Clockwork Angels: Comic Script (4 page)
Read Clockwork Angels: Comic Script Online
Authors: Kevin J. Anderson
Tags: #comics, #steampunk, #scripts, #Fantasy, #Rush, #Clockwork Angels, #BOOM!, #Neil Peart. Watchmaker, #Anarchist, #Owen Hardy, #steamliner, #Adventure, #Geddy Lee, #Alex Lifeson
The Stranger laughs.
STRANGER
Aren’t you glad you’re free from all that?
PANEL 4
The steamliner’s big steel wheels touch down on the glowing blue coldfire rail with a shower of sparks
SFX
Ssskkkkkeeeeeeeeeeeeeeeeeeee
PANEL 5
Stranger, looking concerned
STRANGER
Almost there … The Regulators don’t like stowaways. Better not let them catch you!
PANEL 6
The Stranger stands perilously at the edge of the open doorway, like a skydiver about to jump. We can see trees, landscape rushing by. Owen looks alarmed, lost.
OWEN
But what do I do?
STRANGER
Get off the steamliner … before it’s too late!
PAGE 17
PANEL 1
Then the stranger just LEAPS OUT into the open air. Owen yelps, reaches out a hand. We can see the landscape whizzing by.
OWEN
Wait!
PANEL 2
Owen rushes to the edge, peers back down the track, sees the Stranger at the siding, picking himself up and brushing himself off. He is already far away.
PANEL 3
The Stranger, now much farther away, darts furtively into the bushes.
PANEL 4
The big steel wheels strike the coldfire rail again, sending even more sparks now, more dramatic
SFX
SSSKKKRREEEEEEEEEEEEEEEEEEEEE
PANEL 5
Small panel, Owen gulps, screwing up his courage.
PANEL 6
Owen crouches, LEAPS
PANEL 7
Owen roughly tumbles into the bushes, leaves go flying
PAGE 18
PANEL 1
Full page spectacular. Owen stands up, brushes debris off his sleeve. His back is to us, and he looks VERY SMALL—the steamliner has rolled on toward the horizon, but the view is FILLED with the incredible, exotic nearby skyline of Crown City, with the big Watchmaker’s tower in the city center, buildings all around. This should be like Dorothy and co. as they are approaching the Emerald City. See book for descriptions, but we should have the details of Crown City worked out as prep.
OWEN (SMALL VOICE)
On my way at last …
PAGE 19
Similar to the prologue (pages 1-2) these next four pages are a separate section, all from the Watchmaker’s POV. To differentiate, I would like a completely different background color between panels, a bleed … possibly a blueprint with random lines and designs drawn in the background, or the beige with line drawings of gears, as on the CD booklet.
PANEL 1
The Watchmaker’s Tower closer in, about the top third.
PANEL 2
Closer still, to a small window beneath the giant clock face. I see a hinged window swung open to let in air.
PANEL 3
Inside the Watchmaker’s office/laboratory/workshop. One chemistry table has beakers and chemicals on it, flasks, test tubes filled with glowing blue coldfire. There is a chalkboard filled with equations, as well as geometrical circles and lines. Blueprints hang down, mostly unrolled but curling at the edges. NOTE: make sure one of these blueprints shows the bolt-and-nut blueprint design from the Rush album
Counterparts
.
Remember, the Watchmaker’s symbol is the honeybee, so it should appear somewhere.
PANEL 4
Small panel. The Pedlar’s distinctive stovepipe hat hangs on a peg on the wall. A hand hangs a matted gray wig on an adjacent peg. There is one more empty peg to the side.
PANEL 5
Small panel, the hand now hangs the eyepatch on the last empty peg.
PANEL 6
Big panel, a Regulator arrives in the office, black uniform, crisp Prussian design, every detail perfect. Clicking heels, extremely officious. He has a sheaf of folders tucked under his arm, and it looks as if it would take a crowbar to pry them loose. We can perhaps show the arm and part of the shoulder of the Watchmaker at the edge of the panel, but don’t reveal until next page.
REGULATOR
Watchmaker, sir. It is 10:30 A.M. Time for your briefing. I am pleased to report that all is well, all is as it should be, and all is for the best.
PAGE 20
PANEL 1
Now we reveal the Watchmaker for the first time; see novel for description. He stands by his desk, which has many stacks of papers and folders. A tray with a pot of tea, a cup on a saucer, a little jar of honey, a honey dripper.
WATCHMAKER
As it always is.
PANEL 2
The Regulator delivers his sheaves of paper, setting them on the Watchmaker’s desk.
REGULATOR
Our long-range military ships have completed another section of the ordered grid mapping in our search for the Wreckers. They continue to destroy valuable alchemical shipments.
WATCHMAKER
The search has to be done properly, according to the pattern. And when the Wreckers are found, we must descend upon them with irresistible force.
PANEL 3
The Watchmaker picks up the dossiers, glances through them. We can see curled up peacefully on the floor near his desk is a spotted Dalmatian dog, seemingly asleep.
WATCHMAKER
I am much more concerned about the Anarchist. He has struck before, and he will strike again.
WATCHMAKER
Ah, that man had so much potential …
PANEL 4
Close-up of the Regulator, mostly rigid like a Buckingham Palace guard, but there’s a hint of unease on his face.
REGULATOR
If only he wasn’t so unpredictable …
WATCHMAKER
That is the point, Captain.
PANEL 5
The Watchmaker takes a seat, pours a cup of tea from the tray on his desk as the Regulator turns to leave like a windup soldier.
WATCHMAKER
That will be all.
REGULATOR
All is for the best.
PAGE 21
PANEL 1
The Watchmaker at his desk picks up another dossier from a neat stack on the other side (not one of the files the Regulator delivers). He sips his cup of tea.
PANEL 2
Close-up of the file. It says OWEN HARDY—BARREL ARBOR
CAPTION
What sort of effect could one young man have?
PANEL 3
Watchmaker unfolds a piece of paper (like old accordion-fold computer paper). The paper is covered with decision trees, branches after branches after branches.
CAPTION
A single person in a perfect world is little more than an identical grain of sand or a tiny pebble alongside the road.
PANEL 4
He unfolds more of the paper, 3–4 connected sheets, all of them a labyrinth of decision trees.
CAPTION
Yet, if a grain of sand got into the eye, or a sharp pebble lodged in a shoe, it could cause tremendous problems.
PANEL 5
He unfolds and unfolds and unfolds so that this is one very very long sheet of intricate decision trees, and he peers down at it.
PANEL 6
Close-up of his finger on the last decision tree on the last page, a branch point on which is marked OWEN HARDY
WATCHMAKER
This could be very interesting …
PAGE 22
PANEL 1
Watchmaker stands by the still-motionless, sleeping Dalmatian.
WATCHMAKER
Come, Martin … time for your walk. On schedule.
PANEL 2
Small panel, close-up, Watchmaker opens a small hinge on the dog’s spotted back, and he holds a vial of glowing blue liquid in his hand, pouring it inside a cavity of the dog. This is our first hint that Martin the Dalmatian is actually a clockwork dog.
WATCHMAKER
You were always such a good dog, so well trained, so well behaved.
WATCHMAKER
But like a bad clock, biology always runs down …
PANEL 3
Watchmaker’s hand winds a tiny key in the dog’s back, winding him up.
WATCHMAKER
Until we fix you up and make you good as new.
PANEL 4
Watchmaker and faithful dog, with tail wagging, walk away from us out the door of the Watchmaker’s office.
PANEL 5
The Watchmaker enters a brick-lined chamber, the master clockworks of the tower (see Hugh Syme painting of the clockwork). The dog stops and sniffs at something (image should be exactly the same position of the Dalmatian on the cover of Rush album
Signals
).
WATCHMAKER
Time for the Clockwork Angels to do their performance for the people …
PANEL 6
Watchmaker looks from behind, smiling, as one of the doorways opens, and the Clockwork Angel has emerged from an alcove like a glockenspiel, but we don’t see it, just part of the statue, from behind, and there is an ethereal glow around its head, like a halo. It’s dazzling, and he has a sense of wonder on his face.
WATCHMAKER
One of my best creations …
END OF ISSUE 1
***
ISSUE 2
PAGE 1
FULL PAGE (WITH ONE INSET)
Owen standing in amazing and majestic Crown City, which is like an amazing, clockwork/steampunk version of downtown Manhattan. He has his back to us, or perhaps is turned slightly sideways so we can see him in profile. There are people on the streets, traffic with odd steampunk vehicles. Buildings tower around him (not modern buildings, but classic European architecture … like something you might see in Prague or old Berlin, but with an art deco twist). Clock faces are VERY prominent (and the clocks should have alchemy symbols instead of numbers, like on the album cover art). Fancy, colorful zeppelins cruise overhead. Metal frames and struts should emphasize copper. Keep in mind that the Watchmaker’s symbol is the honeybee, and should appear frequently.
Owen, though, is a rube from the country. His clothes look homespun and out of place from the more stylish duds of the other people on the street. Through coloring and perspective, our eye is drawn to him, even with all this marvelous stuff going on, but the overall effect should make him look very small and overwhelmed in the big city.
CAPTION (ALL FROM OWEN)
Crown City
CAPTION
Home of the Watchmaker
CAPTION
Home of the CLOCKWORK ANGELS …
CAPTION
I left my small, comfortable village of Barrel Arbor and my responsibilities as assistant apple orchard manager.
CAPTION
I came here through unexpected circumstances, by accident … but I was following my dreams.
CAPTION
So I suppose it couldn’t possibly be an accident.
CAPTION
My father often said, “Thinking big—that’s your problem, Owen Hardy.” But I can’t stop thinking big.
INSET
Close-up of Owen’s face, wide-eyed, amazed, grinning.
CAPTION
Still, in a place like this, how can I not feel SMALL?
PAGE 2
PANEL 1
These first few pages are colorful splashy panels of all the wonders Owen sees, with just a hint of darkness (as noted below). Country boy in the big city for the first time.
Owen walks past fruit vendors’ stalls, trinkets, incomprehensible steampunk and alchemy gadgets on display.
CAPTION (OWEN)
So much to see. Everything is new … colorful … interesting. It makes my eyes and my imagination hurt—but in a good way.
CAPTION (OWEN)
I’m lost inside a treasure chest of wonderful things.
PANEL 2
Two workers in red jumpsuits (like the ones on the cover of the
Moving Pictures
album) are using a long-handled scrub brush and a bucket to scrub graffiti on the side of a building, the prominent Anarchist symbol (an “A” in a circle). We can see what it was, though partly washed away. Meanwhile, three stiff, straight-backed Regulators in pressed blue Prussian-style uniforms and tricorn hats march past like windup soldiers. (The graffiti and the stern Regulators are a hint of the cracks in the perfect facade, but Owen doesn’t see it.) Note, Owen does not have to be in the panel.
CAPTION (OWEN)
This city is kept so clean, everything in perfect order.
REGULATOR CAPTAIN
Make way for the Regulators!
SCRUBBING WORKMAN
We’ll get this cleaned up right quick, Captain!
SECOND WORKMAN (MUTTERS)
Bloody Anarchist …
PANEL 3
Owen stops at a Newsgraph Office, a much fancier version than the little office run by Mr. Paquette in Barrel Arbor. Carved in stone above the door are the words WATCHMAKER’S OFFICIAL NEWSGRAPH OFFICE #37, with the honeybee symbol next to it. A man stands in the doorway, reading aloud from a tickertape, like a town crier.
NEWSGRAPH MAN
Today’s official pronouncements from the Clockwork Angels! Take heed, and take heart!
NEWSGRAPH MAN
*Ahem* “Trust in perfect love, and perfect planning. Everything will turn our for the best.”
PANEL 4
In front of a bookshop, Owen stops by a table full of identical books, all thick volumes, all with the honeybee symbol stamped on the cover. The bookshop has a sign that says WATCHMAKER’S OFFICIAL BOOKSHOP #17. Owen picks up one of the books. A bookseller grins at him.
BOOKSELLER
The Official Autobiography of the Watchmaker, lad. Updated edition.
BOOKSELLER
Includes events as recent as last week.
PANEL 5
Small panel. Owen looks at the book, open to the title page. His expression is wistful.
OWEN
My mother had a lot of books …
OWEN
Someday I’ll sit down and read all about how the Watchmaker created the Stability, made Albion safe and prosperous.
PANEL 6
Another trio of Regulators marches by as Owen glances up at them. These Regulators show that there’s a lot of security here.
OWEN
But for now, I have the rest of Crown City to see …
BOOKSELLER
All is for the best.
PAGE 3
PANEL 1
A frumpy woman is trying on hats spread out on a street table in front of a haberdasher shop, preening in front of a display mirror. She is stocky, wearing a black coat, trying on a black pillbox hat. NOTE—draw her to look like the weeping woman on the front of the
Moving Pictures
cover. The store front behind the display table has the sign “WATCHMAKER’S OFFICIAL HABERDASHER #11.” The haberdasher is an old man with wrinkled face and wispy beard. He extends a bright scarlet hat toward her.
HABERDASHER
Those styles are fine, Madam, but THIS one matches your outfit best … this lovely BLUE hat.
WOMAN
Ahh … blue?
PANEL 2
Close-up of the haberdasher’s face to show white, milky, obviously BLIND eyes surrounded by wrinkles.
HABERDASHER
Oh yes, Madam. The Watchmaker chose me for this profession. It is my particular skill.
HABERDASHER
Trust me in this, you look beautiful.
PANEL 3
The frumpy woman turns and starts to walk away, adjusting the scarlet hat on her head, looking very happy. Owen is in the panel, watching, curious.
WOMAN
Very well, all is for the best.
PANEL 4
Owen is startled as the blind haberdasher turns toward him and extends a finger, pointing not quite at Owen.
HABERDASHER
And you, young man—a porkpie hat, I think. Yes, a porkpie hat.
OWEN
I … do need a hat. I left mine back home in Barrel Arbor.
PANEL 5
Owen takes the gray porkpie hat, two shot of Owen and the old haberdasher, whose wrinkled eyes are completely closed.
OWEN
But … you’re blind. How did you know I need a hat if you can’t see?
HABERDASHER
Because I expected you to come. How else could I do my business?
PANEL 6
Owen places the cap on his head, looks proud and pleased, even cocky.
OWEN
I think it’s just right.
PAGE 4
PANEL 1
A crowd of people on a side street, gathered there to watch some kind of show. Owen pushes his way, trying to see what they are all looking at. In front of the crowd stands a dapper man in a black bowler hat. (Note, he is the man on the cover of
Hemispheres
.)
OWEN
What is it?
DR. RUSSELL
Presenting, the inaugural performance of Dr. Russell’s Fabulous Clockwork Percussor!
DR. RUSSELL
Let us make a joyful noise!
PANEL 2
Spectacular panel showing the robotic steampunk drummer, wisps of steam creeping up from various joints and pipes. See “The Percussor” 3D animation from concerts, made by Tandem Digital.
PANEL 3
Tiny panel, Dr. Russell’s hand turns a crank to release steam.
MULTIPLE PANELS
Nick, see the animation. Several panels showing the wild robot drummer, large panels, small panels, to demonstrate the frenzy. (I wish I had an extra page to work with, but fill the rest of the page with the performance.) At some point in the crowd, either in
Panel 1
above or here, include the father and two kids who are on the cover of
Moving Pictures
.
PAGE 5
PANEL 1
Crack in the glass case, and steam gushes out.
PANEL 2
Dr. Russell frantically twists knobs, shutting the thing down.
DR. RUSSELL
Oh … oh! Sorry, a little too energetic.
PANEL 3
The Percussor slumps as Dr. Russell grins at the crowd. Owen is staring, delighted.
DR. RUSSELL
We will be back for an encore as soon as I make a few minor adjustments and repairs.
OWEN
Amazing!
PANEL 4
Owen grins, walking down the street toward a set of stone arches, like the ones on the front cover of
Moving Pictures
. Regulators stand guard in front of each arch, but these Regulators wear red uniforms.
CAPTION (OWEN)
Everything is so incredible! How could even the Clockwork Angels be more marvelous than what I’ve seen already?
PANEL 5
Big panel. Owen approaches Chronos Square, which is behind the three arches. He looks up at the Watchmaker’s Tower (seen in Issue 1), but the high doorways on the tower (where the Angels emerge) are closed up tight.
CAPTION
But I’ll bet they are …
PAGE 6
PANEL 1
Owen marches up the stairs to the grim-looking red Regulator.
OWEN
Is this Chronos Square? When is the next performance of the Clockwork Angels?
REGULATOR
Do you have a ticket?
PANEL 2
Owen, baffled, looks out of place.
OWEN
A ticket?
REGULATOR
You should have been issued a ticket.
PANEL 3
The Regulator stares forward, stony faced, unimpressed as Owen pleads with him.
OWEN
Then how do I obtain a ticket? I’ve come a long way, and all my life I’ve wanted to see the Clockwork Angels …
REGULATOR
I’m not allowed to say. You should have been issued a ticket.
PANEL 4
Looking more intimidating, two other red guardsmen step up, shoulder-to-shoulder with their companion. Owen tries to peer between them through the arch.
OWEN
Is there a way I can just have a look at the Square? I’ve heard so much about it.
SECOND GUARDSMAN
Not without a ticket.
PANEL 5
Three guards standing together, implacable.
PANEL 6
Owen walks away, head down, dejected.
OWEN
Maybe I’ll try back tomorrow …
PAGE 7
SECTION HEADING—Make use of the Anarchist symbol, of “A” in a circle.
Nick, crank up “The Anarchist” from the
Clockwork Angels
CD to get prepared for this. I would like all the panels in this section (pages 7-9) to have bold black frames, maybe like a slash from a stick of charcoal.
PANEL 1
Close-up, old-fashioned spectacles with black lenses on a man’s face. Think of Gary Oldman in “Bram Stoker’s Dracula.”
CAPTION (ANARCHIST)
Some people see the world through rose-colored glasses.
CAPTION (ANARCHIST)
I have no use for that.
PANEL 2
Pull back to show the Anarchist’s face, wearing the black-lensed spectacles
PEDLAR (OUT OF PANEL)
What do you lack?
PANEL 3
Farther back to show that the Anarchist is standing at the opening of a dark alley, looking out into a busy Crown City street. Very close, walking past, is the Pedlar with his funky steampunk cart (which we saw in issue 1; he is also the Watchmaker in disguise).
PEDLAR (KEEPS CALLING OUT)
What do you lack?
ANARCHIST (MUTTERS)
What do I lack?
PANEL 4
Anarchist’s profile as he drops back into the alley shadows; he is silhouetted, entirely black. Captions are scattered like haphazard thoughts around the panel.
CAPTION (ALL FROM ANARCHIST)
Freedom
CAPTION
Flexibility
CAPTION
Spontaneity
CAPTION
The right to make my own decisions
CAPTION
The right to make my own mistakes … no matter who they hurt.
PANEL 5
The Anarchist shucks out of his street clothes in the alley shadows to reveal that he is wearing one of the red worker jumpsuits we’ve seen before.
ANARCHIST
What do I lack? What do
they
lack? Those sheep don’t even know …
PANEL 6
Small panel. The black-lensed spectacles are tossed onto the heap of clothes in the alley.
PAGE 8
PANEL 1
Wearing his red jumpsuit and carrying a metal toolbox (like a plumber’s toolbox, for instance), the Anarchist strolls up to a wooden door at the base of a tall clocktower, one of many in Crown City. He looks different without his black lenses, without his street clothes, but obviously the same person.
PANEL 2
The Anarchist presents a work order to an officious little clerk sitting at a desk (which has a clock on it) in a small office.
CAPTION (ANARCHIST)
It requires great effort and attention to keep a city running in perfect synchrony …
ANARCHIST
Reporting as ordered to check the clocks and adjust as necessary.
CLERK
Of course. Go on up.
PANEL 3
