Hellpath Issue #1 Script

8/9/2019 Hellpath Issue #1 Script

http://slidepdf.com/reader/full/hellpath-issue-1-script 1/27

TITLE PAGE:

We see high flames that fill up the page. Bursting out through

the flames is a figure on a motorbike, similar to the front coer

of the BAT !"T !# $ELL Album b% &eatloaf. The flames make the

figure of a skull that is tr%ing to s'allo' the bike.

TITLE( A)* +E*IT( ($!W):

Written b%:

Art b%:

ET+

PAGE -/ panels, this page is 0ii0e0 into three panels, the

thir0 of 'hich shoul0 be a splash panel1:

Panel 1: We see an aerial ie' of a cliff2si0e at 0usk. !n the

cliff2si0e there is a roa0 going from si0e2to2si0e an0 top2to2

bottom. !n this roa0 2some'here in2bet'een the bottom an0 top 2

there is one person. We can see that this person is on a

motorc%cle3 ho'eer 'e cannot see his features. $e is little more

than a sha0o'. Along the e0ge of the roa0 'e can see metal

guar0rails. We see that it is a barren place 'ith little or no

plant life, simpl% a 0r%, 0ust% sort of place.

+AP:The roa0s 'ear on %ou after a 'hile 22 But the free0om neer

0oes.

Panel 2: We no' see the back 'heel of the bike in close2up. Wesee that it is moing 'ith great spee0 an0 eer%thing belo' it

The roa01 is a blur. We can also see a foot 'hich is reste0 on a

black, metal bar. We can see that the foot is 'earing generic

black boots. We can see the boots in their entiret%, until the%

eentuall% meet up 'ith the beginning of his 4eans 0enim 4eans.

We can also see that in2bet'een the en0 of the boot an0 the



beginning of 4eans there is the tiniest sho' of 0eep purple skin

an0 thick blue eins, both of 'hich are barel% noticeable an0

misse0 b% the casual rea0er.

+AP:It5s like I can taste it 22 Like I can lie off it 22 )o

one5ll take that off me. 22 )eer.

Panel 3: We can no' see the left si0e of E6ekiel an0 his bike as

it 0ries 0o'n the cliff2si0e roa0. We see it as though 'e are

looking from the groun0 up. E6ekiel is a man 'ho looks to be in

his mi02thirties, although he coul0 2technicall%2 be much, much

ol0er. $e is a er% muscle0 man 2 'hich is something that is er%

clear in this panel 2 'ith 0eep purple skin an0 er%

0istinguishe0 blue eins at arious points. $e 'ears a tarnishe0black leather 4acket 2 'hich is the e7act same sha0e of black as

the frame of the bike 2 an0 a plain gre% t2shirt un0er that

2'hich cannot be seen 4ust %et. $e has long black hair that flo's

back in the 'in0. $e also has a s8uare 4a' an0 thick chin that is

coere0 in 2er% ei0ent 2 stubble. $e also has a thick forehea0

'hich protru0es out be%on0 his e%es leaing a sha0o' oer them

an0 giing him a more m%sterious 2 an0 ferocious 2 look to him.

We see that his hea0 is leaning for'ar0 an0 his e%es 2 'hich are

black 'ith %ello' pupils 2 seem to be looking to'ar0s the sk%. We

can see that his nostrils are flare0 an0 his lips are in a sortof snarl. !erall 'e see that he looks 0etermine0, an0 tire0 2 as

there are obious 0rops of perspiration on his forehea0. The bike

that E6ekiel ri0es is t%pical chopper 'hich can be 0ra'n at

artist5s preference, as long as it is ei0ent that there is no

secon0 space behin0 E6ekiel for another passenger, an0 that the

gas tank is 0ra'n is such a 'a% that someone coul0 lean for'ar0

an0 rest on it 'hile still being safe. +olours of the bike are of

artist5s preference3 ho'eer I recommen0 a simple re0 gas tank,

black frame an0 shining siler engine, e7haust, han0lebars an0

'hereer applicable, but the 0ecision lies 'ith the artist, as

long as he9she can 4ustif% their colours in relation to s%mbolism

an0 the oerall effect.

+AP: I5e earne0 it. 22 *i0 more than man% to secure it. 22 An0

those bastar0s ain5t gonna get in m% 'a%. )o 'a%. )o ho'.



PAGE #ie Panels1:

Panel 1: We see a close2up of E6ekiel5s left han0 grasping thebar of his bike. We see thick, 0istinguishe0 knuckles that gie

us the assumption that E6ekiel has been in a fair fe' scuffles in

his time, all of 'hich he most likel% 'on. We also see a ring on

his little finger 2 something 'hich 'as not seen in the preious

panels. It is a small gol0 ring 'ith a re0 gem embosse0 into it

an0 small black 0ot 'ithin the re0 gem. We are gien the

impression that it is e7pensie, e.g. glimmering90a66ling.

)o *ialogue

Panel 2: We no' see a close2up of E6ekiel5s face. We see multiple

scars, an0 rough fie o5clock sha0o'. We see the 0rops of

perspiration much clearer on his bro'. We no' also see a glimpse

of his teeth, 'hich are a strange mi7 of molars an0 canines.

There are also slight chips in some of them.

+AP:

This 'orl05s 4ust going to hell, literall%. 22 A man can5t 'alk

from one en0 of the street to the other 'ithout someone losing

their hea0. 22 It5s sa0.

Panel 3: We no' see from the point2of2ie' of the bike. We see

the blurr% guar0rail an0 the ista behin0 it.

+AP:

It5s a sa0 'orl0, but ain5t it gran0;

Panel 4: We no' see E6ekiel on the roa0 as though from some'here

high oerhea0. #eatures are unclear no'. We can onl% see a rough

figure on a bike 'ith flo'ing hair. We see that he is approaching

a sharp ben0 in the roa0.

+AP:

Ain5t it something; &agnificent Ain5t it 4ust kick2%ou2in2the2

crotch fantastic;



Panel 5: We no' see from the point2of2ie' of the guar0rail as

E6ekiel ski0s aroun0 the ben0. We see him leaning a'a% from the

guar0rail as he turns, all the 'hile making sure that 'e onl% see

the left si0e of him an0 the bike. We also see a signpost before

the ben0 that rea0s: <+areful *angerous Ben0=. We also see the

ski0 mark on the roa0.

(#>:

(+EEEE+$???

+AP:

I like to think so an%'a% 22 But then again, I5m an optimist.

PAGE / @ panels1:

Panel 1: We no' see the back left of E6ekiel as he 0ries from

the ben0 an0 along a once again straight roa0. We can also high

hills in the 0istance on the left, some of 'hich are partiall%

obscure0 b% the guar0 rail.

+AP:

ep. Glass half full kin0 of gu%, me. 22 When life han0s %ou

lemons, %ou s8uish 5em an0 make lemona0e.

Panel 2: We no' see the aftermath of the ski0 in 0etail, 'hat 'as

once simpl% rubber on the roa0 has cause0 the roa0 to smoke.+AP:

+ourse it kin0a makes me 'ish I 'as 0ifferent, normal een. 22

&akes me think the 'orl0 WA)TE* it to be har0, for &E to be har0

22 I5m like the bo% name0 (ue.

Panel 3: We no' see a signpost rea0ing <Paulie5s Bar !pen All

)ight an0 *a% &iles=

+AP:

Looks like it5s time for a bre'. 22 Goo0 timing, m% throat 'as

4ust getting thirst%.

Panel 4: We see a close2up of one of E6ekiel5s e%es. It is

bloo0shot an0 'i0e.

Panel 5: We see E6ekiel an0 his bike5s left si0e as though 'e are

parallel to them an0 looking oer. We see that the cliff 'all



behin0 them has lo'ere0 an0 that sk% can be seen. We can see a

bolt of lightning that comes 0o'n half'a% bet'een E6ekiel an0 his

bike. We see that half of him is lit up 'hile the other half is

0ark. We can see 0etermination on E6ekiel5s face.

+AP:

(torm5s coming. Een more of reason for a bre', soon I5ll be able

to clear m% hea0.

Panel 6: We see E6ekiel from the same angle as last time, e7cept

no' 'e are further up an0 the steep 'all behin0 has 0isappeare0

no', instea0 'e see a fiel0 in the backgroun0 'ith bro'ne0 crops

an0 re0 sun isible in the hori6on, some of 'hich is obscure0 b%

the fence bor0ering the fiel0. We still see the look of

0etermination on E6ekiel5s face.

+AP:

)ot far no'.

PAGE / panels1

Panel 1: We see a back2left ie' of the bike going up on it back

'heel. We can also see a scarecro' on a pole in the fiel0 behin0,

it is small in the backgroun0. The scarecro' is not an oerl%

important aspect of the shot or of the 'ork in its entiret%, I4ust put it in because I 'ante0 it to be a piece of s%mbolism in

the backgroun0. It 'as a tribute to The Wrestler b% Bruce

(pringsteen as the l%rics feature a scarecro' fille0 'ith nothing

but 0ust an0 'heat, an0 I 'as hoping to use all of the images

feature0 in that song, but it is up to the artist 'hether the%

feel like putting it in.

+AP:

Time for some spee0. 22 Cust hope the% kno' I5m goo0 for the

mone%. 22 5+ause I 'ant m% bre'.

Panel 2: We no' see a close2up of the space bet'een the gas tank

an0 E6ekiel5s torso so that there is a clearer shot of the

scarecro' in the backgroun0, ho'eer if the artist feels the nee0

to remoe the scarecro' from the preious panel then the% coul0

back up a bit an0 hae us look up at E6ekiel5s 0etermination an0

chappe0 lips.



+AP:

It5s strange the 'a% the% treat me, the barten0ers. (ome are

afrai0, some are hostile an0 most 'on5t een let me in. 22 I mean

I ain5t a ba0 customer. I behae, most of the time. I neer start

it 22 I finish 5em though. I finish 5em all. 22 Ain5t no 'a% I50

lose. Perish the thought.

Panel 3: We no' see E6ekiel an0 the bike5s left si0e from the

groun0 looking up

+AP:

Probabl% m% looks. $ostile 5cause the% think I5m hostile. 22 But

I can5t help it. 22 That5s 4ust the 'a% %ou look 'hen %ou5re born

in hell. 22 But that 'as a long time ago 22 #ree man no'. #ree

0emon. 22 But I gotta be careful. After all hell hath no fur%

like the *eil scorne0.

PAGE D / panels1

Panel 1: We are no' looking at the sk%, a sk% 'hich is no' ma0e

up of black clou0s. We can see lightning 'ithin the clou0s.

+AP:

But there ain5t )! pri6e like free0om. 22 That rat bastar0 can 0o

'hat he 'ants 'ith his fur%. 22 If he 'ants me back he5s gonnahae to fin0 me, an0 if he 0oes that then he5s a 8uarter the 'a%

to haing me back. 22 The%50 neer $!L* me, the% ain5t strong

enough. 22 $e ma% run things but that means nothing. 22 Worl05s

gone to shit.

Panel 2: We are no' at the top of a hill, oerlooking the barren

place belo'. In this other'ise barren place 'e can see Paulie5s

Bar. It is a plain2looking, ol02fashione0 buil0ing 'ith a 'oo0en

eran0a at the front. We can also see a reasonable2si6e0 parking

lot a04oining the bar 2 'hich is prett% much empt% e7cept for afe' cars an0 bikes, number of ehicles is up to the artist.

+AP:

22*emons running aroun0 eer%'here, but it ain5t m% 4ob to clean

5em out. 22 I leae 5em alone as long as the% leae me alone. 22

It5s up to the big gu% upstairs to 0o his 4ob. 22 But sometimes I

help.



Panel 3: We are no' further up the roa0, 4ust outsi0e the

entrance to the bar5s parking lot.

+AP:

At last. 22 Almost time to rest m% ass an0 'et m% throat.

PAGE @ - panel1:

Panel 1: We no' see a lo'2to2high, me0ium range ie' of E6ekiel

parking the bike in the parking lot from his right. This shoul0

be the first time that 'e see E6ekiel5s right si0e, making 'hat

'e see that bit more surprising. In his han0 'e see that he is

hol0ing a hea0. It is a hea0 that has been 0ecapitate0 roughl%an0 brutall% belo' the neck, leaing t'o, bloo0% spinal 0iscs

isible. E6ekiel is hol0ing the hea0 b% the hair 2 'hich is 'hite

in colour. We can also see clearl% that this is not a normal

hea0. The skin is a 0eep crimson, the face is petrifie0 in a

scream an0 the e%es 2 'hich are re0 'ith black pupils 2are rolle0

back. We can also see clearl% that the hea0 is 0eoi0 of ears,

but instea0 4ust has holes 'here the ears are. Whether the ears

on the hea0 shoul0 be there or hae been cut off is up to the

artist.

+AP:But, first I gotta clear m% hea0.

PAGE panels1:

Panel 1: We are still in the parking lot. We can see E6ekiel in

the backgroun0 'alking to'ar0s the bar. $e is a consi0erable

0istance a'a%. In the imme0iate foregroun0 an0 to the right there

is 'oman5s face. It is a pure 'hite an0 e7cee0ingl% beautiful.

(he is seen to hae blon0e hair, an0 to look 'ear%. (he is

'atching E6ekiel 'alk a'a%.

)o 0ialogue.

Panel 2: )o' 'e are in front of the 'oman an0 'e can see her

entirel%. (he is 'earing a 'hite go'n similar to that of the



paper hospital go'ns but it is ma0e of fabric. It is a short go'n

that en0s 4ust a slight bit belo' her 'aist. (he is not 'earing

un0er'ear ho'eer that 'ill not become clear for front ie's of

her as that 'oul0 be tasteless. We can also see that she is

barefoot an0 in %earning of E6ekiel as she reaches her han0 out

to'ar0s us. Behin0 her 'e can see a bill2boar0 that sa%s: <!ne2

Trick Pon% BFB miles=, ho'eer this can be left out as it is

another Bruce (pringsteen tribute an0 coul0 affect 'hat is seen

in preious an0 future panels, although this ma% be aoi0e0 b%

haing is lo' to the groun0 an0 barel% isible behin0 her, but it

is up to the artist.

)o 0ialogue.

Panel 3: Almost the same as the preious panel e7cept it is

raining in this one an0 the 'oman is no' 'alking for'ar0s 'ith

her arms out.

)o 0ialogue.

Panel 4: We see that she has 0roppe0 to her knees. We are still

looking from the front, but 'e are closer . We can no' see the

fol0s in her go'n.

)o 0ialogue.

Panel 5: We no' see that go'n has clung to her skin because of

the rain. We see this from a si0e angle, 'hich preents her frontbeing seen entirel%, ho'eer her nipples 2 an0 the outline of her

breasts 2 can no' be seen through the go'n, along 'ith her

stomach an0 the si0e of her buttocks. We can also see that her

hair is 0renche0 an0 hanging 0o'n her back. $er han0s hae fallen

also.

)o 0ialogue.

Panel 6: We no' see a close2up of her face. We can see rain0rops

clinging to her skin, but other than that there are no

imperfections. $er e%es are still close0 an0 there are 0rops of'ater in her lashes. We can see that her full, thick lips are

moist an0 almost forme0 into a smile.

)o 0ialogue.

Panel 7: We no' pull back an0 up as 'e see she is no longer on

her knees but is instea0 l%ing on the groun0 of the parking lot.



We see that her e%es are still close0 an0 that she is no'

smiling. !erall she looks happ%.

)o 0ialogue.

PAGE H - panel1

Panel 1: We no' see a cacophon% of colours s'irling into a 'hite

hole. We can also see the 'oman, she appears to be falling, an0

screaming.

)o 0ialogue.

PAGE @ panels1:

Panel 1: We see a 'hite circle surroun0e0 b% black. We can also,

'ithin the 'hite circle there is an imperfection. The

imperfection is the 'oman from a massie 0istance, onl% slightl%

more than a speck.

)o 0ialogue.

Panel 2: We come in closer. The imperfection in the 'hite becomes

bigger. It can no' be seen that the imperfection is the 'oman,

ho'eer she is 0resse0 0ifferentl%. (he is 'earing a green 0ress

)o 0ialogue.

Panel 3: We are no' looking from the groun0 up at the 'oman. (he

is no longer falling but has no' lan0e0. (he is tr%ing to stan0

up. We can see a hori6on of 'hite an0 black, 'hite being the sk%

an0 black being the groun0. We can no' see that she is no longer

'earing the green 0ress, but instea0 a re0 4umpsuit.

)o 0ialogue

Panel 4: We are no' looking at a close2up of the 'oman5s face.

(he is clearl% terrifie0.

)o 0ialogue.



Panel 5: We pull back slightl% an0 can no' see the 'oman5s torso

an0 face. $er e7pression hasn5t change0 much, but she is no'

nake0. (he uses her han0s to coer her breasts.

)o 0ialogue.

Panel 6: We pull back een further so that she is entirel%

isible. (he is no' 'earing pink lingerie. We see that she is

still in fear an0 tr%ing to run a'a% from the pulse of 'hite that

is behin0 her. The black groun0 beneath an0 behin0 her is

anishing in the pulse.

)o 0ialogue.

PAGE - panels1

Panel 1: We no' see that the pulse of 'hite has surroun0e0 her

entirel%. (he is no' nake0 once more, but since 'e are looking

from slightl% oerhea0 onl% her breasts an0 buttocks can be seen.

)o 0ialogue.

Panel 2: We see that she has been absorbe0 b% the 'hite. $er hea0

is the onl% thing isible. (he is looking up an0 screaming.

(#>:

A$$$$$$$$$$$$$$$$$$??

PAGE -- panels1:

Panel 1: We see that the 'hite 'hich has absorbe0 the 'oman has

reerte0 an0 turne0 re0. The re0 has a li8ui02like te7ture giing

the rea0er that it is bloo0. (he can be seen entirel% no', e7cept

her features are obscure0 b% the bloo0. We can see that she is

smiling.

)o 0ialogue.

Panel 2: We can see a pulse of re0 surroun0ing the 'oman. (he is

no longer smiling but 0ea0. $er e%es are gla6e0 oer an0 her face

looks to be fro6en in a scream.

)o 0ialogue.



Panel 1: We no' see the hea0 finall% lan0 in the high grass. It

stares up at us in its usual petrifie0 scream.

)o 0ialogue.

PAGE - panels1:

Panel 1: We are no' looking at the back of E6ekiel an0 the front

of the bar. We see E6ekiel 'ith his han0s at his si0e an0 his

hea0 hel0 high an0 prou0.

EJEKIEL:

What fools those 0emons be to mess 'ith tough E6ekiel;

Panel 2: We are no looking at the front of E6ekiel as he 'alks

to'ar0s the bar. $e is grinning, almost 0eiousl%. We can also

see the 'oman in 'hite in the backgroun0. $er features are

0iscernible.

EJEKIEL:

)o' that I5e cleare0 m% hea0 I think it5s time for a 0rink.

Panel 3:We see the top half of E6ekiel5s bo0% as he 'alks on the

eran0a. The 'oman in 'hite is no longer isible.

EJEKIEL:)o'.

Panel 4: We no' see the back of E6ekiel as he opens the 0oor of

the bar.

EJEKIEL:

Let5s see 'hat the% got.

PAGE -D / panels1:

Panel 1: We see things from E6ekiels point2of2ie'. (traight

ahea0 there is a booth seat 'ith t'o men sitting in it. To the

right are t'o more booths. In one of the booths there is a man

an0 in the other there are t'o men. All of the men are 'earing

0enim 4eans an0 4ackets an0 are of a fairl% aerage buil0, 4ust



enough to cause an% normal person to be intimi0ate0. We also see

that are obiousl% 0runk. To the left 'e see the counter 'here

there are three men sitting alone. Behin0 the counter stan0s the

barten0er. $e is an oer'eight, bal0ing man 'earing a check

shirt. It is clear that none of them hae notice0 E6ekiel5s

arrial, 4ust %et. The oerall 0ecorum of the bar is 2 once again

2 up to the artist.

Panel 2: We no' see the bar counter in greater 0etail. The men on

the stools are staring E6ekiel in obious anger, ho'eer the

barten0er 4ust looks scare0.

Panel 3: We no' see E6ekiel sitting on a stool 'ith the counter

in front of him. Behin0 the counter an0 to the left 'e see the

barten0er looking at him. We also see the man to the far right of

E6ekiel looking at him 'ith seere contempt. $e is slightl%

bigger an0 0runker than the rest.

BATE)*E:

+an I help %ou;

EJEKIEL:

eah... +an I get a bre';

PAGE -@ D panels1:

Panel 1: We see the barten0er 'ith a glass in his han0 putting it

un0er one of the 0raughts. We also see the man to the far right

of E6ekiel 2 'hose name is Coe 2 get up from his stoop an0 'alk

to'ar0s him.

C!E:

ou ain5t from aroun0 here, are %a bub;

Panel 2: We no' see that Coe is right besi0e E6ekiel. $is hea0 is

a fe' inches from the right of E6ekiel5s right. $is mouth is openas though he5s shouting.

C!E:

Are %ou 0eaf man;?? Ans'er the 8uestion??

EJEKIEL:

$e% calm 0o'n. I 0on5t 'ant no trouble.

C!E:



I 0on5t see 'h% not... hi%up... ou bring it 'ith %a.

Panel 3: We see the barten0er han0 E6ekiel the 0rink. We also see

Coe back up slightl%, make his han0s into fists an0 look

furiousl% 0runk.

C!E:

+ome on man... hi%up... I can take %a.

Panel 4: We see Coe knock the 0rink from E6ekiel5s han0.

C!E:

+ome on???

EJEKIEL:

ou shoul0n5ta 0one that... I *I*)5T 'ant an% trouble.

Panel 5: We see from the right as E6ekiel rises from his stool

an0 looks at Coe. We are 0irectl% in2bet'een both of them. It is

here that 'e get e7actl% ho' tall E6ekiel is, as he is easil% a

foot oer Coe.

C!E:

Well, 'hatcha... hi%up... gonna 0o;

EJEKIEL:

This

PAGE - @ panels1:

Panel 1: We see a close2up of E6ekiel5s fist. Eer%thing

surroun0ing is nothing but a blur.

)o 0ialogue

Panel 2: We see the bar from the outsi0e.

)o 0ialogue

Panel 3: We see the bar from the outsi0e once more, e7cept thistime one of the 'alls has e7plo0e0 out as C!E is launche0 through

it.

)o 0ialogue

Panel 4: We are back in the bar once more. We see E6ekiel

stan0ing up 'ith his arms out at either si0e of him. The men in



the booth that is seen 'hen E6ekiel first enters the bar that 'as

right in front of him are up an0 going to'ar0s him.

EJEKIEL:

$e%... Gu%s, take it eas%.

+AP:

)ot again.

Panel 5: We see from oer E6ekiel5s shoul0er. We can see the men

'ho 'ere in the booths to the right 'hen E6ekiel first entere0.

The% are up also, 'ith 'eapons in han0. Their 'eapons consist of

a knife an0 scre'0rier.

+AP:

(ame shit 0ifferent 0a%.

Panel 6: We no' see E6ekiel from the front. $e is no' surroun0e0

on almost all si0es.

EJEKIEL:

#ine... If that5s the 'a% %ou 'anna pla% it.

PAGE -H panels1:

Panel 1: We see from E6ekiel5s point2of2ie' as he looks at the

man% angr% faces in front of him. In total there are three men inie' but si7 in total. We see Booth Gu% - to the left, an0 Booth

Gu% besi0e him an0 fe' feet a'a%. To the right9centre is ight

Booth Gu% -.ight Booth Gu% - is hol0ing a scre'0rier, 'hile

the others 'ho are in ie' are 'eapon2less

B!!T$ G" -:

Let5s get him.

B!!T$ G" :

eah??

IG$T B!!T$ G" -:

I5m gonna rip %ou apartIG$T (T!!L G" !.P1:

The Bastar0 buste0 Coe through the 'all.

Panel 2: We no' see from oer E6ekiel5s shoul0er as ight Booth

gu% F / can be seen along 'ith Booth Gu% - an0 ight Booth

Gu% -. .B.G / has a knife. We see B.G - an0 .B.G F/ go



for E6ekiel, 'hile the rest 4ust stan0 there an0 look

intimi0ating.

+AP: Ah shit.

Panel 3: We no' see E6ekiel 0ucking an0 at the same time cocking

his fist. B.G - an0 .B.G can be seen lashing out to'ar0s

him, 'hile .B.G / is off2panel no'. The spectators are isible

still.

)o 0ialogue.

Panel 4: We see that E6ekiel has risen after 0o0ging the attacks

an0 has punche0 B.G - in the neck, forcing him back into B.G

(#>: +KKK

PAGE - @ panels1:

Panel 1: We see .B.G looking back to'ar0s the ne'l% in4ure0

men. We also see .B.G / lashing out 'ith his scre'0rier. It is

4ust a fe' inches from E6ekiel5s neck.

Panel 2: We see E6ekiel to the left an0 .B.G / to the right.

E6ekiel ha0 grabbe0 the han0 'ith the scre'0rier in it an0

t'iste0 it back to break it. We can no' see bone 4utting outaboe the elbo'.

(#>:

+runck

.B.G /:

AAA$$$???

EJEKIEL:

I tol0 %a

Panel 3: We are no' looking straight at E6ekiel, behin0 him 'e

can see the Left (tool &an going at E6ekiel 'ith a broken bottle.This is the first time L.(.& has been seen inole0 in the

action, ho'eer he ma% appear in the backgroun0 stan0ing up,

looking angr%, breaking the bottle, 'atching etc.

)o 0ialogue.

Panel 4: We see a close2up of E6ekiel5s face. $e looks 'orrie0.



embe00e0 in them, an0 the man 'ith the broken arm being ten0e0 to

b% another frightene0 an0 unharme0 man.

)o 0ialogue.

PAGE - D panels1:

Panel 1: We see E6ekiel sit 0o'n on his stool once more an0 the

barten0er come out of hi0ing.

EJEKIEL:

)o'... Before 'e 'ere so "*EL interrupte0.

BATE)*E:

Ah..."h...Ah

EJEKIEL:(o, can I get that beer.

Panel 2: We see a close2up of the Barten0ers terrifie0 face.

EJEKIEL !.P1:

Well;

Panel 3: We see as though 'e are at the 0oor once more. We see

E6ekiel stan0 up an0 the barten0er 'ith a glass in his han0.

EJEKIEL:

&a%be another time.

Panel 4: We see the back of E6ekiel5s hea0, to the right is the

'all an0 in front of E6ekiel is the 0oor.

)o 0ialogue.

Panel 5: We see the same thing, e7cept a glass has 4ust smashe0

off the 'all, 4ust a bit from E6ekiel.

EJEKIEL:

Go00amn.

PAGE @ panels1:



Panel 1: We see the bar once again 'ith a particular emphasis on

the counter an0 the barten0er. We see that there is no longer a

glass in his han0.

EJEKIEL:

)o' 'h% 0i0 %ou hae to 0o that; 22 )o' I5m gonna hae to kill

%a.

BATE)*E:

"$$$??

Panel 2: We see that E6ekiel has hoppe0 the counter an0 grabbe0

the barten0er in a hea0lock.

Panel 3: (ame thing, e7cept E6ekiel has t'iste0 the barten0er5s

hea0 sharpl% to one si0e.

(#>:

+LK

Panel 4: We see E6ekiel 0rop the no' 0ea0 barten0er an0 pour

himself a 0rink.

Panel 5: We see him 0rink the ne'l%2poure0 beer.

EJEKIEL:

Glup.Glup.Glup.

Panel 6:

We see him thro' 0o'n the glass.EJEKIEL:

)o' that 'as goo0.

PAGE / D panels1:

Panel 1: We are no' outsi0e the bar an0 on the eran0a. We can

see out onto the parking lot. It is raining heail% an0 the 'oman

in 'hite is l%ing on the groun0, her name is Belin0a.)o 0ialogue.

Panel 2: We see E6ekiel 'alk to'ar0s the 'oman.

+AP:

Won0er 'hat5s her 0eal.



Panel 3: We see that he is 'ithin a fe' steps of her.

)o 0ialogue.

Panel 4: We see E6ekiel lean in to look oer her.

)o 0ialogue.

Panel 5: We see a close2up of the 'oman5s face, she seems to be

in fear.

PAGE D panels1:

Panel 1: We see the same close2up on her face, e7cept no' her

e%es are opening.EJEKIEL:

$e%... &iss, %ou alright;

Panel 2: (ame, e7cept her e%es are open full%. (he looks shocke0.

EJEKIEL:

*on5t 'orr% 22 *on5t 'orr% I5m not going to hurt %ou.

Panel 3: We see the 'oman looking up at E6ekiel. We are looking

from the right si0e of them, so 'e see both of them. (he is

smiling no'.BELI)*A:

I kno' %ou 'on5t 22 ou 4ust startle0 me.

Panel 4: We no' see them from the left si0e.

EJEKIEL:

Cust hae to make sure... I mean I ain5t e7actl% the best thing

to 'ake up to.

Panel 5: We see the 'oman once again. (he appears to be laughing.

BELI)*A:True true... But I kne' %ou 'oul0n5t hurt me, E6ekiel.

PAGE D D panels1:



BELI)*A:

)o, I5m fine

+AP:

ou sure are.

Panel 2: We see 2 from the right that Belin0a has fallen for'ar0

an0 in the han0s of E6ekiel, 'ho is hol0ing her up in a

gentlemanl% fashion.

EJEKIEL:

I thought %ou 'ere alright.

BELI)*A:

Well so 0i0 I 22 (o stop gloating.

PAGE panels1:

Panel 1: We see that Belin0a is no' stan0ing unsupporte0, ho'eer

she 0oes look unbalance0 an0 'eak. The rain has stoppe0

EJEKIEL:

(o ho'50 %ou en0 up on the groun0 in the first place;

BELI)*A:

Well obiousl% I fell an0 'ent unconscious, but 22 I mean I 0on5t

kno' W$EE I am or ho' I got here. 22 In fact there5s not much I

remember. 22 I5m not sure but I think I 'as attacke0, rape0.

Panel 2: We see a close2up of Belin0a5s face. $er e%es are 'ater%

an0 her mouth seems to be 8uiering. !erall she looks ulnerable

an0 afrai0.

BELI)*A:

I mean I5m not een 'earing clothes, an0 I neer black out. 22 I

feel 0irt%, so 0irt% 22 I 4ust 'ant to rip off m% skin 22 I 'as

4ust left here, an0 I coul0 barel% 'alk 22 I still feel 'eak.

Those bastar0s??

Panel 3: We see a close2up of E6ekiel5s face. $e looks both

furious an0 'orrie0.

EJEKIEL:

*o %ou kno' 'ho 0i0 this to %ou; 22 *o %ou kno' 'here %ou lie;

BELI)*A !.P1:



I kno'. It 'as onl% a matter of time 22 Those fuckers 22 The% 0i0

this to me??

Panel 4: We see an oerhea0 of both of them. Belin0a is grabbing

her go'n an0 sho'ing it to E6ekiel.

BELI)*A:

The% 0i0 this to me. The% 0i0. Those bastar0s. The% 0i0 it. I

kno'. I kno'.

EJEKIEL:

*o %ou kno' 'here %ou lie, so I can take %ou home;

BELI)*A:

Pierceton, 0o %ou kno' it;

PAGE H / panels1:

Panel 1: We are looking from oer the shoul0er of Belin0a.

EJEKIEL:

I kno' it... I5ll take %ou there.

BELI)*A:

Thank %ou.

EJEKIEL:

But %ou5re gonna hae to tell me 'ho an0 'here 5the%5 are... (o

the% can be punishe0. 22 ou 0on5t 0o that kin0 of shit tosomeone an0 get a'a% 'ith it.

Panel 2: We are looking at E6ekiel an0 Belin0a from the left.

BELI)*A:

+an5t I 4ust forget it; 22 +an5t %ou 4ust bring me home an0 let

me forget about it;

EJEKIEL:

ou coul0, but I50 still go off an0 tr% to fin0 the gu%s 22 An0

I50 probabl% get the 'rong people until I got the right ones 22

(o reall% it5s the lesser of t'o eil. &ake %our choice.BELI)*A:

Wh% can5t %ou leae it; Wh% 0oes it matter so much to %ou;

EJEKIEL:

It 4ust 0oes. )o one 'ho 0oes that 0eseres to lie.



Panel 3: We see a close2up of Belin0a5s face as she hi0es it in

her han0s.

EJEKIEL !.P1:

Cust gimme the names or a 0escription an0 I5ll finish 5em for %a.

I promise the%5ll neer 0o it again 22 not to no one. Cust let me

0o this for %a.

PAGE - panel1:

Panel 1: We back a'a% from the close2up of the preious panel an0

can no' see Belin0a entirel%. $er han0s are at either si0e of her

face. (he appears to be both thinking an0 sobbing.

BELI)*A:... !ka%...

PAGE / panels1:

Panel 1: We no' see the lone bike 'ith E6ekiel an0 Belin0a

'alking to'ar0s it.

EJEKIEL:

(o no' that that5s agree0 upon 22 *o %ou lie in Pierceton;

BELI)*A:

(ort of...

Panel 2: We see them stan0ing b% the bike. Belin0a is touching

the seat staring off in a 0istant ga6e. E6ekiel 4ust looks to be

in 0eep thought.

BELI)*A:

(o 'hat are %ou going to 0o; About the... Well %ou kno'.

Panel 3: We no' see E6ekiel 'alk oer to her an0 touch her face

in a compassionate, reassuring 'a%.

EJEKIEL:

I5m gonna 0o 'hat I 0o best. I5m gonna track 0o'n each an0 eer%

one of them, an0 punish them 22 I5m gonna make sure the% neer 0o

that ile act eer again 22 I5m gonna let %ou see T$E& at their



for E6ekiel on the seat. We can see that the go'n has risen up in

the back, leaing her buttocks isible almost entirel%. We can

also see E6ekiel looking 0o'n.

BELI)*A:

Is that alright;

EJEKIEL:

eah? eah, that5s perfect.

+AP:

Breathe in an0 breathe out Jeke. 22 +alm 0o'n. +alm 0o'n.

Panel 3: We see Belin0a sitting on the bike in the same position

as preious panel e7cept she is no' looking back at E6ekiel,

smiling 'ith more than a hint of se0uction. (he is also tapping

the seat behin0 her.

BELI)*A:

Well 'hat5re %a 'aiting for; Take a seat an0 let5s go for a ri0e.

PAGE / / panels1:

Panel 1: We are no' on the top of a hillsi0e looking 0o'n at

Belin0a an0 E6ekiel 0riing off on the bike.

+AP:

The% are in trouble no'.

Panel 2: We are still on the hillsi0e but 'e hae pulle0 back so

that 'e are no longer simpl% looking at E6ekiel an0 Belin0a. We

can no' see the back of a man to the right. The man is 0resse0 in

a pure black suit an0 pants. $is skin is also a pure black. $e

acts in a er% 0eliberate, proper 'a% as though he kno's no other

'a% of 'alking, talking an0 stan0ing. We can also see that he

appears to be ma0e up of ragge0 fabric 2although it is the po'er

he emanates 2 'hich flo's an0 shakes as though being moe0 b%

some bree6e. !erall he has the appearance of a ghostl%, ma4estican0 strange presence. The man sho'n goes b% the name (ilhouette.

+AP:

I cannot let this happen. It 'oul0 be incorrect. This free 0emon

has become a real threat.



Panel 3: We no' see the front torso an0 face of (ilhouette. $e

has e%es that seem to be ma0e of 'hite light an0 mo0est, pointe0

features. $is han0s hae a pointe0 'a% to them also as the% 0o

not roun0 off but instea0 appear to bluntl%.

+AP:

An0 it is m% 4ob to 0eal 'ith threats.

PAGE // - panel1:

Panel 1: We no' see E6ekiel an0 Belin0a ri0ing off into the sun.

+AP:

All threats.

Hellpath Issue #1 Script

Documents

Transcript of Hellpath Issue #1 Script