smiling contently with Gabriel and Gwen watching her from behind the railings without being seen.

GABRIEL: Yes, I think we did.

PAGE 25, PANEL 1

Page width panel. Mid- morning. Wide shot of Lucy’s pent-house apartment at Canary Warf. Full shot of her and Sam leant on the balcony’s glass wall, looking out over the spread of the city.

LUCY: Are you sure you won’t stay, this apartment of mine feels a little too empty these days, couldn‘t say why that is though.

SAM: Thanks for the offer, and I really mean that, but I need to get away, be somewhere else for a while, maybe even be someone else.

PAGE 25, PANEL 2

Two panels on this tier. Full semi - profile shot of them leant on the balcony, with Lucy in the foreground. She’s dressed in sleeping shorts and a T - shirt, a jogging top. Her hair is a mess as she drags on a cigarette and she now has full white highlights.

LUCY: Now that I do get.

SAM: I just need to step away, you know, try and see things more clearly.

PAGE 25, PANEL 3

Head and shoulders semi - profile shot of Lucy with smoke pluming up.

LUCY: Hey, you’re preaching to the choir, girl.

PAGE 25, PANEL 4

Two panels on this bottom tier. Head to chest semi- profile shot of Sam. SAM: So much has happened. I made a lot choices because of my belief in Abbadon, but they were still my choices, not his. I need to figure out why that was, I need to know if I can be better, if I can do better. I think I need to find out who I am again.

PAGE 25, PANEL 5

Full semi - profile shot of them leant on the balcony, with Lucy in the foreground, thoughtfully stubbing her cigarette out on the top of the glass wall with the pale blue morning sky behind them.

LUCY: Yeah, I guess we’re both on that particular road now.

LUCY: Let’s see where it takes us, eh?

PAGE 26, PANEL 1

Page width panel. Full profile shot of Gabriel and Solomon facing each other, stood on a waterfront that looks out onto the river Thames. In the background is St. Katharine docks, St Katharine’s Pier and also Tower Bridge set against the winter sky.

SOLOMON: Gabe, you sure about this? I love the place, but … GABRIEL: I won’t be around for a while, Sol, so I’d feel a whole lot happier knowing someone I trust is looking after it and Mathias.

PAGE 26, PANEL 2

Two panels on this tier. Similar to the pervious panel but now a head to waist shot of them. In the background some of the ships have moved across the water as will do so in the following panels.

GABRIEL: Besides, you are currently homeless are you not?

SOLOMON: I am at that, can’t argue with that kind of reasoning.

PAGE 26, PANEL 3

Similar to the previous panel but now it’s a head to chest shot of them. GABRIEL: The invitation also extends to Cob, when he is recovered. SOLOMON: I was hoping you’d say that, gonna be a while, but it’ll do him good to know he’s got a place to stay when he gets out.

PAGE 26, PANEL 4

Two panels on this bottom tier. Head to waist profile shot of them but now we’re looking from the opposite direction, from the sea onto the waterfront, and behind them we can see the road with traffic and the buildings and the city skyline beyond this. SOLOMON: So, you’re really doing this, huh?

GABRIEL: I made a bargain.

PAGE 26, PANEL 5

Head and shoulders semi- profile shot of Solomon, raising his eyebrows, suggesting he can’t quite believe what’s been going on. SOLOMON: And with the universe itself no less.

PAGE 27, PANEL 1

Two panels on this top tier. Head and shoulders semi- profile shot of Gabriel, and it’s quite clear he can’t quite believe it either.

GABRIEL: That was certainly unexpected to say the least.

PAGE 27, PANEL 2

Head to chest semi- profile shot of Solomon flicking his lighter open.

SOLOMON: So, creating a pantheon of new gods, huh?

PAGE 27, PANEL 3 Two panels on this tier. Forehead to chin semi- profile shot of Gabriel. GABRIEL: It would appear so. It would certainly help matters as far as the current power vacuum stands. I think the idea is that an empty throne might not be a danger if that throne no longer exists. PAGE 27, PANEL 4

Head to chest semi- profile shot of Solomon lighting up a cigarette. SOLOMON: But without anyone leading them as such, is that really gonna work? It didn’t seem to work so well the last time around. PAGE 27, PANEL 5

Page width panel. Full shot of them from behind now, both turned and looking out over the docks and the sea, both leaning on the railing, with Solomon’s cigarette half forgotten in his hand, contemplating things past and the things yet to come. GABRIEL: Not at first, but I think that might be where I come in.

PAGE 28, PANEL 1

Page width panel. Exterior shot of the bookshop roof, layered with snow. It’s evening now and the orange of sunset is seeping in. In the foreground is a full shot of Gabriel crouched and stroking Mathias, the affection between them is clearly showing. In the background is a full shot of Lucy facing Amy and Adam, the three of them stood in front of a portal that is open.

MATHIAS: Don’t worry, I’ll keep an eye on both of them for you.

GABRIEL: I know you will, and this isn’t goodbye either.

MATHIAS: I know. I am a cat. We do not have a word for goodbye.

PAGE 28, PANEL 2

Two panels on this tier. Head to waist shot of Lucy, Amy and Adam. LUCY: Right, everything is set up. Ellie’s already there. You ready for this? PAGE 28, PANEL 3

Similar to the previous panel but perhaps we’re a little closer now.

AMY: Are we ready to go to a place that technically doesn’t exist, to teach a bunch of people who are as messed up as we are how to be gods and somehow get them to agree with each other?

LUCY: Well, when you put it like that.

PAGE 28, PANEL 4

Two panels on this bottom tier. Head to waist shot of Amy, with Adam behind her, half turned to the portal and only half listening.

AMY: Relax, we got this, besides your big brother’s got our backs, right.

AMY: We’ll be fine, right Adam?

ADAM: Uh right, we’ve got a lot better at this since we died.

PAGE 28, PANEL 5

Full profile shot of Amy and Adam, Amy leading by the arm and smiling fondly as they step into the portal with Lucy watching.

AMY: *Sigh* Come on you, we’ve got work to do.

PAGE 29, PANEL 1

Three panels on this top tier. Full shot of Gabriel from behind, with Mathias at his feet, turned to face Lucy as she approaches him.

LUCY: They’re on their way, you all sorted?

GABRIEL: Yes, I am ready.

PAGE 29, PANEL 2

Head to chest shot of Gabriel from behind, with Lucy facing him.

LUCY: Wish I was, feels like I only just got you back.

GABRIEL: Are you okay, Lucy? You seem different?

PAGE 29, PANEL 3

Head to chest profile shot of them, with Gabriel frowning at Lucy.

LUCY: I changed my hair.

GABRIEL: Sister.

PAGE 29, PANEL 4

Two panels on this bottom tier. There’s no dialogue in this panel. Lucy’s stares at her brother, but she’s not ready to tell him.

PAGE 29, PANEL 5

Forehead to chin semi- profile shot of Lucy, her face filling the panel.

LUCY: I’ll tell you soon, okay, nothing bad, promise, just a little lifestyle change, that‘s all, things are changing for both of us.

PAGE 30, PANEL 1

Page width panel. Full profile shot of them with the snowy roof in the background and the sky both a deep orange and purple in colour.

GABRIEL: I see.

LUCY: No, you don’t, now get going, you’ve got a world to build and they don’t get built in a day, ours certainly wasn‘t.

PAGE 30, PANEL 2

Two panels on this tier. Head to waist shot of Lucy suddenly hugging Gabriel who is caught off guard, not hugging her in return.

LUCY: Take care of yourself, okay.

PAGE 30, PANEL 3

Similar to the previous panel but now Gabriel is hugging her, highlighting once again how much he has changed since his return.

GABRIEL: I will, goodbye Lucy.

PAGE 30, PANEL 4

Two panels on this bottom tier. In the foreground is a head to waist shot of Lucy from behind, with Gabriel in full shot, now stood in the light of the portal, turned to face her before he goes.

LUCY: Bye Gabe.

PAGE 30, PANEL 5

Full shot of Lucy, now left alone with Mathias, stood on the snowy rooftop, isolated against the city skyline and orange sunset.

LUCY: And be safe.

PAGE 31, PANEL 1

Three panels on this top tier. Head to waist shot of Gabriel as he steps out of the portal, ready to face the challenge he has ahead.

CAPTION: As I watched him go I knew this was one of those moments when things change forever.

PAGE 31, PANEL 2

Head to chest shot of Sam, now walking along a desert highway, possibly in Australia, beginning her journey to find herself.

CAPTION: Those moments that make up every life that ever was.

PAGE 31, PANEL 3

Full shot of Solomon opening the front door to his new home of Gabriel’s bookshop, with Mathias following loyally at his side.

CAPTION: It wasn’t huge or life shattering, it was just a small sobering realisation that we weren’t following the same path anymore. None of us were.

PAGE 31, PANEL 4

Two panels on this tier. Full profile shot of Gwen stood in some college type grounds of shrubs and paths where she is having a meeting with Magnus Hollander, though we don‘t know why as of yet.

CAPTION: Hell, we weren’t even the same people anymore.

PAGE 31, PANEL 5

Head to chest shot of Amy and Adam as they reach their destination with what looks like an unearthly violet sky be hind.

CAPTION: Not one of us.

PAGE 31, PANEL 6

Two panels on this bottom tier. Full shot of Ellie and Mercy from behind, stood across the street from the burnt out Twister Trap, taking in the damage done but with a sense of rebuilding.

CAPTION: So, what do any of us do when life changes around us?

PAGE 31, PANEL 7

Full shot of Anna from behind, stood in front of Skye, who is dressed in the clothing of an Asgardian noble and sat on Odin’s wooden throne, looking very different to the Skye we know.

CAPTION: When nothing‘s the same anymore.

PAGE 32, PANEL 1

FULL PAGE SPLASH: Full shot of Lucy from behind walking away from the bookshop and along the snowy street, with Delilah flying ahead, and the sunset now fully in the sky ahead of her.

CAPTION: We do what we always do.

CAPTION: We go on.

( Taken from Volume Five: A Handful Of Dust )

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modern-days · 4 years

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modern-days · 4 years

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~ Issue # 53 ~ A Handful Of Dust, Part 2 Of 3: All Things Will Pass ~

PAGE 1, PANEL 1

Page width panel. High view looking down onto the ledge of a building and the street below which is pretty much empty and quiet. The shot is angled so that we can see one of the upstairs windows.

CAPTION: Camden.

CAPTION: 11.03a.m

CAPTION: When you do a job like mine no two days are ever the same.

CAPTION: There are crazy days and quiet days.

PAGE 1, PANEL 2

Page width panel. Similar to the previous panel but now the window is exploding outward onto the street, flames erupting and glass and wood and brick being thrown out into the morning air.

S.F.X: Ba- Boom!

CAPTION: There are days you want to forget and days you can never forget.

PAGE 1, PANEL 3

Page width panel. Full shot of Solomon half sat up on the road where’s he crashed to the ground. He’s staring at the explosion, shocked, his face dirty with smoke, his coat ripped, his forehead bleeding. There’s glass and debris sprinkled about him on the ground.

CAPTION: There are good days and bad days.

PAGE 2, PANEL 1

FULL PAGE SPLASH: Full shot of him from behind, still half sat up on the ground and we can now properly see the building that’s exploded is the building his office is housed in. The pavement in front of it is scorched, flames are coming out of the windows and black smoke is pluming up, stark against the blue morning sky. There’s the front of a car on the right of the panel, sprinkled in more glass and debris, its alarm now going off.

ARTIST NOTE: Chapter title is written at the bottom of the burning building, A Handful of Dust, Part 2: All Things Will Pass.

The sub title is A campaign. A realisation. A deal.

QUOTE: All things will pass and all things will begin anew.

S.F.X: Beep, beep, beep.

CAPTION: And then there are really bad days.

PAGE 3, PANEL 1

Two panels on this top tier. Full shot of Solomon’s office blown apart, scorched and full of debris, his familiar desk now in pieces.

CAPTION: 11.53a.m

RED ( O.P ): Jesus, Sol, I knew sooner or later I’d have to deal with something like this.

PAGE 3, PANEL 2

Full floor level perspective shot looking down the corridor toward the office door, which is hanging off its hinges and against the wall, the glass with its signage laying in pieces on the floor along with burnt pieces of wood and remnants of paperwork. SOLOMON ( O.P ): You’re a cop, isn’t this kind of thing in your job description?

RED ( O.P ): I mean specifically in relation to you.

PAGE 3, PANEL 3

Page width panel. Full shot of the back end of an ambulance, its stretcher doors open. Solomon is sat on its back step in a profile shot with a female paramedic attending to his head wound. Stood facing him is Detective Amanda ‘Red’ Reddington. Early 30’s, coloured, dark hair to her shoulders, wearing a long light brown coat, a white open blouse and black trousers. She’s leaning forward, staring sceptically at him. SOLOMON: What are you saying, Red?

RED: It’s Detective Reddington to you. I’m saying that whenever shit like this goes down on my watch you always seem to be slap bang in the middle of it. Shit like this just seems to find you. PAGE 3, PANEL 4

Two panels on this bottom tier. A closer shot now with a head to waist shot of Red and the paramedic and a head to chest shot of Solomon, who’s grimacing slightly as the paramedic dabs his head. SOLOMON: It wasn’t a gas leak then?

RED: No, Sol, it wasn’t a gas leak. Those guys over there in the special suits, they’re the bomb squad. The serious shit is going down guys. What blew your office up was a good old fashioned bomb.

PAGE 3, PANEL 5

Close up of Solomon, still grimacing as the paramedic tends to him.

SOLOMON: Damn, I thought I just left the stove on.

PAGE 4, PANEL 1

Page width panel. Wide shot of the front of the bombed out building. Smoke is still coming from the windows and the main doorway but its wispy and white now. On the right of the panel is the ambulance with Solomon, Red and the paramedic. On the left of the panel is the front of a fire engine and in front of it are several tired looking firemen in full suits sat on the curb, with smoky faces and their helmets placed on the pavements, as well as fire officers and members of the bomb squad in conversation.

RED: This isn’t funny, Sol.

SOLOMON: Tell me about it, I just lost my home and my business in the same morning. Even for me that’s pretty impressive.

PAGE 4, PANEL 2

Two panels on this tier. Head to waist shot of Red glancing behind herself toward the wrecked building and the activity going on.

RED: Good job you own the whole building, otherwise we’d be bagging a whole lot of bodies. Damned if I know how you afford it though.

SOLOMON ( O.P ): I have a long term account.

PAGE 4, PANEL 3

Head to waist shot of the three of them. Solomon is now stood up, the paramedic bent over beside him, closing up her medical kit. RED: Where’s the girl?

SOLOMON: The girl?

RED: The one who was staying with you, had a beanie glued to her head.

SOLOMON: She went home, left about a week ago. PAGE 4, PANEL 4

Two panels on this bottom tier. Head to waist profile shot of Solomon and Red facing each other, Red eyeing him with narrowed eyes, clearly trying to figure out what‘s going on here. RED: Wise girl, cause it looks like you’ve pissed someone off big time and there’s a fresh brightly painted target on your back.

SOLOMON: Any advice? RED: Yeah, keep your head down.

PAGE 4, PANEL 5

In the foreground is a head to waist shot of Red walking away, with a full shot of Solomon by the ambulance in the background. SOLOMON: Thanks. Anything else?

RED: Yeah, leave the investigating to us.

PAGE 5, PANEL 1

Page width panel. Head to waist shot of Solomon walking along a London back street with a cat on a nearby wall watching him, his collar up, his hands in his trench coat pockets.

CAPTION: 12.21 p.m

CAPTION: Like I’ve said before I know about the dark things and the dark things know about me. I’ve worked with some of them. I’ve fought a lot of them too.

CAPTION: Sometimes bitten off more than I could chew.

PAGE 5, PANEL 2

Page width panel. In the foreground is a head to waist shot of Solomon from behind, approaching the main entrance of Camden’s Stables Market. Stood outside it, playing his guitar, is Gryf. He still looks very much like we saw him in issue # 22, appearing to be in his mid 50’s with grey hair tied in a ponytail.

He‘s wearing John Lennon style round glasses and a green bandana, with a white T shirt and a denim waist coat type jacket full of rock group badges. He‘s singing ‘Five Years’ by David Bowie.

CAPTION: And now it looks like one of them is biting back.

GRYF: ‘Pushing through the market square, so many mothers sighing. News had come over, we had five years left to cry in.’

PAGE 5, PANEL 3

Three panels on this bottom tier. Full profile shot of both Gryf and Solomon, with a look of relief on Gryf’s face. They’re stood by the vertical black and white ‘Market’ sign of the entrance.

GYRF: Sol, man, am I glad to see ya, heard your place got barbecued.

PAGE 5, PANEL 4

Head to waist profile shot of them. Gryf‘s guitar is now on the ground, leant against the sign as he puts his hand on Solomon‘s shoulder.

SOLOMON: How’d you hear?

GYRF: Word’s on the street, man.

SOLOMON: That quick, huh.

GYRF: You gotta lot of friends.

PAGE 5, PANEL 5

Head and shoulders semi- profile shot of Solomon thinking on this.

SOLOMON: A lot of enemies too. One of them just tried to put me out of business permanently.

PAGE 6, PANEL 1

Two panels on this top tier. Head to chest semi- profile shot of Gryf.

GYRF: I ain’t heard nothing though, man. Usually when some-thing like this goes down there’s at least a whisper but there‘s some kinda weird shit vibe going on. It’s quiet as a grave out there.

PAGE 6, PANEL 2

Forehead to chin semi- profile shot of Solomon, his face filling the panel.

SOLOMON: Which tells me whoever’s behind this is powerful, feared.

PAGE 6, PANEL 3

Two panels on this tier. Head to waist shot of Gryf glancing behind himself, almost comically so, for anyone who might overhear.

GRYF: You want me to put some feelers out? Keep me ear to the ground?

PAGE 6, PANEL 4

Head and shoulders semi- profile shot of Solomon rubbing his chin thoughtfully with his hand and looking upward as he does so.

SOLOMON: No, not this time, Gryf. I really don’t like the way this is going. Something feels off. Just keep your head down for now, okay.

PAGE 6, PANEL 5

Page width panel. In the foreground is a head and shoulders shot of Solomon walking away with Gryf in the background, watching him go, still stood by the vertical black and white ‘Market’ sign.

GRYF: Hey, ya sure?

SOLOMON: I’m sure. I’ve seen too many people put in harm’s way lately.

PAGE 7, PANEL 1

Insert.

Close up of the pub name sign: THE DEVIL’S CROW on the top left of panel 2.

CAPTION: 12.37 p.m

PAGE 7, PANEL 2

Page width panel. Exterior shot of the pub, with a postman passing by in the foreground.

COB (O.P ): Sol, thank god, when I heard about the office I thought, well, I feared the worst, but here you are, so that’s well and good.

SOLOMON ( O.P ): I wouldn’t give up on seven hundred years of friendship that easily, Cob, besides you still owe me fifty quid.

PAGE 7, PANEL 3

Three panels on this tier. Overhead shot of Solomon sat on a stool at the bar, with Cob is leaning on the pump tap as they talk.

COB: Well, you got a room here long as you need it.

SOLOMON: Cob, the way this is going down it looks like someone’s targeting me, the last thing I want to do is put you in the middle of that.

PAGE 7, PANEL 4

Head and shoulders shot of Cob leaning forward. Solomon’s P.O.V.

COB: So, I’m supposed to just abandon you? Leave you out there at this time of the year. What kind of friend would that make me?

PAGE 7, PANEL 5

Head to waist shot of Solomon leant on the bar, looking pretty weary.

SOLOMON: The kind I’m trying to keep alive.

PAGE 7, PANEL 6

Two panels on this bottom tier. Head to waist profile shot of them facing each other over the bar, Solomon looks resigned but grateful.

COB: How bout this then, I’ll keep my best room empty for you. Once you get yourself from under this you‘ll need a place to stay, right?

SOLOMON: If I get out from under this.

COB: So, you got some sort of plan?

PAGE 7, PANEL 7

Similar to the previous panel but now it’s a closer head to chest shot.

SOLOMON: Not a plan exactly.

COB: But something, right?

PAGE 8, PANEL 1

Insert.

Head to waist shot of Solomon walking away from the pub, with his collar pulled up again, his hands in his trench coat pockets.

ARTIST NOTE: Insert is in the top left hand corner of panel 2.

CAPTION: “Yeah always something.”

PAGE 8, PANEL 2

FULL PAGE SPLASH: Full shot of him spinning around, his face full of shock and horror as the pubs windows erupt outward with flames, debris and glass as an explosion rips it apart.

S.F.X: Ba- Boom!

PAGE 8, PANEL 3

Insert.

Head and shoulders shot of him staring at the pub, the horror clear in his expression with the orange of the fire reflected on his face.

ARTIST NOTE: Insert is in the bottom left hand corner of panel 2.

SOLOMON: Cob!

PAGE 8, PANEL 4

Insert.

Full shot of him stood in front of the pub, looking helpless, devastated as he stares numbed at the wreckage the bomb has wrought, the flames of the fire giving the panel an orange/ red glow.

SOLOMON: No, damn it, goddamn it! Not you!

SOLOMON: Not you …

PAGE 9, PANEL 1

Page width panel. In the foreground is a head to waist semi- profile shot of Solomon stood with Detective Reddington, both watching as Cob, on a stretcher is being put into the back of a parked ambulance, behind this police officers are stood about and a fire crew is putting out the remains of the still smoking fire.

CAPTION: 1.27p.m

RED: Trouble just follows you around, doesn’t it.

SOLOMON: He’s my friend, Red.

PAGE 9, PANEL 2

Two panels on this tier. Head to waist shot of them facing each other.

RED: Then do the right thing, get out of town.

SOLOMON: Are you serious?

PAGE 9, PANEL 3

Head and shoulders semi- profile shot of Red, with her eyes narrowed, her stare serious and her manner much more formal.

RED: I’ve got a bombing campaign on my hands, Sol, and you’re at the centre of it. I need you out of the way so I can do my job.

PAGE 9, PANEL 4

Two panels on this bottom tier. Forehead to chin semi- profile shot of Solomon. He has no intention of keeping out of her way.

SOLOMON: I’m not going anywhere while my friend is lying in hospital.

PAGE 9, PANEL 5

Similar to panel 1 but now the ambulance is pulling away as they watch.

RED: Fair enough, but do me a favour, just stay in the shadows where you belong okay and keep out of my way until this is done.

PAGE 10, PANEL 1

Half page panel. Full shot of Solomon and Gryf once again stood by the vertical ‘Market’ sign of the entrance to Stables Market. It’s a lot busier now with traffic and people in the foreground.

CAPTION: 1.57p.m

GRYF: So, Marko found you.

SOLOMON: I told you to keep out of this, Gryf, this is a lot bigger than anything we’ve worked on before, a lethal kind of bigger.

GRYF: Damn straight, it is. Cob is my friend too so I’m in. No arguments.

PAGE 10, PANEL 2

Two panels on this vertical tier. Head to waist profile shot of them stood facing each other with Gryf shrugging his shoulders.

SOLOMON: Gryf …

GRYF: Hey, it’s done now. Ya wanna know what I dug up or not.

SOLOMON: *Sigh* Okay, what have you got?

PAGE 10, PANEL 3

Head to chest semi- profile shot of Gryf, now very animated as he shares what he’s found out. We can see Solomon reflected in his glasses.

GRYF: You ready for this, word is the sonavabitch who put the contract out on you is our old friend Pappa Midas, how’s that for a kicker?

PAGE 10, PANEL 4

Two panels on this bottom tier. Close up shot of Gryf’s glasses with Solomon’s reflection, as the winter sun also reflects off them.

SOLOMON: Midas?

GRYF: Seems you pissed him off big time.

PAGE 10, PANEL 5

Head and shoulders semi - profile shot of Solomon frowning at this.

SOLOMON: I’ve pissed him off a lot of times, so what’s changed?

PAGE 11, PANEL 1

Three panels on this top tier. Full shot of Gryf now crouched down by his guitar case, which he has opened out on the pavement.

GRYF: Word is he thinks you broke some special arrangement you guys had, didn’t warn him about some war that was coming or something. Pretty sure I ain’t seen no war, is it a foreign thing?

PAGE 11, PANEL 2

Full shot of both Solomon and Gryf. Gryf, still crouched, is now grabbing his guitar from where he has leant it against the sign.

SOLOMON: Something like that. Truth is, he’s got a point, but the way things turned out I didn’t really get a chance to warn anyone. This seems a bit extreme though, it’s not the way he does things.

PAGE 11, PANEL 3

Close up of the red velvet interior of the case as Gryf puts the guitar in.

GRYF: Yeah, well, that’s the really interesting bit, word is he’s subcontracting. It’s someone else behind the contract, real cloak and dagger stuff. He took it on cause he was really pissed at you.

PAGE 11, PANEL 4

Three panels on this bottom tier. Similar to panel 2 with both of them in shot but now Gryf is closing the case and looking up at Solomon.

SOLOMON: Now that really doesn’t make sense. This is big, he’s risking exposure, and he certainly wouldn’t risk that just to teach me a lesson. No, there’s gotta be something very enticing on offer for him to do this, a much bigger kind of score.

PAGE 11, PANEL 5

Full profile shot of them now properly facing each other again, with Gryf now stood again and holding the guitar case in his hand.

GRYF: An offer he couldn’t refuse, huh?

SOLOMON: Maybe.

PAGE 11, PANEL 6

Full shot of them walking away from the market along a main street.

SOLOMON: Exactly. Thanks, Gryf, but best leave this to me from now on.

PAGE 12, PANEL 1

Page width panel. Exterior shot of the front of the Peppermint Club with two bouncers stood either side of its entrance. The sky is now a dull grey. On the right of the panel is a full shot of Solomon walking down the alleyway that runs along the side of the club.

CAPTION: A wise man once said if you want to know the truth then get it straight from the horse’s mouth, though I‘m not sure he had this particular horse in mind.

CAPTION: They say I was wise man once, maybe I was, times like this it gets a little hard to remember.

CAPTION: 3.17p.m

PAGE 12, PANEL 2

Three panels on this tier. Full shot of him, full of determination, about to go into the side ‘staff’ entrance of the club. In the shadows near the door Lucy is waiting, calmly watching and flicking a lighter open, the flame of it partly illuminating her face. LUCY: Really? You’re just gonna walk in there and confront him? PAGE 12, PANEL 3

Head to waist semi- profile shot of Solomon half turned in mild surprise, the kind of look that says he should have expected this. SOLOMON: Lucy.

SOLOMON: I see you’ve been keeping tabs on me.

PAGE 12, PANEL 4

Head to chest semi- profile shot of her cooly lighting a cigarette.

LUCY: Well, your office went up in flames, so yeah, I noticed. PAGE 12, PANEL 5

Three panels on this bottom tier. Full profile shot of them facing each other with the door and Lucy’s smoking cigarette between. SOLOMON: You here to talk me out of this?

LUCY: I’m just here to talk you into doing things a little differently.

SOLOMON: Yeah, well, I like doing things my way. Always have.

PAGE 12, PANEL 6

Head and shoulders semi- profile shot of Lucy, eyeing him calmly, smoke pluming up from the cigarette in front of her face.

LUCY: So, how’s that working out for you so far?

PAGE 12, PANEL 7

Head to chest semi- profile shot of him, looking away from her, He’s not thinking this through properly and she’s calling him out on it.

PAGE 13, PANEL 1

Insert. Exterior wide shot of the bookshop. P.O.V is from across the street.

ARTIST NOTE: Insert is in the top left hand corner of panel 2.

CAPTION: 3.53p.m

SOLOMON ( O.P ): You do realise me being here puts you in danger, right?

LUCY ( O.P ): Sol, we just made it out of a war, which was a miracle in itself if you ask me, so I’m just taking each day as it comes.

PAGE 13, PANEL 2

Page width panel. Wide shot of the bookshop interior. Solomon is stood by the front door facing both Gabriel and Lucy. Anna is stood nearby, leaning against a book shelf, and Sam is sat on the spiral staircase with Mathias curled up on the stair above her. GABRIEL: So, Papa Midas is acting on someone else’s behalf?

SOLOMON: Looks that way, something doesn’t sit right though.

LUCY: Your spidey senses tingling?

PAGE 13, PANEL 3

Three panels on this tier. Head to waist profile shot of Solomon facing Gabriel and Lucy, with the book shelves in the background.

SOLOMON: Just a bit … I just get the feeling there’s a lot more going on here than just a simple contract. It feels kind of off.

GABRIEL: How so? PAGE 13, PANEL 4

Head and shoulders semi- profile shot of Solomon, his brow furrowed and rubbing his chin thoughtfully as he thinks on this.

SOLOMON: I’m not sure, I just …

PAGE 13, PANEL 5

Full shot of Solomon, Gabriel and Lucy both stepping backward in surprise, books spewed outward toward them as a portal suddenly erupts open where a shelf was stood a second ago.

LUCY: What the f? …

PAGE 13, PANEL 6

SPLASH: Full shot of Ellie stood in the portal, wearing a gold and black dress which is ripped and singed and burnt away in parts, his hair is a mess and pages of the books the portal has ripped though are floating down around him. He’s holding an unconscious Mercy up, her face blackened by smoke and bloody. In the foreground is a head to waist shot of Lucy from behind.

ELLIE: Solomon, honey, there’s definitely a lot more going on here and I don’t think it’s just about you. It’s a whole lot more than that.

LUCY: Jesus!

PAGE 14, PANEL 1

Page Width panel. Full profile shot of Ellie wrapping his wings around Mercy as the Twister Trap explodes about them, effectively shielding her from the explosion as it erupts and rages past.

CAPTION: 4.27p.m CAPTION: “What happened?”

CAPTION: “Someone blew up the Twister Trap, Lucy Lou, that’s what happened, with me and Mercy inside. Ba-boom, gone just like that.”

PAGE 14, PANEL 2

Three panels on this tier. Exterior shot of the bookshop from across the street, the sky still a dull grey but with the evening seeping in.

CAPTION: “It’s a good thing I’m immune to those kind of things these days, honey bee, otherwise I couldn’t have got us out in one piece, thank the stars the bar was closed for a delivery.”

PAGE 14, PANEL 3

In the foreground is a head to waist profile shot Mercy lying in Gabriel’s bed, now cleaned up, but still very much in a bad way.

CAPTION: “Now this really doesn’t make any sense. If they’re targeting Sol why blow up the Twister Trap? I don’t get it. What’s the point?”

PAGE 14, PANEL 4

Head to chest semi- profile shot of Solomon, with the expression on his face illustrating how he’s putting things together.

SOLOMON: Because I don’t think that was the point, Lucy.

PAGE 14, PANEL 5

Three panels on this bottom tier. Head to chess shot of Solomon from behind with both Lucy and Sam facing him in a head to waist shot.

SAM: Are you saying they were targeting Mercy? They certainly couldn’t be targeting Ellie, you can’t kill the Angel of Death. SOLOMON: If I’m right, they didn’t know about Ellie’s new job.

LUCY: What are we saying here? That Ellie was the target?

PAGE 14, PANEL 6

Head to chest shot of Lucy and Sam from behind with Solomon in a head to waist shot facing them, holding out his hands, explaining. SOLOMON: Think about it, Lucy. Me, Cob, Ellie, even Mercy, what do we all have in common? Who are we all acquainted with?

SAM: I see. I should have realised.

LUCY: Realised what?

PAGE 14, PANEL 7

Forehead to chin semi- profile shot of Gabriel, his face filling the panel.

GABRIEL: It’s us, Lucy, it’s people we know, our friends, that’s who’s being targeted. Someone is doing all of this to hurt us.

PAGE 15, PANEL 1

Three panels on this top tier. Forehead to chin semi- profile shot of Lucy as it slowly dawns on her who’s been behind all of this.

LUCY: Why? Who would … Fuck it, Abbadon?

PAGE 15, PANEL 2

Head to chest semi- profile shot of Solomon, musing on what this means.

SOLOMON: Makes sense, if there’s one thing I know about your brother it’s that he never comes at anything head on. He always approaches from the side, making sure you never see him coming. PAGE 15, PANEL 3

Head to waist profile shot of Solomon and Lucy facing each other.

LUCY: Wait, you think he’ll bomb here? Shit, my apartment, Delilah.

SOLOMON: No, I don’t think so. If I’m right, this is absolutely all about hurting you, taking things away from you, hitting you where it really hurts.

PAGE 15, PANEL 4

Three panels on this tier. Head to chest semi- profile shot of Solomon.

SOLOMON: Losing this place or your apartment, that you can get over, but losing friends, that lasts forever. He doesn’t want you dead, he wants you to suffer, in his eyes that’s the best kind of revenge.

PAGE 15, PANEL 5

Head to waist shot of Sam and Anna from behind.

SAM: Are you absolutely sure about that?

ANNA: I am.

PAGE 15, PANEL 6

Head and shoulders semi- profile shot of Solomon looking determined. SOLOMON: I’m never sure about anything, so we don’t stay here. We get Delilah, and we go somewhere new, somewhere Abbadon doesn’t know. Somewhere he won’t be able to find us.

SOLOMON: Gabe, what is it?

PAGE 15, PANEL 7

Two panels on this bottom tier. Head and shoulders semi- profile shot of Gabriel half turned, the concern clear on his face. GABRIEL: Gwen. PAGE 15, PANEL 8

Exterior shot of the bookshop from across the street, the sky still a dull grey but with the evening now more fully seeping in. SOLOMON ( O.P ): Then we get her first.

PAGE 16, PANEL 1

Page width panel. Full exterior shot of WinterSky House set under a darkening winter sky, with the gravel driveway still bordered either side with fresh snow. In the foreground on the left of the panel is the familiar sign that reads; Wintersky House Nursing Home.

CAPTION: Greenhill, Harrow, WinterSky House Nursing Home. CAPTION: 5.11p.m

ANNA ( O.P ): What the hell happened here?

MAGNUS ( O.P ): I’m afraid Miss Jones had some unexpected visitors. My agents incapacitated one of them but unfortunately the other escaped. Miss Jones was in no condition to defend herself.

PAGE 16, PANEL 2

Page width panel. Interior of Gwen’s room in WinterSky House which is a mess, items knocked over and the single chair turned over and the covers half pulled off the bed. On the left of the panel Gabriel, Solomon and Anna are stood by the door, while stood on the right of the room is the familiar figure of Magnus Hollander. Anna is in front of the other two with her gun raised ready. SOLOMON: Who are you?

MAGNUS: My name is Magnus Hollander. I work for an organisation I believe you are already familiar with, the Academy.

GABRIEL: More than familiar.

MAGNUS: Ah yes, of course, but we are not the organisation we once were, Lord Morningstar. Things have changed in recent times. PAGE 16, PANEL 3

Three panels on this bottom tier. Head to chest shot of Anna smiling wryly, with her gun held in the foreground of the panel. MAGNUS ( O.P ): I assure you the gun is no longer necessary Miss Caspian.

ANNA: Humour me.

PAGE 16, PANEL 4

Head to waist shot of Solomon from behind with a full shot of Magnus facing him. SOLOMON: So tell me, what interest does the Academy have in this?

MAGNUS: To simply offer you our protection. Nothing more than that.

PAGE 16, PANEL 5

Head to waist shot of Solomon and Anna, Anna still pointing her gun. ANNA: Well, looking around, I think it might be a bit late for that.

SOLOMON: Since when does the Academy offer protection to anyone?

PAGE 17, PANEL 1

Half page vertical panel. Head to waist semi- profile shot of Gabriel stood in the middle of the room, partly in shadow, only half listening to the conversation that’s going on. In his hand he’s holding Gwen’s bobble hat from issue # 52, just staring at it.

MAGNUS ( O.P ): As I said, we are changing, Mr Solomon, you could say we’re adapting to the times, engaging in a new spirit of cooperation. ANNA ( O.P ): If you don’t stop talking you’ll be engaging with this.

PAGE 17, PANEL 2

Two panels on this vertical tier. Close up shot of Gabriel holding Gwen’s bobble hat tight in his hands, his knuckles white. SOLOMON ( O.P ): What happened to the man your agents stopped?

MAGNUS ( O.P ): I’m afraid they were forced to shoot him. He’s dead.

PAGE 17, PANEL 3

Head to chest semi- profile shot of Gabriel, still barely listening to them. SOLOMON ( O.P ): Great. It would have been nice to question him.

MAGNUS ( O.P ): Apparently he gave them little choice in the matter.

PAGE 17, PANEL 4

Half page panel. Head to waist shot of Gabriel walking past Solomon and Anna, both looking surprised at his sudden decision to leave. Anna now has her gun hanging at her side. In the background Magnus is still stood on the other side of the bed and on its covers is Gwen’s bobble hat where Gabriel has dropped it.

GABRIEL: Thank you, Mr Hollander, but we will take it from here.

MAGNUS: As you wish, but if ever you do need our help the offer is open ended.

PAGE 17, PANEL 5

Two panels on this vertical tier. A closer shot of Gabriel with Solomon and Anna now following and Magnus stood by the bed.

GABRIEL: That won’t be necessary.

MAGNUS: Even if we can tell you exactly where Miss Jones is.

PAGE 17, PANEL 6

Head to chest semi - profile shot of Gabriel half turned, suddenly interested. This is clearly something he wasn’t expecting.

PAGE 18, PANEL 1

Page width panel. Wide shot of the large interior of an empty disused factory space. Stood at its centre are Gabriel, Lucy, Solomon, Sam and Anna, with Idaho, Mathias and Delilah nearby.

CAPTION: 6.53p.m

ANNA: If you ask me you should let the angels take care of him. I really don’t get why you have to do this on your own.

GABRIEL: Because he has Gwen.

LUCY: And we are angels.

ANNA: I mean proper angels.

LUCY: And we’re not asking you.

PAGE 18, PANEL 2

Three panels on this tier. A closer shot now, focusing on Lucy, Solomon and Anna, with the others just on the edges of the panel.

ANNA: Good, because I think Solomon might need some back up, if I’ve guessed right about what he‘s thinking that is?

SOLOMON: You have, no way around it.

LUCY: Right about what?

PAGE 18, PANEL 3

Head to waist semi- profile shot of Solomon, hands in his coat pockets.

SOLOMON: I’m going to see Papa Midas.

PAGE 18, PANEL 4

Head to waist profile shot of Lucy and Solomon facing each other.

LUCY: Now? Didn’t we talk about this already?

SOLOMON: Better we hit them both at the same time, if either of them gets a head up things are gonna get real tricky real fast.

SOLOMON: Don’t worry, I’ve thought it through properly this time.

PAGE 18, PANEL 5

Two panels on this bottom tier. Head and shoulders shot of Solomon.

SOLOMON: We need to hit them both as close together as we can and we need to hit them fast. We won’t get a second chance at this.

PAGE 18, PANEL 6

Forehead to chin semi- profile shot of Lucy, her face filling the panel.

LUCY: Feels like we don’t get a second chance at anything these days.

PAGE 19, PANEL 1

Half page panel. Exterior view of the Peppermint Club’s top floor. Through the glass of its large window we see Papa Midas’s silhouetted, staring into darkness of the winter evening.

CAPTION: “Exactly, so we’d better get it right.”

CAPTION: 7.23p.m

PAPA MIDAS ( O.P ): Good evening, Solomon. My body- guards? PAGE 19, PANEL 2

Two panels on this vertical tier. P.O.V through the glass of the window from outside. Head and shoulders shot of Papa Midas with a full shot of Solomon and Anna stood in the centre of his office. Anna has her gun raised and is pointing it at Pappa Midas.

SOLOMON: Sleeping. They’ll wake up wondering what the hell happened.

ANNA: Which was me by the way.

PAGE 19, PANEL 3

Similar to the previous panel but now it’s a closer shot of Papa Midas. PAPA MIDAS: Are you here to kill me, Sol?

SOLOMON: Killing you solves nothing.

PAGE 19, PANEL 4

Page width panel. Full profile shot of the three of them with Papa Midas now turned around to face Solomon and Anna directly. As in issue # 22 the office is all red carpeting, cush- ions and wood panelling with a large mahogany desk between them.

PAPA MIDAS: Very wise, I’m not sure your friend agrees though. ANNA: I’m considering my options.

PAPA MIDAS: So, if you’re not here to kill me, why are you here? SOLOMON: I’m here to offer you a deal.

PAGE 20, PANEL 1

Three panels on this top tier. Full shot of Papa Midas. He’s now turned from the window to face them and stood behind his desk. In the foreground is a head to waist shot of Solomon from behind.

PAPA MIDAS: I’m afraid I already made one, as I assume you’ve heard.

SOLOMON: I’m here to convince you it’s in your best interests to renege on that deal.

PAPA MIDAS: How so? Please, try to convince me.

PAGE 20, PANEL 2 Head to waist shot of Papa Midas from behind with Solomon stood in front of the desk facing him, and Anna still stood by the door.

SOLOMON: You’re pissed at me, I get that. I told you I’d warn you if the world was going to shit, I didn’t do that. So no excuses.

SOLOMON: I broke the arrangement we had. And that’s on me.

PAGE 20, PANEL 3

Head to waist profile shot of Solomon and Papa Midas. Papa Midas is leaning forward, with the palms of his hands on the desk.

PAPA MIDAS: It‘s not wise to go back on a deal, Sol.

SOLOMON: Strictly speaking it wasn’t this world going to shit.

PAPA MIDAS: But what would have happened if you had lost? It was Abbadon’s ultimate ambition to rule over this world was it not?

PAPA MIDAS: That wasn’t the only reason I made the deal though.

PAGE 20, PANEL 4

Three panels on this bottom tier. Similar to the previous panel but now a closer shot, still head to waist but we‘ve panned in a bit.

SOLOMON: Yeah, I guessed that. What did he promise you anyway? Was it ancient angelic artefacts? The great secrets of their power? Do you really think the council will let that happen?

PAPA MIDAS: By the time they act the deed will have been done.

PAGE 20, PANEL 5

Head to waist semi- profile shot of Solomon seemingly in agreement. SOLOMON: True, it really does take them a quite while to get around to doing anything, but you know what, it doesn’t matter, because you can’t build upon an empire that’s already turned to dust. PAGE 20, PANEL 6

Similar to panels 3 and 4 with Papa Midas still leaning on the desk, now frowning, but more bemused then threatened by this. PAPA MIDAS: Dust?

SOLOMON: Dust to dust. Ashes to ashes, you get the idea.

PAPA MIDAS: I assure you my empire is in no danger of falling.

PAGE 21, PANEL 1

Three panels on this top tier. Head to chest semi- profile shot of Solomon flicking his lighter open, his gaze steady. He’s making his play in this moment, holding his nerve, seeing where the cards fall.

SOLOMON: Yeah, I thought that once too. I’ve lived over two thousand years, don’t you think I’ve learned a few things in all that time? Like how to keep detailed records, gather evidence, find out my enemy’s secrets, protect myself against them if necessary.

SOLOMON: I think you can see where I’m going with this. Short story is I have everything I need to bring your little empire down.

PAGE 21, PANEL 2

Similar shot to the previous panel but now he’s lighting the cigarette. SOLOMON: You’ve already put my friends in danger so I’ve got nothing to loose. I was a king once, so what do you think that makes you to me. Fact is, I could make everything you’ve built come tumbling down, leave you in the gutter begging for scraps.

PAGE 21, PANEL 3

Head to waist shot of Papa Midas from Solomon’s P.O.V leaning forward menacingly now, clearly containing his anger. PAPA MIDAS: You realise I could get across this room and snap her neck before she could even put a second bullet in me. And I would use her gun to put a bullet into that immortal head of yours. PAGE 21, PANEL 4

Three panels on this tier. Head to chest semi- profile shot of Solomon staring at Papa Midas, keeping himself calm, his gaze steady.

SOLOMON: Yes, you could, but you won’t because you’ve known me a very long time, you know what I’m capable of when I’m cornered. You know I’ll have made provisions for all that juicy information to get out there in the event of my untimely demise. PAGE 21, PANEL 5

Similar to panel 3 but now Papa Midas is simply staring at Solomon, the threat in his eyes is gone. Once again, it’s just business.

PAPA MIDAS: What do you want?

PAGE 21, PANEL 6

Forehead to chin semi- profile shot of Solomon, his face filling the panel.

SOLOMON: I want you to back off, step away, cancel the contract. You’ve hurt me and mine but that’s a conversation for another day. For now, we agree to keep out of each others way.

PAGE 21, PANEL 7

Two panels on this bottom tier. Similar to panels 3,4 and 6 of page 20.

SOLOMON: Deal?

PAPA MIDAS: Deal.

PAGE 21, PANEL 8

Head to waist shot of Solomon and Anna leaving the office, with a full shot of Papa Midas behind them, now in front of the desk.

PAPA MIDAS: You realise this isn’t over, of course.

SOLOMON: When you get to be as old as I am, it never is.

PAGE 22, PANEL 1

Two panels on this top tier. Full shot of Solomon and Anna leaving the club by the side entrance in the dark of the winter night.

CAPTION: Truth be told, when we walked into the Peppermint Club I had no idea if we’d walk out again.

ANNA: You should release that information anyway, bring that sonavabitch to his knees. I’d pay good money to see him go down.

SOLOMON: I would … if it existed.

PAGE 22, PANEL 2

Head to waist shot of Anna from behind, literally stopped in her tracks as she realises she’s been part of a bluff without even realising it. In the background Solomon is walking away down the street.

CAPTION: It was a gamble, but I haven‘t lived this long without learning how to take a few risks along the way. CAPTION: Sometimes if you tell a lie convincingly enough, with a grain of truth, then that lie feels real enough.

ANNA: Damn.

PAGE 22, PANEL 3

Two panels on this bottom tier. Full shot of Gabriel and Lucy walking along an alleyway. On the left of the panel in the foreground Epiphany is pressed up against a wall in the shadows.

CAPTION: Politicians know this. Kings know this. I know this. PAGE 22, PANEL 4

In the background are Gabriel and Lucy approaching the main entrance of the old library Abbadon is hiding in. In the foreground is a head to waist shot of Epiphany discreetly following them.

CAPTION: And as we step out into the cold winter night I can‘t help but wonder how this will all play out.

( Taken from Volume Five: A Handful Of Dust )

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~ Issue # 52 ~ A Handful Of Dust, Part 1 of 3: Of Darkness & Of Light ~

PAGE 1, PANEL 1

ARTIST NOTE: We open with a recap of pages 40 and 41 of issue# 50, though the panels depict things from a different perspective. The first panel is also similar to page 1, panel 1 of issue# 50.

Three panels on this top tier. Close up of Gwen’s power, the bright white light filling the whole panel, with strands and wisps of icy blue and golden light within it. We’re clearly witnessing something powerful, something full of energy, something elemental in its very nature. And within this are the vague full shot profiles of Gwen and Redgrave, stood facing each other.

CAPTION: One Month Ago.

CAPTION: “Gwen, you can stop now, sweetheart. You’ve done enough.”

PAGE 1, PANEL 2

Head to chin shot of Gwen staring, her eyes are a pure burning light.

GWEN: No, please, you can’t stay here. I can’t control this, not now. I can’t stop it. This is so much further than I’ve ever gone before.

PAGE 1, PANEL 3

Head and shoulders shot of Gwen from behind, with Redgrave facing her, both of them faint and barely visible in the white light.

REDGRAVE: Come back to us. You can do it, you‘re strong enough.

GWEN: I can’t. I’m so lost.

REDGRAVE: No, you’re not lost, not anymore.

PAGE 1, PANEL 4

Three panels on this bottom tier. Head to chest semi- profile shot of Redgrave reaching out to her, his expression imploring, full of emotion.

REDGRAVE: I’m here. I can help you. I can stop you losing yourself, but you have to let go, you have to let all of this go.

PAGE 1, PANEL 5

Forehead to chin semi- profile shot of Redgrave, his eyes full of emotion, from his expression it’s clear he’s desperate but determined to bring her back from the edge, to save his daughter. REDGRAVE: Trust me, let me be your father, just this one time. PAGE 1, PANEL 6

Head and shoulders profile shot of them facing each other, their figures fainter now, but we can see the light is now fading in her eyes.

GWEN: But if you stay here ...

REDGRAVE: I know.

PAGE 2, PANEL 1

FULL PAGE SPLASH: Full profile shot of them, growing faint now, barely visible, enveloped in the light, as we begin to fade out of the scene, Gwen now properly hugging her father for the first time.

REDGRAVE: But I’m not going anywhere.

ARTIST NOTE: Chapter title is written along the bottom of the panel beneath them, A Handful of Dust, Part 1: Of Darkness & Of Light.

The sub title is A remembrance. A departure. A bargain.

QUOTE: And once again into the dark we go, with all of the secrets we should never know.

PAGE 3, PANEL 1

Page width panel. Wide shot of the newly rebuilt Crystal City, all gleaming new and pristine. It’s pretty much the same as we saw it ( in the future scenes featuring the scribe and the acolyte ) in issues #44 and 47 though parts of it are clearly not finished yet.

CAPTION: The Crystal City.

CAPTION: Now.

CAPTION: “It is hereby the decision of this high council that pending his capture and trial, Abbadon Morningstar, from this day forward be deemed a traitor, and that he will, in due course, be tried for war crimes against all angels and those of the mortal world.”

PAGE 3, PANEL 2

Page width panel. Overhead shot of the newly rebuilt Singing Citadel. One of the largest and highest buildings, with its three huge high crystal towers, domes and spires. It’s evening, with a deep purple and orange sky. In the foreground angels fly high over it.

CAPTION: “He stands alone, defeated, his allies fallen or in hiding.”

PAGE 3, PANEL 3

Page width panel. Wide shot of the new high council chambers, which is now a semi- circle of seven staggered tiers of seats filled with robed angels. The council is sat on stone throne like chairs set in a semi circle on a raised dais that faces the angels gathered, with Metatron, being the only high council member stood.

METATRON: For now he eludes us, but in due course he will be found and he will be served with the justice he so richly deserves.

PAGE 3, PANEL 4

Insert.

Head to chest semi- profile shot of Gabriel, Lucy and Sam sat among the robed gathered angels, with Gabriel in the fore-ground.

ARTIST NOTE: Insert is on the bottom right hand corner of panel 3.

PAGE 4, PANEL 1

Page width panel. Wide perspective shot looking along a bridge that spans out from the high arched entrance of the Singing Citadel. In the foreground is a full shot of Gabriel, Lucy and Sam now stood in the courtyard between the bridge and the citadel itself. Sam now wears a burgundy coat in memory of Absalom.

SAM: Well, I guess that’s that then.

LUCY: Yup, at least they’re giving him a trial. After last time I’m surprised they’re not just hunting him down and killing him.

GABRIEL: Justice has to be seen to be done.

PAGE 4, PANEL 2

Two panels on this tier. Head to chest semi- profile shot of Sam.

SAM: So, what do we do now?

PAGE 4, PANEL 3

Head to waist profile shot of Gabriel and Sam facing each other.

GABRIEL: What do you mean?

SAM: I mean what part do we play in this? He’s still our brother.

PAGE 4, PANEL 4

Two panels on this bottom tier. Similar to the previous panel but closer.

GABRIEL: I think he stopped being that a long time ago.

SAM: So what are you saying?

PAGE 4, PANEL 5

Forehead to chin semi- profile shot of Gabriel, his eyes narrowed, a determination burning in them. He’s had more than enough.

GABRIEL: I’m saying we should leave him to them.

PAGE 5, PANEL 1

Half page vertical panel. Night. Full view of a London alleyway, a perspective shot, with it narrowing at its end. Stood by a dumpster in the foreground is Mr Sparrow, silently observing in the shadows, looking up at two fully winged angels stood on a roof ledge. The angels are highlighted in moonlight, looking unearthly.

CAPTION: London, Whitechapel.

CAPTION: Now.

ARTIST NOTE: These panels are to be read vertically. They’re bathed in a midnight blue hue cut through with the pale white of the moon.

PAGE 5, PANEL 2

Half page vertical panel. A transition shot of Mr Sparrow walking toward us along the alleyway, transforming from his human form into the guise of a raven and then flying upward.

PAGE 5, PANEL 3

Four panels on this vertical tier. Overhead view of Mr Sparrow in his raven form now flying through the night sky, swooping and watching the angels on the roof and high above the alleyway below.

PAGE 5, PANEL 4

In the foreground is a full shot of the raven flying toward a derelict building, Victorian Era in style with the moon hung behind it.

PAGE 5, PANEL 5

Full wide shot of Mr Sparrow now in human form again as he enters into the disused and cavernous lobby of the old building.

PAGE 5, PANEL 6

Overhead shot of him descending down a wood and brass spiral staircase.

PAGE 6, PANEL 1

Page width panel. Floor level shot of an old half empty basement library. In the foreground are scattered, damaged books and ripped out pages are discarded among them. Mr Sparrow is stood in a full profile shot, facing another figure, who is simply dressed in a hoodie and plain black trousers, the aisles behind them are lit in moonlight that falls from a road level arched window. The hooded figure is Abbadon which soon becomes clear.

ABBADON: The word master spy?

MR SPARROW: The meeting is arranged, Lord, at the place you specified.

ABBADON: You seem troubled. What is it? Speak freely.

PAGE 6, PANEL 2

Two panels on this tier. Head and shoulders semi-profile shot of Mr Sparrow.

MR SPARROW: I urge only caution. This city is alive with angels, all of them looking for you. Their eyes will only remain blind so long.

PAGE 6, PANEL 3

Head to chest semi- profile shot of the hooded figure, mostly in shadow.

ABBADON: It is perhaps fortunate then that I only have so long left.

PAGE 6, PANEL 4

Two panels on this bottom tier. Similar shot of Mr Sparrow as in panel 2.

MR SPARROW: But to spend it on such a simple thing as revenge.

PAGE 6, PANEL 5

Forehead to chin semi - profile shot of the hooded figure, half lit in shadow, half lit by moonlight and we can now clearly see that it’s Abbadon. He’s a shadow of his former self now though, beaten, damaged by Gwen’s power but still determined, the right side of his face is burned and his eye is milky white and dead.

ABBADON: Vengeance is all I have left now, master spy, and I will use whatever time remains to me to properly enact it if at all possible.

PAGE 7, PANEL 1

Three panels on this top tier. In the foreground is the view from behind a gravestone. In the background Lucy is walking toward it with a single red rose in her hand. She’s dressed in her now familiar burgundy coat. The whole graveyard is covered in snow, and the morning sky behind her is grey and filled with falling snow. Delilah, her ‘familiar’ flies above and ahead of her.

CAPTION: Camden.

CAPTION: Now.

PAGE 7, PANEL 2

Head to waist shot of her now stood in front of the gravestone which is in the foreground with snow layering the top of it. Small clouds form in front of Lucy’s mouth as her breath hits the icy air.

PAGE 7, PANEL 3

Full profile shot of her now kneeling before the gravestone and tenderly laying the red rose on the snow, her face showing no emotion.

PAGE 7, PANEL 4

Three panels on this bottom tier. Full shot of Lucy leant forward, with her hand thoughtfully on the top of the gravestone.

PAGE 7, PANEL 5

Full shot of her stood in front of the gravestone, which is in the foreground, behind Delilah is flying up to the branches of a nearby tree.

PAGE 7, PANEL 6

Close up of Lucy’s hand resting on the snow on the top of the gravestone.

ELLIE ( O.P ): I thought I’d find you here.

PAGE 8, PANEL 1

Three panels on this top tier. In the foreground is the headstone from behind with Lucy in a full shot, and Ellie now stood behind her.

LUCY: Well, you knew more than I did. Can’t even remember how I got here.

ELLIE: Yeah, I’ve had nights like that too.

PAGE 8, PANEL 2

Head and shoulders semi- profile shot of Lucy just staring at Ellie.

PAGE 8, PANEL 3

Head to waist semi- profile shot of them, Ellie now stood beside Lucy. Lucy is in the foreground and Ellie is looking awkward.

ELLIE: Ahem, right sorry, poor taste.

ELLIE: So, full tank then, Lucy Lou?

PAGE 8, PANEL 4

Three panels on this bottom tier. Head to waist profile shot of them, Lucy pulling a packet of cigarettes from her coat pocket.

LUCY: Up to the brim.

ELLIE: Wanna talk about it.

PAGE 8, PANEL 5

Close up of Lucy. Head to chest shot of her as she lights up a cigarette.

S.F.X: Klick.

LUCY: Not sure. There’s a great pub I know down the road though.

LUCY: You buy me a couple of drinks, I guess we’ll see how it goes.

PAGE 8, PANEL 6

In the foreground is the gravestone with the red rose laying in front of it, with a full shot of Lucy and Ellie walking away in the background.

ELLIE: They do cocktails?

LUCY: They do most things.

PAGE 9, PANEL 1

Page width panel. Morning. Full exterior shot of WinterSky House set under a pale morning sky, with the gravel driveway bordered either side with fresh snow. In the foreground on the left of the panel is the familiar sign that reads; Wintersky House Nursing Home.

CAPTION: Greenhill, Harrow, WinterSky House Nursing Home.

CAPTION: Now.

GWEN ( O.P ): It’s been over a month, how can someone just disappear?

GABRIEL ( O.P ): You seemed to manage it quite well as I recall.

PAGE 9, PANEL 2

Page width panel. Full profile shot of Gabriel and Gwen going through the grounds of WinterSky House along a cleared path. Gwen is in a wheelchair, a warm blanket over her and a bobble hat on her head and Gabriel is pushing it as they reach a wooden bench.

GWEN: You remember that then? I thought your memory was shot?

GABRIEL: I remember some things, not everything.

GWEN: Doesn’t sound so bad to me.

PAGE 9, PANEL 3

Two panels on this bottom tier. Head to chest profile shot of Gwen, with the back of the wheelchair and Gabriel’s hands in shot.

GWEN: I’ve been thinking, well, can’t do much else stuck in here, can I, but what are we gonna do if we do find her. I mean, she’s not exactly gonna welcome us with open arms, is she?

PAGE 9, PANEL 4

Similar to the panel 2 but now it’s a head to waist shot of Gabriel with a head and shoulders shot of Gwen looking surprised.

GABRIEL: We do nothing. I’m afraid it will be up to you.

GWEN: Me?

PAGE 10, PANEL 1

Page width panel. Full profile shot of Gabriel and Gwen with Gabriel now stood in front of Gwen, who’s looking up at him.

GABRIEL: Your mother is lost is so many ways, Gwen, but one thing I am sure of is that she still loves you. That hasn’t changed.

GWEN: So, I’m just supposed to appeal to her maternal instinct, bring out her better nature, ‘cause I’m not sure she has one anymore.

PAGE 10, PANEL 2

Two panels on this tier. Similar to the previous panel but now a closer shot.

GABRIEL: If she does, I’m sure you will find it.

GWEN: Yeah? I barely know her, remember. Damn … I wish he was still here.

PAGE 10, PANEL 3

Similar to the previous panels but now Gwen is looking down sadly.

GABRIEL: Your father?

GWEN: Yeah, finally stepped up to being a dad, then he goes and dies on me.

PAGE 10, PANEL 4

Two panels on this bottom tier. Head to chest shot of Gabriel looking down.

GABRIEL: He loved you.

PAGE 10, PANEL 5

Forehead to chin semi- profile shot of Gwen, her face filling the panel.

GWEN: Yeah, all the good it did him.

PAGE 11, PANEL 1

Insert.

In the foreground is a close shot of The Devil’s Crow hanging sign, layered in snow, with the exterior of the pub in the background.

ARTIST NOTE: Insert is in the top left hand corner of panel 2.

ELLIE (O.P): So, what’s going on, Lucy Lou?

PAGE 11, PANEL 2

Page width panel. In the foreground is a full profile shot of both Lucy and Ellie sat on high stools at the bar, Lucy is nearest with Cob in the background cleaning glasses with a cloth. Lucy has a tall glass and Ellie her familiar cocktail glass. Smoke plumes up from Lucy’s cigarette between them.

LUCY: I wish I knew. I’ve just been so lost lately. I guess I’m just trying to figure it all out, make some sense of things, you know.

ELLIE: Oh, trust me, I know.

PAGE 11, PANEL 3

Two panels on this tier. Head to chest semi - profile shot of them with Lucy in the foreground, leaning her arms on the bar.

LUCY: But after all this time we’ve been around shouldn’t we have figured out some of it by now? Not sure I’ve learned a damn thing.

ELLIE: Hey, I’m the Angel of Death now and I still haven’t figured any of it out. I get the feeling you’ve been thinking on this a lot.

PAGE 11, PANEL 4

Head to waist shot of them from behind with their reflections in the mirror.

LUCY: Yup, I guess after everything that’s happened recently it just feels like it’s all come to a weird kind of full stop, like we’re on pause.

ELLIE: Well, it certainly felt like the end of something.

PAGE 11, PANEL 5

Two panels on this bottom tier. Head and shoulders semi -profile shot of Lucy.

LUCY: Don’t you wonder what’s next though? Where we go from here?

PAGE 11, PANEL 6

Head to waist shot of Ellie running his finger along the rim of the cocktail glass. His stare thoughtful, both wistful and resigned.

ELLIE: I think my destiny is already mapped out don‘t you, honey.

PAGE 12, PANEL 1

Page with panel. Full profile shot of them sat on the bar stools. Ellie is now holding Lucy’s arm and is leaning closer, staring at her intently. Lucy doesn’t meet his gaze, staring down at the bar, an odd sadness now on her face, her brow furrowed in thought.

ELLIE: So, time to fess up, Lucy Lou, are we really talking about where everyone else goes next, or about where you go next?

LUCY: Honestly, I’m tired Ellie. I’m so damn fucking tired. Of just living, of just getting through every day, one after the other, always missing her, knowing I won’t get older, I’ll just keep going, while everyone else around me gets to grow and change.

PAGE 12, PANEL 2

Two panels on this tier. Head and shoulders semi -profile shot of Lucy.

LUCY: Maybe I’ve just lost too much, but all of it feels so hollow now. I can’t feel it anymore, not really, at least not like I used to.

PAGE 12, PANEL 3

Close up semi- profile shot of Lucy, her face filling up the panel.

LUCY: If I knew there was some kind of end maybe all of this would feel like it had meaning again. Maybe I’d feel something.

PAGE 12, PANEL 4

Page width panel. Similar to panel 1 with them still sat on the bar stools. Ellie still holding Lucy by the arm and leaning in close, starring at her intently, though Lucy is now meeting his gaze.

ELLIE: This has been eating away at you, hasn’t it?

LUCY: Is it that obvious?

PAGE 12, PANEL 5

Insert.

Similar to panel 1 of page 11, essentially book ending the scene. In the foreground is a close shot of The Devil’s Crow hanging sign, layered in snow, with the exterior of the pub behind.

ARTIST NOTE: Insert is in the bottom right hand corner of panel 4.

ELLIE( O.P ): Only in the dark, honey, only in the dark.

PAGE 13, PANEL 1

Page width panel. Exterior wide shot of the grounds of Winter Sky House. Gwen and Gabriel are now sat on the wooden bench seen in their previous scene. The empty wheelchair is next to the bench, Gwen still has her bobble hat on and the blanket.

GWEN: I can’t feel it anymore.

GABRIEL: Feel what?

PAGE 13, PANEL 2

Three panels on this tier. Head to waist semi- profile shot of Gwen.

GWEN: My power. I think it’s gone. I haven’t felt it since the battle. Even though I didn’t use it for a long time after Sab, I always knew it was there, inside of me, just waiting to be let out.

PAGE 13, PANEL 3

Head to chest semi- profile shot of her holding her hand up in front of her, studying it, looking for any signs of her latent power. GWEN: But now there’s nothing. I can’t feel a thing. Maybe I used it all up. PAGE 13, PANEL 4

Forehead to chin semi- profile shot of her, looking slightly wistful. GWEN: I just feel … well, I just feel normal now. I guess I’m ordinary again.

PAGE 13, PANEL 5

Page width panel. Full profile shot of Gabriel now crouched in front of Gwen, holding her hands as she sits on the bench, in a way that nicely illustrates how much he changed since he came back. GABRIEL: You are many things, Gwendolyne Jones, none of them ordinary.

PAGE 14, PANEL 1

Three panels on this top tier. Full shot of the old dilapidated theatre first seen in # 34, built on the corner of two of the city’s side streets, with its arched windows, carved ledges and stone work, ticket office and foyer. All the entrances and windows boarded up.

SKYE ( O.P ): Hey Sol.

PAGE 14, PANEL 2

A wider shot of it now as we pull back to reveal the familiar figures of Solomon, Sam and Skye in a head to waist shot from behind. We can see that the orange evening sky has a hint of twilight.

SOLOMON: So, you ready?

SKYE: Think so. None of ‘em left now, so guess it’s up to me.

PAGE 14, PANEL 3

Similar to the previous panel but now a head and waist shot of them.

SOLOMON: Are you sure about this? It’s a pretty big thing they’re asking.

PAGE 14, PANEL 4

Three panels on this bottom tier. Head to waist shot of Sam in the foreground heading across the road, with Solomon and Skye behind.

SKYE: It used to be home, remember, if I can help to rebuild it then I think I should.

SKYE: Don’t worry, I’ll have lots of help. Anyway, I’ve been hiding long enough, Sol.

PAGE 14, PANEL 5

Full shot of Solomon, Sam and Skye walking toward the theatre stage. P.O.V is from the upstairs gallery, through cobwebs and looking over the dusty seats, aisles and the orchestra pit. On the stage are the draped large burgundy and gold curtains seen previously, now pulled open with the portal to Asgard behind them.

SKYE: No more scaredy cat, not anymore. SOLOMON: No more scaredy cat.

PAGE 14, PANEL 6

Full shot of them from behind now, faint as they step into the portal.

PAGE 15, PANEL 1

Page width panel. Wide shot of the prairie fields with the burnt out ruin of Gabriel’s farmhouse silhouetted against an orange sunset.

PAGE 15, PANEL 2

Page width panel. Wide shot of Epiphany walking up the sloping field, looking very much like we saw her in issue # 50.

PAGE 15, PANEL 3

Page width panel. Wide shot of her partly silhouetted against the sunset as she stands at the foot of what remains of the old steps. ANNA ( O.P ): If you’re looking for answers you won’t find them here.

PAGE 16, PANEL 1

Three panels on this top tier. Head to waist shot of Epiphany glancing behind herself, recognising the familiar voice of her mother. EPIPHANY: You.

PAGE 16, PANEL 2

In the foreground is head to waist shot of her from behind with a full shot of Anna facing her, stood watching her from the slope. ANNA: You know, I was actually happy here once, for a while at least.

PAGE 16, PANEL 3

Head to chest semi- profile shot of Epiphany, her eyes now narrowed.

EPIPHANY: Me too. Have you come here to kill me, mother?

PAGE 16, PANEL 4

Page width panel. Full shot of them facing each other against the sky. ANNA: I guess it’s not every mother that gets asked that question. EPIPHANY: You didn’t answer it.

ANNA: No, I didn’t. PAGE 16, PANEL 5

Two panels on this bottom tier. Full profile shot of Anna studying Epiphany closely, not letting her guard down at all. ANNA: I know what you’re up to, you’ve been asking the wrong questions in the wrong places, places known to people like me.

ANNA: I know you’re planning on going after Abbadon. I know what he did to you. I know he lied. I know you want revenge. PAGE 16, PANEL 6

Forehead to chin semi- profile shot of Epiphany, completely unconcerned. EPIPHANY: And will you stop me?

PAGE 17, PANEL 1

Page width panel. Similar to panel 3 of page 16 with them facing each other, but a red hue is now seeping into the orange sky.

ANNA: No, he’s got all that coming to him. I’m just here to warn you. Take your revenge if that’s what you need to do, but keep your father out of it. It’s not his fight anymore. He’s suffered enough. EPIPHANY: It’s not him I’m going after. Not anymore.

PAGE 17, PANEL 2

Two panels on this tier. Head and shoulders semi- profile shot of Anna. ANNA: Yeah, I figured, I’m just telling you I don’t want him or any of the others caught in the crossfire. I know how these things can go.

PAGE 17, PANEL 3

Forehead to chin semi- profile shot of Epiphany, the anger and resentment is now burning in her eyes as she utterly fails to keep it in. EPIPHANY: Abbadon lied to me, he betrayed me, endangered my daughter. EPIPHANY: Once he’s paid for that, I’m gone.

PAGE 17, PANEL 4

Two panels on this bottom tier. Head to chest shot of Anna from behind, with Epiphany facing her in a head to waist shot. ANNA: And your father?

EPIPHANY: He means nothing to me now.

PAGE 17, PANEL 5

Forehead to chin semi- profile shot of Anna, with no panel border. ANNA: Far be it for me to interfere but you basically murdered him and he still cares what happens to you. I’d say that says something.

PAGE 18, PANEL 1

Two panels on this top tier. Head to waist profile shot of them facing each other.

ANNA: I was never much of a mother, still not really, but him … EPIPHANY: He was never much of a father.

ANNA: No, but unlike me he’s changed.

PAGE 18, PANEL 2

Head to waist shot of Epiphany now turned away from her mother, with Anna stood just behind her. Epiphany’s façade is slipping and she has no intention of letting her mother see it.

EPIPHANY: It’s … it’s too late. PAGE 18, PANEL 3

Two panels on this tier. Full close up shot of Anna, her face filling the panel.

ANNA: You’re on a dark path, Epiphany, and if you ever want to change that he’s gonna be your best chance, probably you’re only chance.

PAGE 18, PANEL 4

Head to waist shot of Anna walking away, with a full shot of Epiphany behind, still insisting on keeping her back toward her. ANNA: By the way, Redgrave is dead, thought you’d like to know.

PAGE 18, PANEL 5

Page width panel. No border. Head to waist shot of Epiphany now turned around and staring after her mother, her pain now clear. The background is grey with the ruin of her former home behind her.

PAGE 19, PANEL 1

Full page vertical panel. Wide shot of Solomon, Sam and Skye stood on a rocky plateau, with craggy cliffs behind and a stormy sky.

SKYE: You’ll come and visit soon?

SOLOMON: You try and stop me.

SKYE: You promise.

PAGE 19, PANEL 2

Full page vertical panel. Full profile shot of Solomon and Skye, both of them smiling, and we can really the friendship between them. SOLOMON: Scout’s honour.

SKYE: Ha ha, you were never a boy scout, Sol. Dib dob, bob a job.

SOLOMON: No, I never was.

PAGE 19, PANEL 3

Full page vertical panel. Full shot of them hugging each other, Solomon stooped, Skye with one foot on tip toe, the other off the ground. SKYE: See you soon, Sol. SOLOMON: Be safe, Skye.

PAGE 20, PANEL 1

Full page vertical panel. Full shot of Solomon and Sam as we realise they’re stood at the gates of Asgard and ahead of them Skye is now being greeted by a group that consists of several nobles, lords and ladies, and also a contingent of Asgardian soldiers.

SOLOMON: I guess I always knew this day was coming.

PAGE 20, PANEL 2

Three panels on this vertical tier. Head to waist semi- profile shot of Solomon and Sam, with Solomon in the foreground of the panel. SAM: Gotta let them go sometime. SOLOMON: Yeah. PAGE 20, PANEL 3

Similar to the previous panel but now it’s a closer head to chest shot. SAM: Watch them go into the big wide world.

SOLOMON: Yeah. PAGE 20, PANEL 4

Similar to the two previous panels but now it’s a head and shoulders shot of them both with Solomon smiling wistfully. SAM: You do realise she’s actually a lot older than you, right?

SOLOMON: Yep.

PAGE 21, PANEL 1

Page width panel. Night. Wide shot of the city. High view of the roof of an old fashioned Edwardian building and stood on its left side is the imposing Papa Midas, two bodyguards behind him, and facing him on the right of it are Abbadon and Mr Sparrow.

PAPA MIDAS: From everything I’ve heard I’m the last kind of person I expected someone like you to be meeting, Morningstar.

MR SPARROW: Lord Morningstar to you, mortal.

PAPA MIDAS: I call no man Lord.

ABBADON: Thank you, Mr Sparrow, but that is not necessary.

MR SPARROW: Yes, my lord.

PAGE 21, PANEL 2

Page width panel. Full profile shot of Abbadon and Papa Midas now facing each other, Mr Sparrow is behind Abbadon, the bodyguards behind Papa Midas, the London skyline behind them.

ABBADON: In a way you are right Mr Midas, my title no longer means anything. If of course, it ever really did.

PAPA MIDAS: No disrespect was meant. In fact what you tried to do, taking out the big guy, that’s gotta be the biggest take over bid in history.

PAPA MIDAS: That I do respect.

PAGE 21, PANEL 3

Two panels on this bottom tier. Head to waist profile shot of them.

ABBADON: You may have noticed I failed.

PAPA MIDAS: You tried though. In my world that counts for a lot.

PAGE 21, PANEL 4

Similar to the previous panel but now a closer head to chest profile shot.

PAPA MIDAS: I have to say, I was surprised you reached out to me.

ABBADON: I have been assured that your organisation is very good at operating under the radar, Mr Midas, which is exactly what I need right now. I assume you are aware of my current status.

PAGE 22, PANEL 1

Half page panel. Forehead to chin semi-profile shot of Papa Midas.

PAPA MIDAS: Hm, war criminal. Every angel loyal to the Crystal City is currently out looking for you. You’re an angel with a price on his head. No allies left to speak of. You run an empire like mine you get pretty familiar with problems like that. PAGE 22, PANEL 2

Two panels on this vertical tier. Head to waist profile shot of them facing each other, Papa Midas casually waving this notion off. ABBADON: Then you are aware there is also a bounty on my head.

PAPA MIDAS: Don’t worry, I’m not about to give you up. If I gave up every big time criminal that needed my help I wouldn’t have a business.

PAPA MIDAS: I’d also be dead. PAGE 22, PANEL 3

Similar to the previous panel but now it’s a closer head to chest shot. ABBADON: Then you can do what I have asked?

PAPA MIDAS: Of course, it seems pretty small scale though after what you just attempted. PAGE 22, PANEL 4

Two panels on this vertical tier. Head and shoulders shot of Abbadon.

ABBADON: I am dying, Mr Midas. I no longer have time for grand plans. PAGE 22, PANEL 5

Head and shoulders shot of Papa Midas, the city skyline behind him. PAPA MIDAS: Fair enough. And you’ll give me what I want if I deliver.

PAGE 22, PANEL 6

Half page vertical panel. Forehead to chin semi- profile shot of Abbadon. ABBADON: I will give you such knowledge, Mr Midas, that your criminal empire will have the potential to be the most powerful on earth.

ABBADON: But only once you have destroyed everything my family loves.

( Taken from Volume Five: A Handful Of Dust )

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