Saint Babylon: The Prolouge

Godsend: The Descension
Issue One
Prologue

Page One
Three Panels, all wide like a wide screen film.
Panel A
It's a rainy night on a rural highway.  We see a car's headlights coming at us from down the road.

Caption 1:  Dr. Pratt, this is Dr. Moore... Oh um I'm fine.  How are you?  Listen, I'm in Hollow...

Panel B
A side view of a blurry black sedan flying past us.
     
Caption 1: ... Oh um, No not at all Doctor, I was just calling to let you know that I don't think I will be able to drive through the night.  This storm is just...

Panel C
The car has passed and now all we can see are two tail lights glaring back at us.
       
Caption 1: Yes Doctor I understand that but this storm...

Page Two
Three Panels, all wide like a wide screen film.
Panel A
This shot is from the drivers p.o.v.  We see his dashboard which is lit up in green, he has one hand on the steering wheel, the clock reads 9:55, the windshield is a waterfall of rain, and the head lights are staring into nothing but rain and black.
     
Moore (off Panel) 1: Look... I'm going to have to stop at a motel or something.  I can't drive in this weather.

Panel B
Finally we get a profile shot of the driver.  Jayson Moore is not a particularly good looking man but he's not particularly ugly either. He has dirty blond hair, and horn rimmed glasses. He is about 35 years old. He is holding the cell phone up to his right ear with his shoulder and with his right hand, he is programming a gps for the nearest motel. His left hand is on the wheel
       
Moore 1: Yes I'm only about fifty miles away, I can still make it to the hospital by tomorrow night...
       
Moore 2: I'm telling you, I've never seen rain like this before.

Panel C
We see Moore now as if we place a camera on the driver's side dash.  He looks irritated and is concentrating on driving and programming the gps. We can also see now that his back seat is stacked with boxes.
       
Moore 1: Oh yes Doctor, I'll be careful.  Talk to you tomorrow.

Page Three
Panel A
Same shot as 2-C.  Moore is tossing the cell phone into his passenger seat and is finally looking up at the road.
       
Moore (Mumbling) 1: Oh man where am I?

Panel B
Same shot as 2-A but there is an odd shaped red-white lump in the middle of the road, and the clock now reads. 9:56

Panel C
Same shot as 2-B. Moore is all tensed up. He has both hands on the wheel, arms straight, and his foot is slamming down on the brake.
       
Moore 1: MOTHERFUCKER!

Page Four
Panel A
A frantic hospital room.  A last supper-Esq shot. Moore is Christ, holding up two defibrillator paddles with 2 nurses at each side of him.  Instead of the supper table, there is the body of a girl on a gurney.  She is bloody and beaten, unrecognizable.  Moore has her blood on his ruffled suit.
       
Caption 1: One year ago         
       
Moore 2: Clear! Let's try this again. Come on baby don't you do this to me.

Panel B
Same shot as 4-A. Moore has the paddles on the girl's chest. Her frame is arched upward slightly.
       
Nurse at the monitor 1: Still no pulse!

Panel C
Moore tosses the paddles across the room and all four nurses look up at him, startled.
     
Nurse 1: Dr. Moore, we have to call it.
     
Moore 2: Shut up!

Page Five
Panel A
Moore begins to preform CPR on the woman, tears streaming down his face. Three of the nurses back away from the table, the other has her hand on Moore's shoulder.
       
Nurse 1: Doctor? Please.
       
Moore 2: ohgodpleasedon'tgopleasedon'tgobabyineedyouholdon

Panel B
Moore stands before the dead body of his only daughter, expressionless.

Panel C
Moore slams the door open and storms out of the room.
       
Moore 1: You fucking call it!

Page Six
Panel A
A close up of the tires of Moore's car screeching to a halt. Water splashing everywhere.

Panel B
An overhead shot of the car stopped in front of the thing in the middle of the road.  The car is about four inches away from it.

Panel C
We are staring at the thing now from Moore's P.O.V. All we can really see is a mess of white sheets. The sheets are covered with big red stains.  Out from the bottom of the mess Moore can see a hand with red painted finger nails poking out.
       
Moore 1: Jeezzus Christ

Page Seven
Panel A
Back to the overhead view. Moore is out of the car, hand still on the open car door.

Panel B
The shot is as if we are standing behind the thing in the road, crouched behind it, looking up at Moore.  Rain is splashing down all around him. He is soaked. Everything is illuminated by his car head lights.

Panel C
Moore crouches down and begins to lift the sheet off the body.

Panel D
Suddenly the red painted hand grabs Moore by the wrist.

Page Eight
Panel A
We are now in the office of Warren James, Moore's chief of medicine. I don't care how the shot is set up.  Moore and Warren are both in it. Warren is leaning on the front of his desk and Moore is pouring himself a cup of coffee.
                 
Caption 1: Nine Months Ago
       
Warren 2: We're all just wondering how you're holding up, Jayson, that's all.
       
Moore 3: I'm fine, Warren. As long as i keep busy, I'm fine.
       
Warren 4: That's what we need to talk about.

Panel B
Moore sits with his coffee in a chair in front of the still standing Warren.
       
Warren 1: I don't think those few weeks off were enough time for any man to get over the death of his daughter.
       
Warren 2: We understand...
       
Moore 3: You understand what Warren?
       
Warren 4: We understand what you're going through Jayson. Don't you act like you're the only one in this hospital to have experienced tragedy.
       
Warren 5: Two months. At least. Then after a psych evaluation you can continue work at this hospital.
       
Panel C
Moore stands in outrage knocking over the chair he was sitting in.
       
Moore 1: Goddamn it Warren, as my friend i thought...
     
Warren 2: I'm not your friend right now, I'm your Goddamn Chief of Medicine, and you will not sway me from this. Now have a good vacation Doctor and try to get your head back on your shoulders.

Page Nine
Panel A
Moore throws the sheet from the girl's face. She is probably beautiful, with long, jet black hair, and burning, half closed, green eyes, but you really can't tell because she is covered in blood.
       
Moore 1: Oh my god!
     
Christabella 2: Help me...

Panel B
Moore begins to wrap the girl back up, tightly.
       
Moore 1: Listen to me. My name is Jayson Moore. I'm a doctor. I'm going to get you to a hospital.  I need you to hang on for just a little while.  OK sweetie?

Panel C
Moore lifts the girl and carries her to his car.  The shot is tight on Moore and the girl. Rain pours down on both of them.
       
Christabella 1: No Please I... No hospital.

Page Ten
Panel A
Moore has gently sat the girl down in the passenger seat. He is frantically checking her over.

Panel B
The girl pushes him away from her.
       
Christabella 1: Please stop it!  Please I'm okay!  I just want to go home!

Panel C
Moore, still out side of his car, starts dialing on his cell phone.  He is walking around the front of the car to get in his side.

Page Eleven
Panel A
Moore is now in the car.  The girl has reclined the seat and is lying on her side facing out the passenger window.
       
Moore: Yes my name is Jayson Moore. I'm about 17 miles south of...

Panel B
The girl shoots straight up and starts screaming.  Moore cringes and holds the phone away from his ear.
       
Christabella 1: I SAID TAKE ME THE FUCK HOME!!!!

Panel C
The Girl goes back to her original position.  Moore puts the phone back up to his ear.
       
Sound F/X 1 (Coming from the phone) : KSHHHHHHHHHHH
       
Moore 2: Hello! Hello?

Panel D
Moore looks down at the girl inquisitively.  She is still on her side looking out the window.
       
Christabella 1: Please. I have to go home.
       
Moore 2: Okay.

Page Twelve
Panel A
The panel is black. The s/fx of the ringing telephone is in big bold letters across the middle of the panel.

Panel B
An overhead shot of a table top. The table is completely clean except for two items: A half gallon of Wallace single malt scotch and a fully loaded .38.

Caption 1: A couple of weeks ago.

Panel C
We are now looking in to the beaten down eyes of Jayson Moore.  He has about a months growth of facial hair and looks as if he has not slept or showered in days.  He is pouring the scotch into a shot glass.

SFX 1: The ring of the telephone

Page Thirteen
Panel A
Moore slams the shot back.  His head is tilted backward, the glass is up to his lips, empty.

Panel B
He slams it down on the table and begins to lift the gun.

SFX 1: RRRRIIIINNNNNNGGGGGG

Panel C
A tighter shot on Moore who now has the gun up to his temple.

Caption 2: You've successfully reached Jayson and Bree Moore but we are not here at the moment so tell it to the beep.

Page Fourteen
Panel A
We are tighter now on Moore's face.  Tears start to roll from his eyes as he pulls back the gun's hammer.

Panel B
These next few panels are all pretty much the same.  The only difference in them is Moore becomes more and more relaxed as he listens to Pratt's message.

Pratt 1: Jayson Moore, this is Crispen Pratt, I'm a doctor in Redbridge, Arkansas. We are building a moderately sized hospital here and are extremely understaffed two  weeks prior to opening.

Panel C
       
Pratt 1: Our mutual friend, Warren James has told me of your situation and i am a firm believer in second chances.  So Dr. Moore I'm calling to offer you a job at the new Redbridge Hospital.  If you'll accept my offer please get in touch with me within the week.

Panel D
Moore begins to lower the gun from his head.

Pratt 1: I am looking forward to hearing from you Doctor, and i greatly hope you'll jump at the chance to start over.  Start fresh.

Page Fifteen
Panel A
A rough looking Jayson Moore and Warren James are sitting at a table in the middle of a small diner.  Jayson is leaning on his elbows, his face in his hands.  Warren is looking at him over the menu.

Warren 1: Jesus Christ Jay you look like shit.
       
Moore 2: Thank you Warren, you're so kind.

Panel B
A waitress walks up to the table, pen and pad in hand.  Moore never looks up at her.  Warren is extending the menu out to her.

Waitress 1: What can i get for you fellas today?

Warren 2: I'll have the lunch special.

Moore 3: Just some coffee.

Warren 5: He'll take a cheese burger, everything on it, with that coffee.

Waitress 6: It'll be right out guys.

Warren 7: Thank you.

Panel C
The waitress walks away.  Moore looks up at Warren, a spark of anger on his face.

Moore 1: I got a call from some doctor in Arkansas, offering me a job.

Warren 2: And if you know what's good for you, you'll take it.

Moore 3: Come on Warren, Arkansas?  What the hell am i supposed to do in butt fuck Arkansas?
Warren 4: You need this Jay and you know it.  Get out of this city for awhile.  Go somewhere you can really make a difference.  You really think Bree wants you just wasting away like this?

Page Sixteen
Panel A                   

Warren 1: I've known Crispen Pratt since med school.  He's a good doctor and he's doing some great things in that town.
       
Warren 2: I've already made all the arrangements for you to go.  We've got you a place to stay, and I've rented you a car for the drive down.  It's all taken care of.

Panel B

Warren 1: Just one year Jay, that's all I'm asking for.

Moore 2: Save it Warren.  I decided to go the second I heard Pratt's message.

Panel C
The waitress returns to the table with the plates of food, setting them down in front of Warren and Moore

Warren 1: I'm not paying for that burger by the way.
Moore 2: No need to get cheap on me now, Warren.

Page Seventeen
Panel A
Christabella still lays in the same position, staring out the window.  Jayson is looking over at her.  Rain is still falling down all around the car.

Caption 1: Present

Moore 2: So what's your name?

Christabella 3: Christabella.

Panel B
Moore returns his gaze back to the road

Moore 1: You want to tell me what the hell happened to you tonight, Christabella?

Christabella 2: I fell.

Moore 3: You fell?
       
Christabella 4: Take the next right.

Panel C
A pulled back over head shot of Moore pulling into the long unpaved driveway to a very strange house.  the house is sprawling and huge with cone shaped rooks and spires.

Page Eighteen
Panel A
Moore, parked in front of the house, is out of the car, hand still on the open door, gawking up at it, impressed and getting soaked.

Moore 1: Jesus Christ.

Panel B
He runs to the passenger side of the car and opens Christabella's door.

Panel C
With his arm around her waist, he helps her up the to the door.  Christabella is holding the sheet tightly around her.

Page Nineteen
Panel A

We are now on the inside of the house looking at the doorway in which Jayson and Christabella stand.  Jayson's arm is still wrapped around her and his other hand is shaking out the wetness in his hair.  The interior of the house has an old world decor.  it is done up in the style of 15 century explorer.  the front room is big and in the center of the room is a big couch.

Christabella 1: I can walk fine, you don't have to help.

Panel B
With out stopping or turning to Moore, Christabella heads up the stairs.  Jayson just stands in the doorway, looking up at her.

Christabella 1: Please stay.  I need a shower then you can drive me to the hospital. Just... please stay with me.

Moore 2: Don't worry I'll be right down here.

Panel C
A tight shot on the back of Christabella's legs as she goes up the stairs.  The sheet comes down to the back of her knees and blood is running down from the end of the sheet, down her calves to her achillies heel down to the hard wood floor leaving a trail of blood droplets all the way up.

Page Twenty
Panel A
As Christabella reaches the door of the shower room the sheet drops.  We are still tight on the backs of her legs, blood still running down.  the sheet lay in a bloody heap behind her.  Christabella begins to sing Brahms lullaby.

Christabella 1: Good evening good night.  With roses adorned,

Panel B
A tight shot on Christabella turning the hot water nozzle for the shower.

Christabella 1: With carnations covered, slip under the covers.

Panel C
A tight shot on her bloody feet stepping into the shower.

Christabella 1: Early tomorrow, if God wills, you will wake once again.

Page Twenty one
Panel A
The words of Christabella's lullaby slither and seep under the bathroom door and down the stairs.

Caption 1: Good evening, good night. By angels watched,

Panel B
Jayson Moore sits dead center on the couch which is dead center in the room which is dead center in the panel.  He sits wide eyed, almost hypnotized as the lyrics scroll above his head.

Caption 1: Who show you in your dream the Christ-child's tree

Panel C
We now get tighter on Moore's face.  His eyes are becoming heavy and his stature becomes more laxed.

Caption 1: Sleep now peacefully and sweetly, look into dream's paradise.

Panel D
Tighter now on Moore's face.  Eyes heavier.  Moore is falling into sleep.

Caption 1: Sleep now peacefully and sweetly, look into dream's paradise.

Panel E
Black

Page Twenty two
Panel A
Close up on Jayson's eye.  It is wide and watery and being held open by two fingers on the lids.

Panel B
We pull back now.  Christabella is straddling Jayson where he sits on the couch.  her left hand is holding open his left eye her right hand is holding up an open pair of scissors  .

Moore 1: What the fuck are you doing?
     
Christabella 2: I'm sorry Jayson...

Panel C
The shot is of Christabella's back.  We can not see Jayson's face as she digs a scissor blade into his eye.  On Christabella's naked back we can see the scabbing nubs of what used to be angels wings.

Christabella 1: ...But there are some things you just can't see with human eyes.

Moore 2:  EEEEYYYYYYAAAAAAAHHHHHH