Sara Goes To Hell
Page 1 (5 Panels)
PN1 A child’s bedroom. Looking into the room angled down we see two beds and a room decorated for the appetites of young girls; it looks like a furniture store display: immaculate and completely un-lived in. A hard beam of light hits the floor coming from the open door, but most of the light is obscured by a long lanky shadow that squiggles through the whole room. Something (a TEDDY Bear) is being held in the hands of the shadow.
PN2 A small child of 8 years old warily stands outside the room. The TEDDY bear is drawn close to her chest so it is hard to make out the details but note that its face has been crudely stitched together. The girl, SARA, has sandy brown hair that goes to her shoulder blades, and a perfectly round face. She is in her Sunday best, hair tucked under a headband with a nice, big bow. Her face should be expressionless.
PN3 & 4 Same panels side by side. The top of SARA’s head should be split between both of them. We’re looking down on the newly carpeted floor near the edge of her bed. This is in the present.
4th panel - The other half, we see into the past [photo negative]: she is on the hardwood floor, bleeding from a head wound and more damage to the room is apparent [e.g., gouges in the floor], the ripped up TEDDY bear scattered on the floor, its severed arm in her hand.
PN5 A close up of the TEDDY Bear sewn back together with Frankenstein stitching and missing its left eye. Definitely looks worse for wear.
MOM (Off Panel): SARA? We’re leaving now.
SARA: Okay, mom…
Page 2 (7 Panels)
PN1 An open casket is on the edge of the panel, next to a portrait of MARY, SARA’s little sister. A line of people visit the casket, holding flowers. SARA and her parents are next in line, with the grandparents after them. She has dried tear-tracks on her face.
PN2 Angled down, we see SARA’s hand is behind the head of the TEDDY Bear as she sets its down on the pillow. The rest of the casket is filled with flowers.
PN3 At the gravesite, a wide shot of the procession and SARA distance dumping dirt in the grave.
PN4 On the left side of the page filling up the bottom quarter is a panel that contains the wake. Fill it with as many people as you can without being too cluttered. Very few people look like they are emotionally distraught over the recent event except for the immediate family. MOM [middle-aged, pear-shaped, hair pulled into a tight bun] and DAD [shaved head, stocky but not fat] are standing by the staircase.
MOM: Hon, do you know where SARA is?
DAD: She’s up in the bathroom.
PN5 SARA is curled up on the bed her sister used to sleep on and is whimpering.
PN6 SARA abruptly looks up from the bed, terrified.
SARA: …Who’s there?
PN7 The classic under the bed angle. The top of the panel is the bottom of the bed and the object in question is in the foreground, hard to see in the dark. SARA has her face to the floor and her hand under the bed reaching out towards us, towards the object. [She’s upside-down, since she’s hanging over the edge of the bed and looking under.] She is very curious.
Page 3 (6 Panels)
PN1 Over the shoulder view: SARA sits on the floor, closely holding the missing eye of the TEDDY Bear.
SARA: Can you take me to her?
PN2 In the background SARA’s MOM has entered the room slightly. SARA is holding eye out so the reader can still see it and she is looking to her mother.
MOM: SARA. This is not the bathroom.
PN3 Close on the mother, eyes on the button, with a very hurt look on her face.
SARA: (off panel) Look, I found it! It’s what-
MOM: Sugar. We need you to join us… in the real world.
PN4 A small inlay panel of SARA in between panel 3 and 5 of SARA looking slightly sheepish and emotional. She feels guilty but-
SARA: But this is actually important! If-
PN5 Back to the close up of SARA’s MOM, pointing at the doorway but this time instead of hurt she should look pissed.
MOM: Down. Stairs.
PN6 Back to SARA rising from the floor, pocketing the button. She is hunched and indignant.
Page 4 (6 Panels)
PN1 It is late now as we can see in the window in the background that the sky is dark and DAD is sitting alone in the kitchen, smoking; MOM is standing in the doorway. Displace them in the mid ground and foreground. [I pictured this panel stretching across the top of the page and have the dialogue dispersed slightly above and on top of the three panels that will be below them from left to right.]
MOM: This isn’t helping.
MOM: I need you to man up, and su-
DAD: Can you feel, anymore?
PN2 Close up of SARA tying up her boots.
SARA: This is as fast as I can go
PN3 Close up DAD’s hands on the kitchen table, ashtray to the left, and between his hands there’s a baby book opened to the page with MARY’s footprints.
DAD: Because I can’t. Not a thing.
PN4 SARA grabs a shovel from the garage.
MOM: [You can’t - I can’t allow myself to. I couldn’t handle-] [Caption]
PN5 Third person view from above and behind of SARA biking in the dark to the cemetery. In the background we can see the bike outside the gate [there’s enough space between the gate and the ground that SARA could crawl under.]
MOM: [I need to handle it, so I can help her through this.] [Caption]
PN6 SARA is digging at her sister’s grave.
MOM: [I can’t do that without you.] [Caption]
Page 5 (2 Panels + 1 Inlayed image)
PN1 Looking up at SARA we can see that she has opened the casket and should have a shocked look on her face.
TEDDY: Hurry [Caption]
PN2 From above and looking down we see a staircase that leads down into the coffin and down into darkness.
SARA: How do I get down?
TEDDY: Stay close to the wall [Caption]
PN3 Taking up the whole page we see SARA descending a twisting staircase on the top left and below her is jet black darkness.
SARA: I’m not sure about this, TEDDY.
TEDDY: It’s not too late to go back if you don’t want to see her. [Caption]
Page 6 (4 panels)
PN1 SARA descends the impossibly steep spiral stairs. She clings to the wall, in apparent darkness
PN2 She emerges from a grave: it and the surrounding graveyard are identical to the one where her sister is buried, but there are piles of flowers strewn about. Some are fresh, but most are rotting.
PN3 She begins walking, cautiously. Her knees are already badly scuffed.
PN4 SARA [lower right] spots MARY [upper left] hunched over in a mausoleum. The mausoleum itself has an overhanging roof, supported by Hellenic columns. A row of tombstones separates them.
Page 7 (4 panels + 1 inlaid image)
PN1 A young, trim businessman falls onto a cross-shaped tombstone in front of her. He lands on the small of his back, and is bent in half.
TEDDY: we need to move
PN2 [inlaid] SARA’s eyes tilt up to the sky
PN3 Clouds of ash churn, stripped with the colors of sunset. Bodies and boxes rain down. A box is midway through its descent.
PN4 A few yards in front of SARA, the coffin explodes into splinters upon impact: it sounds like thunder. The female body has been tossed out and is still a couple feet in the air, her long hair streaming out behind her.
PN5 A low angle view: SARA’s off, running towards the mausoleum. A handful of people in different orientations and various stages of descent are in the panel.
Page 8: (5 panels)
PN1 SARA slides into the mausoleum, next to MARY. TEDDY is standing next to MARY, stroking her hair.
PN2 TEDDY looks up at SARA expectantly.
PN3 She hands him his eye.
PN4 TEDDY walks out from under the awning. SARA, with a slight smile, is trying to get MARY to stand, lifting her by the shoulders.
SARA: Hey, Mariposa -
PN5 Foreground: TEDDY has undergone a major growth spurt: he’s about the size of a Kodiak, and his standing on his hind legs; he’s in the middle of swatting away a falling corpse. Background: MARY has risen to a kneeling position, with SARA still bent over, helping her up.
SARA: It’s time to go home.
Page 9: (4 panels)
PN1 The sisters are walking under TEDDY’s left arm. His head is tilted up toward the sky. MARY is next to TEDDY, she’s holding SARA’s hand and using it to wipe her eye; her other hand is locked to TEDDY’s leg. SARA’s other hand has a firm grip on TEDDY’s arm.
PN2 TEDDY and SARA lift MARY over one of the bodies littering the ground. One of MARY’s stocking-clad feet clears the obstacle, but the other one kicks the person’s jaw.
PN3 Overhead shot: the downpour continues, with a heavyset man’s body in the upper-left corner. MARY’s grave, the way home, is in sight in the lower left corner. The trio is negotiating their way between a narrow gap of tombstones and bodies.
PN4 The aforementioned body strikes TEDDY from behind: he, Mary and SARA are pushed forward.
PN5 SARA’s POV: falling into the grave, she sees TEDDY and Mary pined above her. MARY’s hand is reaching out; SARA can see her own hand reaching back.
Page 10: (6 Panels)
PN1 View of a row of suburban houses from the opposite street. A squad car is parked in front of one of them.
PN2 MOM on the couch, looking lifeless. Her head is slightly cocked towards the door. She’s still in her bathrobe, and is holding a mug of coffee.
SFX: Knock Knock Knock
PN3 MOM standing in the doorway, furious, glaring downward at the person before her on the front porch,.
PN4 SARA looking back up at her, bruised, cut and filthy. Tears are streaming down her face.
PN5 SARA embraces her mother from the porch.
SARA: She’s gone.
PN6 They embrace on the porch, their shadows lengthened by the sunrise. A third shadow, MARY’s, is next to them, outside of the embrace.
MOM: Let it out, sug. Mumma’s here.