hell from beyond

8/7/2019 Hell From Beyond

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Hell From Beyond Issue #1 (of 6)-Another Day in Paradise

By

Carrick Esquivel


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Panel Description Dialog

Page 1 (five panels)

1.1 We see a wide shot of the

night sky filled withcountless stars glisteningdown from the heavens.

BOBBY (OP)

When it gotta show up, pa!?

THEODORE (OP)Any minute now, son.

1.2 We have the same shot onlywith a small bright lightsuddenly dotting acrossthe sky and it appears tobe blinking. This light isclearly the famous Russiansatellite, Sputnik 1.

THEODORE (OP)There, look!

BOBBY (OP)Wow!

1.3 We finally see a close up wideshot of Bobby and Theodorelooking through a telescope inthe backyard. The backyard issurrounded by white picketfence. In the background,you see the Johnson familyhome with a female silhouettestanding in front of the backdoor. The neighboring housesand power lines are also

visible in this shot. Bobby isa 10 year old boy with brownhair that is neatly combed.He wears a striped t-shirtand is looking through thetelescope in sheer excitementand curiosity. Like most ofthe characters in this story,he has a very pure, innocent,and wholesome look to him.Theodore is over his shoulderwearing a buttoned down whiteshirt with a striped red tie.

He has a very clean cut andchiseled look to him. Hesmuch like actors Carey Grantand Jimmy Stewart though likeBobby, he has brown hair. Hehas his hand on Bobbys backand giving Bobby a warm smilethat basically says "I toldyou so".

BOBBYGee whiz Pa, you werent kidding!They actually put a satellite inspace!

THEODOREThey sure did, son. At this rateby the time youre in college,wed probably be living on themoon!


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1.4 Bobby and Theodore leave the

telescope and head toward thedirection of Marys voice aswe see Sputnik continue to dotacross the night sky.

MARY (0P)

Dinners ready!

1.5 We have a front shot of Marystanding at the entrance ofthe door. She is carefullytaking off her oven mittens.Visually she looks like thetypical blond housewife youwould often see in 1950sadvertisements with her neatlydone hair, apron, heels, etc.To get a better idea on whatI mean, look at the January1957 edition of John Bullmagazine or Julianne Moorescharacter of Cathy Whitakerin the film, Far From Heavenwho captures the feeling Iwant to give to Mary which isthat of the wholesome 1950shousewife. However as thestory progresses, these seemly

stereotypical characters growinto something else entirely.Anyway, in this shot we seeBobby and Theodore comingtoward the door. Bobby runsto the door with excitementwhile Theodore walks in avery casual manner. Bobby andTheodores backs are turned.

MARYWith all of your space talk, thatgreen bean casserole you insistedon me making was about to turninto an ice cube.

THEODOREOh honey...


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Page 2 (six panels)

2.1 In this shot we see Mary

and Theodore sharing a kiss.Marys arms are wrapped aroundTheodores shoulders as he hashands around her waist. Maryis standing one foot with herother foot in the air. Thisscene has a very classic movieposter feel to it. Bobby isoff panel. In the background,we see a table holding a vaseand a family portrait hangingon the wall.

2.2 We have a close up shot ofMary and Theodore simplylooking at each other in loveand comfort. They have pulledaway from kissing.

2.3 We see a shot of them turningto face Bobby who is lookingdisappointed. In this shot,we see the backs of Mary andTheodores heads. We also seethe foot of the stairs in the

background.

BOBBYAh ma, we were right in the middleof seeing that Spotnut thing.

2.4 We see a close up shot ofTheodore laughing in amusementwhile looking at Mary whowarmly smiles at Theodore.

THEODOREIts pronounced Sputnik, son andbesides after a long day at work,Im just craving for a piece ofyour mothers delicious chickenpot pie.

2.5 Mary lowers to Bobbys levelof height and puts her hand

gently on his shoulder.She has a comforting andwarming expression on herface. Bobby is looking downin disappointment.

BOBBYAw shucks!

MARYOh sweetie, I just dont want yougo to bed without a hot meal inyour stomach. Now could you getyour sister for me, please?

BOBBYWell, alright.


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Page 2 (six panels)

2.6 In this shot we Bobby about

to run up the stairs to Kara(Bobbys sister)s with himturning his head around.The stairs are located inthe room next to the doorwhere Theodore and Bobbyentered into the house. Maryis gently having her handscrossed her one another ontop of her apron while havinga sympathetic yet joyfulexpression.

MARY

Im sorry about the Sputnikthing, honey. Ill make it up withdessert tonight.

BOBBYGosh ma, really!?

MARYReally!

BOBBYThanks, ma!


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3.1 Mary continues to look up in

the direction the stairs withan expression of "what morecould I want" or that of love,pride, and comfort.

3.2 Theodore puts his hand on hershoulder with an expressionsimilar to that of Marys.He also looks in the samedirection. However I shouldnote that Marys expression isfar more noticeable.

MARYTheyre truly wonderful arentthey, Theodore.

THEODOREThey sure are, Mary.

3.3 Mary begins to walk to theleft side of the house,in the direction of thekitchen. Theodore followsMary. Theodore is stretchinghis arms. Mary is also puttingback her oven mittens and islooking down at them.

THEODOREHa! Between work and showing Bobbythat satellite from the Reds,I forgot to ask about your day,dear.

MARYOh, it was nothing special.

3.4 We have a wide side shot ofMary entering the kitchen

with Theodore right behindher. Mary gently tries to fixher hair while her eyes areslightly closed. The kitchenlooks like the typical 1950scontemporary style kitchenwith a small table in thecenter of room. A window withflower patterned curtains overthe sink. The kitchen has avery welcoming feel to it. Onthe refrigerator, a small notesaying "Smile! This is a daythe Lord has made!" is held bymagnet.

MARYI just went to the store to get

ingredients for dinner, vacuumed,waxed the floor...I told youhoney, it was nothing special.


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3.5 Mary opens the oven and get

the green bean casserole out.The shot is from inside theoven. Mary is reaching in theoven while only Theodorestorso is shown. In the oven,we also see a chicken pot piealmost about to be done and atray of chocolate chip cookiesthat were only recently put inthere.

MARY

Though I did go Janets Tupperwareparty but it was nothing but agossip gathering.

THEODOREFigures.


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4.1 We see from a front angle or a

front shot, Mary setting thegreen bean casserole on top ofthe stove. Theodore is aboutto put his finger in it whilegiving Mary a very seductivelook. However, he does it in asomewhat humorous way.

THEODORE

Oh if only I could just samplesome right now.

4.2 We have a front shot of Marylaughing while putting herhand on Theodores cheek. Herhead is facing Theodores.Theodore presses his lips onMarys neck. Mary has her eyesclosed in this panel.

MARYStop it, Teddy!

4.3 Mary and Theodore soon stop,face, and look each otherdeeply at each others eyes.Mary looks at Theodores lightbrown eyes as he looks ather strikingly beautiful blueeyes. This is a side view bythe way.

4.4 We continue have a side viewof Mary looking at Theodorewith a smile of thankfulnessand appreciation. However itis not just simply that. Sheis somewhat emotional about itas if she is about to cry injoy.

4.5 Mary gently lays her foreheadon Theodores shoulder whileher eyes are closed. She

still is smiling while thishappening. This is the samekind shot as the previouspanel


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5.1 We see Kara in her bedroom.

She is the 17 year old teenagedaughter of Mary and Theodore.She is sitting on her bedwith her legs crossed whiletalking on her crosley phonewhich is on her night stand.Like her mother, Kara is ablond. She has her hair ina ponytail held by a ponytail with a short fringe orbangs. In visual terms, shelooks very much like Budsgirlfriend played by Marley

Shelton in Pleasantville. Shehas pink silk scarf, pinkpoodle skirt, and blouse.For better reference, lookat how many of the teenagegirls in Pleasantville lookedlike. Kara has an expressionof thankfulness and ofcasualness. She isnt gigglinglike a school girl or anythinglike that. Another focus ofthis shot is a picture frameon Karas dresser is a framed

picture of her as a adorableand innocent little girl(8 years old) wearing herlittle apron and having herhair in pig tails, with hermother in the kitchen happilyholding a freshy baked pie. Inbackground, we see scatteredtextbooks (mainly for homeeconomics), a phonograph,a small plate of half eatenchocolate chip cookies anda half drunken glass of milknext to a lamp on her nightstand, and posters of teenidols such as James Dean andElvis Presley on the wall.

Caption: --You dont know how

lucky I am, Theodore.

KARAThanks, Mike for letting mego out with you and the guystonight. I know how risky it isconsidering...well...you know howmy folks are.--


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5.2 Panel 1 and 2 are split screen

due to this being a phoneconversation. In panel 2,we see things from Michaelsend of the phone which ishooked up to the wall. He isstanding in what looks likean old grimy auto repair shop.He is the main focus on thisshot. Like the other panel,another focus of this shotis a slightly bent picture ofKara wearing leather jackethappily standing in front of

a cadillac next to Michaeland some of his other friendswhich Ill go into greaterdetail next. They are ina pose like theyre havinga good time as opposed toposing for a group photo.This shot is supposed tosymbolize how much Kara haschanged from being a "sweetlittle innocent girl" to whatconsider to be a "juveniledelinquent". This picture

is on a table alongsidegasoline tanks, wrenches,screws, empty soda and beerbottles, and dirty cleaningtowels. In the background,three greasers are fixing orin better terms "souping up"a 3-window Deuce coup. Onehas a light brown hair and istall and slightly muscular butstill has a lean feel to him.His name is James. Anotherhas dirty blond hair whilelooking lean and thin. Hisname is Alex. Another one isAsian and has a dark turquoisebandanna wrapped around hisforehead and has a ying-yangon the back of his jacket.This guys name is "Jack". Twoother greasers are watchingthese guys fixing the car,one appears be quite young(around the age of 13 or 14)while other one is older (18)

has greased brown hair andis smoking. Their names areJimmy and Butch. The reason

MICHAEL

--No sweat, Kara. Besides eversince that nosebleed, Jamisoncalled the cops on us for standingoutside his shop. The guys havebeen pretty ape. We really neededsomething to cheer us up. So thankyou.--

KARA--Funny, I was gotta say thesame thing. Being in housewifetraining camp has made me just asfrosted.--

MICHAEL--Home Ec? Jesus H. Christ, howcan stand that crap?!--

KARA--Play Little Richard records inyour head. It does wonders.--

MICHAEL--Ha, Ill remember that next timeMr. Brown lectures me in historyfor not falling for his paranoid

bullshit. I mean that littledebate we had about if Commiesare gotta attack us with that hunkof junk in the sky last week wouldsell tickets.--

KARA--Tell me about it.


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5.3 We are finally cut the bottom

of the page where three panelsare left. We have up shot ofKara on the phone.

KARA

Listen, do you and the guys wannameet at Janas soda fountaintomorrow since my dad has to workand my mom....

5.4 Kara looks down inembarrassment, sadness,concern, and regret whiletalking on the phone. Michaelis speaking through the phone.

KARA...well, you know my mom.

MICHAEL (ELECTRIC)Yeah sure. At noon fine?

KARASure.

MICHAEL (ELECTRIC)Okay. See ya there.

5.5 We have a close up shot ofKara turning around whilestill holding the phone.Her expression is that ofsurprise.

BOBBY (OP)Hey sis, dinners ready!

KARAOh...um...coming, Bobby!


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Page 6 (six panels)

6.1 We have a front view of the

family sitting in the diningroom. Theodore is sitting atthe end table as Kara sits onthe left side of table whileBobby sits on the right. Maryis between Theodore and Karaputting the chicken pot pieat the center of the table.Other items at the table arethe green bean casserole, aplate of asparagus as wellas biscuits, a gravy boat,a container with a stick

of butter, salt and peppershakers. The plates andsilverware are all properlyin order as everyone hastheir napkins on their laps.Everyone has their handsgrasped together. Bobby showsa great deal of excitement.Theodore looks at Bobby whilesmiling.

BOBBY

Gosh ma, that looks delicious! CanI have the biggest...?

THEODOREWow, now hold your horses, son.Before we begin eating, we have tosay grace.

6.2 Mary sits down at the other

end of the table and theybegin to say grace.

THEODORE

Lord, thank you for everything youhave given us from this food tothis house to this loving family.We now in return for your lovegive you our everlasting faith.Amen.

EVERYONEAmen.

6.3 Theodore begins servingthe family the chicken pot

pie. Mary begins talking toKara. Kara looks at Mary withconcern and regret while Maryhas a look of innocent yetoverly excited curiosity andenthusiasm.

MARYHow was school today, honey? Learn

anything new in Home Economics?

KARAMom, please, I dont want to talkabout it.

MARYSweetie, I want to know. I mighteven give you some....


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Page 6 (six panels)

6.4 We close up to Karas face

whos expression is thatof frustration but also ofinsecurity and worry.

KARA

Mom! Look... Im sorry but justdont want to be...stuck in akitchen for the rest of my life.

6.5 Theodore while serving Bobby apiece of chicken pot pie looksat Kara with anger. Mary onthe other hand looks at Karawith concern, shock, sadness,and surprise. Bobby also looksat Kara at her with concernbut also fear.

MARYH...honey, what are you saying?

THEODOREKara, you havent been hangingout with that gang of delinquents?That sounds like something theywould want you to say! I tell you,one of these days those punks aregoing to end up in jail.

6.6 We have a close up shot (upto her shoulders of Kara) whois smiling in a comfortingand warm way but also in aslightly spunky manner.

KARAYoure overreacting, dad. Michaeland the rest of them arentcriminals or anything like that.


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7.1 Kara points her fork in a

sarcastic and joking mannerwhile raising her eye brow atTheodore.

KARA

Besides dad, grandma told me allabout some of the crazy things youand your fraternity friends didback in the day.

7.2 Theodore puts his hand on hisface as if he trying not tothink about an embarrassingmemory while laughing.

THEODORE(Sigh) Dont remind me!

7.3 Everyone except Mary laughs.

Even Theodore begins to laughwhile having his hand on hisface.

EVERYONE

Haaahaaaha!

7.4 We have of a close shot ofMary looking her daughter insadness, disbelief and regretat what Kara said earlierabout not being a housewife.She considers it to be a signof her daughter wanting todistance herself from her.

7.5 We know have a close up shotof Kara looking down in regretbut also with a look of "Imsorry but that is how I reallyfeel."


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8.1 We have a shot of Sputnik 1

in orbit over the Earth withthe logo of the Soviet Unionclearly shown on it as lightfrom the sun beams upon it.This shot is similar to thebeginning shot in the animatedfilm, The Iron Giant.

SFX

BEEP

8.2 However, a massive shadowlooms over the satellite,blocking the suns lightfrom shining upon this mightyscientific achievement ofman. Both figuratively andliterally, overshadowing it.

SFXBEEP

8.3 A beam of violent light fromoff panel beams down on thesatellite and completelydestroys it. There are nosound effects for theexplosions due to it beingspace.

8.4 We then see a shot of a huge

silhouetted disk moving towardNorth America from space.

8.5 We then pull back and seeseveral silhouetted disksheading toward that direction.


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9.1 This panel makes up half of

the page, we see the streetoutside Mary and Theodoreshome. It is a perfect Saturdaymorning in the suburbanparadise of San FernandoValley. All of the housesare surrounded by whitepicket fence and have a veryuniformed look to them. Thereare several oak trees on thestreet. The street feelsvery much like the streetswe often see in many of the

1950s sitcoms such as "Leaveit to Beaver, "Father KnowsBest", or the neighborhoodof Pleasantville in the film,"Pleasantville" or Milwaukeein "Happy Days". We see theiconic boy on his bicyclethrowing the newspapers atthe door steps of everyoneshome. This panel is bright,sunny, and happy. It shouldreally feel like a NormanRockwell painting. This is

essentially the "calm beforethe storm". We do see figuresin the distance which I willdescribe and the reader willsee in better detail in thefollowing panels. This scenegives a sense of irony givenhow these people are unawareof the horrors that a waitthem in the future.

Caption: The next day

9.2 We then see a medium shot the

milkman carries bottles ofmilk from his truck whilehe tips his hat to a womanstanding at the front porch.


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9.3 We see a medium shot of a

policeman is trying to geta cat out of a tree and an oldwoman who looks concerned aswell as thankful and anotherpoliceman watch next to theirpatrol car. The policeman nextto the old woman is slightlylifting his cap in amusementlike "its just another day onthe job, mam".

9.4 We now long shot little girlrunning and her friend ridingher tricycle down neighborhoodsidewalk joyfully. While aman waters his lawn in thebackground.

9.5 We have a shot of a cleancut teenage couple smilingat each other while walkingpass a little boy trying tosell lemonade at his homemadestand.


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10.1 Theodore is putting his coat

on and is about the walk outthe door. Mary kneeling toBobbys height with her handon his right shoulder and herwaving her finger at Bobby.She isnt angry. She is morealong the lines of gentlyreminding him and being theoverprotective mother she is.Bobby is wearing a plasticastronaut helmet while holdinga toy Buck Rogers/ FlashGordon looking laser gun. His

back is turned facing Mary.

MARY

Now honey, I want you and yourfriends to play safely and dontbe too loud when playing "spacerangers" this time.

BOBBYBut ma, we were trying to protectSector 184 from the martians! Theywere equipped with atomic deathrays!

MARYSure, sweetie. Now remember to be

home by six so that you can getcleaned up before dinner.

BOBBYAlright.

10.2 Bobby runs out the door wheretwo of his friends, Timmy(left) and Billy (right) andtheir dog, Buddy are waitingoutside on the sidewalk. They

also are wearing "spaceman"gear while their yellowLabrador Retriever happilywaits alongside them. Maryis talking to Theodore witha look of gentle concern.Theodore is putting on hisfedora hat from his hanger.Theodore has a very calm andrelaxed expression despitehim heading off to work in ahurry.

TIMMYCome on, Bobby! The martians aretrying to invade Venus!

MARY

Honey, I thought you were going tohave another piece of toast?

THEODOREIts perfectly fine. I need to getto work anyway.

10.3 We have a s ide view ofTheodore and Mary kissing.Its not like the kiss earlierwhere it was a classic movieposter kiss. This is morealong the lines of a kissyou would give to someonewhen they are about to leavesomewhere in a rush. Kara isin the background entering theroom.

MARYGood-bye, sweetie. Have awonderful day at work!

THEODOREDont worry, honey. I will.


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10.4 We have a front shot of Kara

about to leave the door afterher father. She has a lookof excitement. Mary has alook of concern and a bit ofsadness. She has her handsin a position as if she wasgoing to stop and ask Karasomething.

KARA

Mom, I gotta meet my friends atJanas soda foundation. Dontworry, Ill be home before sixand...

MARYKara....

10.5 Kara stops and turns aroundwhile at the door. We dontsee Mary in this shot, justof her hands. Kara has anexpression of curiosityconsidering that her motherstopped her so quickly.

KARAYeah mom?


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Page 11 (four panels)

11.1 We h ave a wide s hot d own t o

their torsos of Mary lookingat Kara with an expressionof concern and comfortingreassure. Kara is looking downand trying to hold back herfrustration toward how hermother doesnt understand herwhile trying to get out thedoor. Her back turned againstMary.

MARY

Sweetie, you know me and yourfather want the best for you.

KARAIs this about last night? Lookmom, Im not trying to sound rudebut... I just dont want to be ahomemaker.

MARYBut honey, its not what youthink. Its actually quiteenjoyable and....

11.2 We have a shot of Kara turningaround quickly and snappingin frustration and anger ather mother. Mary is shockedand almost terrified by herdaughters sudden outburst.

KARA (BURST)Damn it, mom! Dont youunderstand!? I dont want be likeyou! I NEVER want be like you!

11.3 We have a front shot of Kararunning out the door on theverge of tears. Mary stands at

the door shocked and sadden athow her daughter feels abouther.

11.4 We then have a close of shotof Mary looking down in regretand sadness


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Page 12 (six panels)

12.1 The milkman waves good-bye

to a woman standing at thefront of her house holding abottle of milk who is about toreturn back inside her house.He carries several bottlesof milk and heads toward histruck.

12.2 We have a front shot of themilkman looking up into thesky while having his hand beover the visor of his hat toavoid the suns glare with asmile of his face.

12.3 We t hen s ee a shot o f a smallflying disc approaching in theclear blue sky.

12.4 We h ave a close s hot o f themilkmans face continuing tolook up into the sky. Howeverin this shot, he is smiling inamusement.

MILKMANWell Ive never thought Id seethe day, when I finally saw oneof those darn flying saucerseverybody keeps talking about.

12.5 We then have a clear shot wideshot of the flying saucerapproaching much closer towhere it is clearly visible.These saucers shouldnt looksilly and laughable like manyif the flying saucers of themovies back then nor shouldthey look grungy and rundownlike many attempts to makeflying saucers "gritty" in

many modern mediums. Theyshould look truly menacingas if they are harbingers ofdeath. They should look cool,scary, and bad ass but stillfeel like this was built by anadvanced civilization.


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12.6 We then immediately cut to

a close up of the milkmandropping glass milk bottlescausing them to shatter andbreak on the ground.

SFX

KRRKSHHH!


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Page 13 (three panels)

13.1 We t hen h ave a wide s hot o f

the saucer landing in themiddle of the street at themilkman watches in horror atthe sight. Other people suchas the the teenage couple alsowatch the slight in awe and interror.

13.2 We then have a front shotof a beam come down from thesaucer as several silhouettesof what appears be hulkinghumanoids beginning tomaterialize.


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13.3 Again a front shot the

creatures rushing out ofthe saucer as if they aredetermined to accomplish somesort of mission or operation.They rush out of the saucerin a similar way how troopsmight rush out of a militaryhelicopter. The creaturesseem to be rushing out inall directions.However one ofthem stands in the middle ofscene, facing directly towardthe milkman. Its as if the

sight of this human fascinateshim. These creatures appear tobe demonic looking reptilianhumanoids. Very much in lineof the Locust soldiers inthe Gears of War games. Theyhave rather large heads withno noticeable outer ears ornoses, but only small openingsor orifices for ears andnostrils. Where their eyesare supposed to be appears acompletely black orbit (the

part of the skull that holdsthe eyes and his muscles)with a white dot within thedarkness of it as their eyes.Their eyes are very muchlike that of the deathclawsfrom the Fallout games. Theirheads have a very wet and oilytexture to them. The part ofthe head where the brain ishave several veins visibleand wires from their suitsthat are hooked up into it aswell. The wiring goes aroundthe their heads as if theywere veins as well. Thoughtheir mouths are closed,its snarling teeth and jawsare more than visible withoily saliva drooling outbetween its teeth. Almostlike how the Martians in theoriginal Mars Attacks cardswere. Think of their faces asresembling that of a demonic

version of a stereotypicalGrey alien on steroids. Theyall appear to be wearing a


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14.1 The milkman continues to look

at the sight in sheer horror.Remember these aliens looklike something none of thepeople at the time would thinkof when they thought of aliensand flying saucers. This aliento them looks practicallylike a demon. Seeing anythingout of the ordinary in thisneighborhood would shakepeople up (this takes placeduring the height of the ColdWar) and seeing this demonic

looking spaceman would beyondfrighten them.

MILKMAN

Dear God in...

14.2 The alien looks at the milkmanblankly but also with a lookas if it is looking intohis very soul and beyond.Due to the creatures teeth,gums, and jaws being exposed,the sight is even morefrightening. The creatureisnt smiling or looking like

a rapid dog but more like whenyou see the teeth and jaws ona human skull being exposedor as I mentioned before theMartians in the original 1962Mars Attacks which this seriesis heavily inspired by. Salivaslightly gushes out betweenits teeth.

14.3 We t hen s ee a s hot o f thealien lifting its left arminto the air. Its expression

is as if it is gulpingsomething down its throat.The wiring of the aliensbiomechanical suit thatsurrounds the aliens armbegins to twist and swirl aselectricity crackles throughit.

SFXFWP

SFXFWP

SFXCHUOOOM

SFXKZZZZZ


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14.4 The alien points in what

appears to be an energy cannondirectly at the milkman. Thisis a close up shot of theenergy cannon. The muzzleof the canon is blazingwith energy like a solarflare. However the flamingenergy inside of it seemsto swirl like a cyclone asif it preparing a release anextremely powerful blast.

SFX

FLLLUUUU

14.5 The alien solider blasts themilkman with its energy canon.The aliens expression iscold and stoic. However withthe milkman, this expressionis that sheer unimaginablepain and suffering. Thisis a science fiction horrorstory. This scene as wellas the next shouldnt bemindless gore or be funnybut completely horrifying.This storys mood is that of

a loss of "innocence". Themassive energy blast burnsand melts the flesh, clothing,and organs of the victim asif it were a slap of butter.Though this is an energyblast, there should be goreand blood splattering in alldirections. Make this scenedisturb the reader.

SFXKRAAKOOOOM

MILKMANAAAARGRAH!!


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15.1 We h ave a front s hot o f the

woman who lives in the housethat the milkman was front ofand was holding the bottle ofher recently delivered milkearlier, beginning to walk outthe door and onto the porch tohear what the loud noise was.She looks like the typical1950s suburban homemaker.However, she shouldnt lookexactly Mary.

HOUSEWIFE

What was...

15.2 The exploded blood and gorefrom the milkman splatters onthe woman. She is completelycaught off guard.

SFXSplat

SFXSplat

HOUSEWIFE...


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15.3 She screams in sheer horror.

She shouldnt look like aB movie damsel in distressscreaming. It should lookterrifying and hauntingfor the reader to just lookat this women screaming inhorror. The woman turns paleat what is truly a hellishsight. However dont make herlook to over dramatic to whereit looks silly and over thetop. Remember this was duringa time when violence and gore

were incredibly tabooed inentertainment unlike now andthis was during the height ofthe Cold War where Americasworst nightmare was for themto be invaded by the SovietUnion or to some, be attackedby martians. Again I cantstress enough how this is notan exploitative story wheregore is simply used for shitsand giggles. This is a storyabout this horrific and purely

nightmarish event happening inthis perfect plastic suburban"utopia" and how these peoplewho have been living thislifestyle react to this abruptand violent change in a worldthat they dearly love.

HOUSEWIFE

AAAHHHH!!!

15.4 The alien turns and looksat the woman in disgust andannoyance and aims its energycannon toward her. This time,

the amount of energy blazinginside the canon is vastlygreater than the amount thatwas before. The cannon swirlswith powerful fiery energy andbegins to charge.

SFXFFFLLLUUUUUUU


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15.5 The alien blasts the woman

and her home with its cannonand completely annihilatesit. Charred wood and glassexplode in all directions.The creature watches thehouse crackle in atomic firewith hypnotic awe. Howeverthe creature still looksthreatening in this shot atthe same time. Smoke, ash,and flaming pieces of paperhauntingly fly with the autumnwind as this happens.

SFX

KRRRAAKOOOOMM

SFXCROOOOM

15.6 We t hen h ave a c lose upshot of the teenage coupleI mentioned earlier across thestreet looking at the sight ofthe alien and burning ruins ofthe house in absolute terror.As the ash, charred paper, andsmoke breeze all around them.

TEENAGE BOYOh my God!!

TEENAGE GIRLAIEEEEEEEEE!!


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16.1 Panel 1- Bobby and his friend,

Timmy are wearing theirastronaut helmets holdingtheir "laser" guns close toThem. They hide behind a treewhile one of Bobbys otherfriends, Billy who wearingsomething similar is hidingbehind a tree nearby with hisdog. The boys though theylook like they are takingthis seriously as if theyare really space rangers ona Saturday morning television

serial while at the same timeare having fun with it. Theyare playing in a playgroundnearby where other childrenin the background are happilyplaying. Houses are clearlyseen in the background withseveral spread out groovesof trees. Sally, a littlegirl who is friends withthem is also playing theirgame of "Space Rangers".She basically looks like the

piggy tailed innocent littlegirls who would see 1950sadvertisements and familyphotos. She is standing ontop of the slide pretending tobe the stereotypical damsel indistress that you see on manypulp science fiction magazinecovers and movie posters.

BOBBY

Be careful, Timmy. The martianshave now brought a Big-O-Beamwith them. Freeing Princess Sallyof Venus is sure gotta be a lotharder than we thought.

TIMMYTheir flying saucers and giantrobots were our biggest problemlast time, Captain Johnson. Weneed to destroy those before weget the princess. That way theBig-O-Beam wont be much trouble.

SALLYOh earth-men save me! Save me!They have now unleashed theirgiant ants upon me!

16.2 Bobby talks to Billy who isstanding behind the tree next

to them.

BOBBYBilly, you and your trusted

space-hound, Galactoes can savethe princess from those hulkinghorrors! Take out the martianguards before its too late!

BILLYGot it, captain!


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16.3 Billy excitedly smiles at his

dog who is panting with joyand excitement as well.

BILLY

Ready, boy!?

BUDDYWOOF!

16.4 We h ave a front s hot o f theyoung boy leaping out frombehind the tree and points his"laser" gun at the directionwhere the martian guard issupposed. His dog happilyfollows with him.

BILLYFreeze, you four-armed fiend!

16.5 Same shot of the once eagerlittle boy dropping his"laser" gun and turning whitein horror. His dog growls inthe direction where the beyondfrightened boy is looking at.

BILLY...

BUDDYARRRRR!


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17.1 An alien solider similar to

the one we saw earlier looksdown at the child and his dogwith an expression as cold asdeath.

17.2 Buddy begins to growl moreviolently then before as Billycontinues to be paralyzedin fear at the sight of thealien. He is so terrified thathe begins to shed tears andstart shaking.

BUDDYAAARRRR!!

17.3 The alien begins to formits left arm into a lot lessbulkier weapon then a canon.Electricity crackles throughthe constantly twisting wiresand metal while it forms aweapon resembling some sort ofrifle.

SFXFWP

SFXFWP

SFXKZZZZZAMM

17.4 Buddy lunges toward the aliento viciously attack it and

protect his owner. Billy triesto stop his dog before he doesbut fails. Billy is terrifiedat what might happen to hisbeloved dog.

BUDDYGRAUUR!!

BILLY (BURST)BUDDY!! Dont...

17.5 We have a wide front shot ofthe monstrous alien pointingits morphed rife that wasonce its arm at the bravecanine leaping toward it.The creature simply looks at

the dog with no remorse orempathy.

BUDDYARRR!!

SFXFLLLUUUU


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Page 18 (five pages)

18.1 The soulless alien warrior

blasts the dog clean throughits stomach with its pulsebeam rifle. The dog is howlingin pain as the alien warriorkills it while its offthe ground. This scene isobviously homage to theclassic and infamous MarsAttacks card that is #36in the series, "Destroyinga Dog". However this sceneshould have more emotionalimpact and terror as Billys

face is soaked in tears ofpain and horror at seeing his"best friend" is slaughteredbefore his eyes. He has hishand out like "No, dont killhim". This should come off ashorrific and painful. Everysingle death and gore scenein this series should haveemotional meaning and terrorin which you feel the sameemotions that these charactersare feeling and most of the

time, its of pain, suffering,sadness, and sorrow. Howeverit should still be very eyecatching like "its gory andsick but you cant leave youreyes off of it!"

SFX

BBHHZZZAMMM

BUDDY (BURST)ARRWOOOMM!!

BILLYNOOOO!!

18.2 Bobby is paralyzed in terrorat sight while Sally andTimmy runs away screamingand crying! Most of the otherchildren do the same thing.

18.3 SALLYMommy!!


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Page 18 (five pages)

18.4 We have a wide shot of Sally

who is running to her motheras fast she can. Her faceis drenched in tears. Hermother is also running towardher fanatically. She is alsocrying in fear at the horrorthat happening around her.She is beyond worried aboutthe safety of her daughter.Her arms are open wipe, readyto grab her daughter as quickas possible. However, a largeshadow of a circle looms over

them.

SALLYS MOTHER

Sally! Oh thank...

18.5 A bright stream of lightbeams through the poor woman,causing her to burst in flamesand her very flesh to meltoff her skeleton. Horriblyat the same time she wasabout to pick up Sally. Sallyexplodes to even more tearsand screams in terror andemotional pain at seeing her

mother be charred in front ofher. No one is or will be safefrom the pain and horror thatthese aliens will bring uponthis earth.

SALLYS MOTHERARRRRRAHHHHH!!

SALLY (BURST)Mommy!!!

18.6 We h ave a shot o f Bobbybeginning to look up into thesky in terror as other kidsas well as adults run to theirhomes. He is looking at thehuge


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Page 19 (one panel)

19.1 We h ave a splash p age o f a

huge flying saucer (which isabout the size of a stadiumbaseball field) blastingdeadly rays of light upon thepeople, houses, and fleeingvehicles below. A slightlyscattered line of other flyingsaucers seem to following thisone in the distance.


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Page 20 (6 panels)

20.1 Mary is looking at a framed

photograph while sitting ona chair in the kitchen. Shelooks at the photograph insorrow, pain, and regret.

20.2 We are revealed that thephotograph is a black andwhite photograph of Kara whenwas a little 8 year old girlhappily helping her motherstir a bowl of brownie batterin the kitchen. This scenerecreates the cover of ModernHomemaker, the 1945 MealtimeMagic Edition. Bobby when hewas a baby is in a high chairin the background.

20.3 We now flashback to thatmoment in time. This shotis in black and white. Karais smiling at her motherfull of joy, excitement, andhappiness. Mary has her handon Karas back and smiling

at her daughter with the veryemotions.

YOUNG KARAOh mommy when I grow up, I wannabe just like you!

20.4 We t hen c ut to a close u pshot of Mary continuing tolook at the picture but afterthinking of that memory, shebecomes even more depressedand broken.

20.5 Mary turns around in shockand alarm at she hears a

loud explosion of one ofthe aliens energy canonsand people screaming. She isdropping the picture in thisshot.

SFXKRRRAAKOOOOMM

SFXCROOOOM

WOMAN OUTSIDE (OP)AAAHHHH!!!


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Page 20 (6 panels)

20.6 We t hen h ave a c lose up

shot of the picture frameshattering on the ground. Ametaphor of how this happy"utopia" will soon become atheater of pain and suffering.However this is also a subtleprelude on how Mary and Karaare going to abandon the dogmaof this society to survive theworld hauntingly creeping inthe horizon.

SFX

KRASSSSSHHH


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21.1 We have a shot of Mary running

to the door fanatically inorder hear what is going onoutside considering the loudscreams of horror and pain.Police sirens are also heard.All of the glass such as thewindows in Marys house beginsto shatter and break.

SFX

BBHHZZZAMMM

MAN OUTSIDE (OP)AAAARGRAH!!

WOMAN OUTSIDE (OP)Please... oh God!!

SFXERRRRMMMERR

21.2 Mary crouches and tries tocover herself from the piecesof debris falling from theceiling as her home beginsto shake and tremble. Vasesbreak and pictures hung on thewall begin fall off. We heara humming noise passing abovethe house. Its obviously oneof the flying saucers.

SFXHHHHHHUUUMMM

SFXKRRSH

21.3 We have a front shot of Maryfinally opening the door and

trying to collect herself. Sheis looking down on the ground.

21.4 We then have a front shot ofher looking up and turningsickly pale and having a lookof pure and absolute horror.She is utterly paralyzed infear. When the reader looksat her expression, they shouldhave chills down their spinebecause she is that TERRIFIEDat what she is seeing.

21.5 We finally close up on hereyes which begin water in fearand terror.


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Page 22 (one panel)


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Page 22 (one panel)

22.1 We end this issue with Mary

looking at her comfortablelittle street be turnedinto a showroom of ourdarkest nightmares of painand suffering. This pageis practically a "WheresWaldo" of human suffering.All of the cute little 1950siconography we saw earlieris now utterly destroyed.We see the twisted brokenbicycle of the newspaperboy who is now charred on

the ground. Two cars havecrashed into each other withtheir drivers being flung onto the hood of the car. Thetwo police officers we sawearlier are trying to shot atthe alien menaces. Howeverone of the alien soldiershas morphed gun turrets onits shoulders and fires atthe officers. Most of thehouses are either destroyedor crackling in flames. Blood

and smashed human organsfrom the corpses the alienshave brutally slaughteredflow into the storm drains.One alien warrior attemptsto take the teenage girl wesaw earlier as she is kickingand screaming. Another alienwarrior impales her boyfriendwith an electrically chargedblade it morphed. The alienwarriors show no remorseor empathy or even emotiontoward any of the horrificthings that they are doing tothese innocent people. Flyingsaucers hover in the sky andcontinue to do what theywere doing in the previoussplash page. The flaming andmutilated corpses of oncebeloved neighbors and friendslitter the street. The skyand air is filled with ashand smoke. In other words, the

gates of hell have opened onthis neighborhood and haveturned this once American

Next Months Issue- Paradise Lost


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Page 22 (one panel)

hell from beyond

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