PERIL IN PARIS (layouts and script)

PERIL IN PARIS!

Script by MIKE

Layouts by ALEX

PAGE ONE

******* PAGE ONE (6 panels)

Panel One +++++++

Caption (top-left): 1891.

Caption (mid-left): Reichenbach Falls.

The top third of the page is a single panel depicting a long shot of Sherlock Holmes battling Moriarty on a ledge atop the falls.

Caption (bottom right): Contrary to the popular belief of the time, Holmes defeated Professor Moriarty atop Reichenbach Falls…

Panel Two +++++++

The middle third of the page is broken up into three panels (2, 3 and 4) with diagonal separators (like forward slashes [ / ]. Holmes is shown striding, left to right,  through/across/over the panel boundaries confidently, from panel 2 to 3 and from panel 3 to 4, depicting a montage of his travels.

Caption (top-left): …and hurled him into the gorge thanks to his mastery of the martial art of Baritsu.

Moriarty is shown plummeting to his doom, in a medium shot, from a top-down, birds-eye view.

Panel Three +++++++

A long shot of Florence, showcasing Il Duomo.

Caption (bottom left): Holmes went underground for three years, dismantling Moriarty’s organization, traveling abroad to Florence…

Panel Four +++++++

Caption (bottom left):…Persia and eventually to France.

A long shot of the Eiffel tower in Paris, France. [cont’d]

Caption (bottom right): Holmes solved many cases, but several remained unsolved and are documented in his memoir on the subject.

Panel Five +++++++

Medium shot of a handsome, well-dressed man looking straight at the camera/reader.

Caption (top-left): One such case is the murder of Desmond Chalsteen. Desmond’s best friend, Sterling Tremayne appealed to Holmes to solve the case of this murder…

STERLING

It took most of my not-inconsiderable resources to find you Holmes. A significant investment by me, based on the merest chance that you were still alive. Please take this case, I beg of you! Desmond’s spirit must know peace, and his murderer must know justice!

Panel Six +++++++

The same medium shot of a handsome, well-dressed man looking straight at the camera/reader, except that this time it’s Sherlock Holmes the Second, aka Number Two.

Caption: …just as Sherlock Holmes the Second assigns this selfsame case to be solved in the present day by the Holmes Inc team.


NUMBER TWO

Arthur. Elizabeth. You’re both aware that Sherlock I had several unsolved cases. Allow me to draw your attention to one in particular – the Murder of Desmond Chalsteen.


PAGE TWO


******* PAGE TWO (6 panels)

Panel One +++++++

The top-third of the page is a long, wide shot of Number Two addressing Elizabeth and Arthur in the mission briefing room /war room at Baker St Base. It’s a 3/4 overhead shot with Elizabeth and Arthur standing in the bottom left foreground of the panel and Number Two standing in the top-right background. A high tech console table is between them.

NUMBER TWO

Edgar and Trey are currently in-mission dealing with the so-called Mind-Spiders of Madagascar, so that leaves you two. I believe dealing with this case from the past may just illuminate some facts in the present. Oh, and if you don’t solve it, I’m revoking your status as field rated agents. That should add some hot spice to this cold-case.

Panel Two +++++++

(the middle third of the page is divided into three panels: 2, 3, and 4)

Close-up downwards shot of Number Two’s hand as he produces the memoir of the unsolved case. It looks like a dossier.

NUMBER TWO

As you know, Sherlock Holmes kept copious notes on his cases, both solved and unsolved. Here is the memoir that relates to the Chalsteen case.

Panel Three +++++++

Silent panel showing half of Arthur’s face on the left and half of Elizabeth’s face on the right. They’re at different distances away from the camera though and as such at different heights. Their eyes are open wide, betraying an excitement and perhaps a touch of intimidation. The very edge of Arthur’s mouth has curled into a barely noticeable smile.

Panel Four +++++++

A close-up of the open memoir. A page has very clearly been removed by tearing it out. Small corners of torn paper are all that remains of the missing page.

ELIZABETH & ARTHUR (OFF PANEL)

A page is missing.

Panel Five +++++++

Medium shot of Number Two on a slightly canted angle with his hand held up purposefully in the air in an open handed gesture. Almost like there’s something in reach but he can’t grasp it. This panel is slightly smaller than Panel Six.

NUMBER TWO

Clearly. You shall pick up where our forebear left off. Use as much of the memoir as you can, starting with this street corner he mentions, but you’ll have to finish this case on your own. Are you two up to the task?

Panel Six +++++++

Long hero-shot of Arthur and Elizabeth, standing on the left and right side of the panel respectfully. We can clearly see the details of their Holmes Inc mission jumpsuits (agents of SHIELD meets Fantastic Four with different colours/grayscaling). Arthur stands legs apart, one fist clenched in the air before him, exuding confidence and excitement towards the upcoming adventure. Elizabeth rests her elbow on his shoulder and delivers a megawatt smile fueled by the thrill of this new assignment. [cont’d]

ARTHUR

Just try and stop us, Mr. Deuce. Right ‘Beth?

ELIZABETH

ELIZABETH. And ignore him Number Two, Sounds brilliant.

NUMBER TWO (OP)

Good show. Get your gear. Wheels up in 30.

PAGE THREE

******* PAGE THREE (6 panels)

Panel One +++++++

The top third of the page is a single long-shot panel depicting the VTOL Holmes Inc aircraft, the DeerStalker, flying away from the top of the Baker St Base in the left background of the panel and towards the reader and to the right side of the panel in the foreground. Two of the smaller one-man aircraft (Sky Daggers) can also be seen in the roof hanger as a background detail.

ARTHUR (OP)

Next stop, Paris, France! Punch it, Elizabeth. You excited?

ELIZABETH
Please Shut.. and buckle.. up. And yes I am. Hold on.

Caption: As the DeerStalker rockets away from Baker St. towards the first location identified in the memoir, both occupants silently wonder:  Are they truly are up to the task of cracking a case…

Panel Two +++++++

(Panels Two and three are of equal size, occupying the centre third of the page)

A long, aerial 3/4 overhead establishing shot of Sherlock Holmes at the aforementioned street corner, examining the ground. His iconic coat and hat unmistakably identify him as Sherlock Holmes to the reader.

Caption (top left): … that couldn’t be solved by the legendary Sherlock Holmes himself?

Caption (just below): 1892. A street corner in Paris, France.

Panel Three +++++++

A medium shot of Holmes in a crouched state, looking down, magnifying glass in one hand and reaching towards the camera and something in the foreground with the other. His coat is billowing behind him like a cloak. [Cont’d]

Caption : Chalsteen Case Memoir: After accepting the case from Tremayne, I headed to the last place Chalsteen was seen, and where the note declaring his murder was found wrapped around a bloody fob watch. The broken watch was identified by Tremayne but otherwise held no clues. The crime scene itself on the other hand…

Panel Four +++++++

(Panels 4-7 are of equal size and take up the bottom third of the page)

A Holmes POV shot of from his perspective looking down his own arm as he grasps a scrap of cloth fibre.

Caption: …has yielded a gift to me already.

Panel Five +++++++

An identical shot of Arthur’s arm grasping the same fibre as Elizabeth looks at it thoughtfully from the other side in a medium shot. On her forehead are what look to be night-vision goggles, but there are more than two lenses and they’re of differing lengths.

ARTHUR

Well this is surreal. We’re at the same street corner, and thanks to him keeping everything, we’re looking at the same piece of evidence that Old Sherlock examined years ago! I’m thinking Mycroft would have solved the case here. Just sayin’.

Panel Six +++++++

A medium shot of Holmes holding up the fibre (with his right hand), but only showing half of his head and body emerging from the right side of the panel.

Panel Seven +++++++

An identical, but mirror-flipped medium shot showing Arthur holding up the fibre (with his left hand), with his half body emerging from the left side of the panel. The desired effect is to make it look like they are both holding on to the same scrap of evidence across time and two sides of the same coin, The Holmes side of the face should be drawn more confident looking than the Arthur side of the face.

ARTHUR

But why did we actually have to actually come here though? And..

ELIZABETH (OP)

Here, let me….

PAGE FOUR

******* PAGE FOUR (7 panels)

Panel One (Panels one and two occupy the top third of the page)

A medium shot of Elizabeth gingerly (but carefully) snatching the fibre away from Arthur (who’s off panel) with her right hand as she reaches up to the goggles on her forehead.

ELIZABETH

…give it a look. I needed to compare it with the environment in which it was found.

Panel Two +++++++

Extreme close up of Elizabeth. She’s lowered the tech-goggles down onto her eyes and activated them. The centre lens is directly facing the camera/reader. THRUM sound-effect.

Panel Three +++++++ (panels 3 & 4 occupy the middle of the page)

Nearly identical to the previous panel and should almost be mistakable for it, save for the fact that there is now a handle coming from the bottom of the lens. It’s not Elizabeth’s goggle lens anymore – we’ve transitioned to Sherlock’s magnifying glass. Any glass effects or reflections/lens flares should be the same in the two panels.

Panel Four +++++++

Pulls back to a medium shot of Sherlock, still holding his magnifying glass towards the camera. His face is contemplative. He is concentrating, deep in thought.

Panel Five +++++++

(Panels 5 – 7 are of the same size and take up the bottom third of the page)

In the foreground, Elizabeth is intently analyzing the fibre. In the background, Arthur looks on, arms folded.

ELIZABETH

This fibre isn’t from around here – definitely not native to this environment. It’s a … Paraffin fibre mixed with coal and oil residue. Getting the rest now via HolmeSat uplink… oh, you’re going to love this Art. This…

Panel Six +++++++

Close up on Holmes, holding his chin with his hand, thoughtfully. He too has come to his own deduction upon studying and recognizing the scrap of evidence. [cont’d]

SHERLOCK HOLMES

…particular paraffin fibre is only manufactured in ONE place…

Panel Seven +++++++

Long establishing shot, high and wide of an old, industrial looking brick building with smoke stacks. Art and Elizabeth can be seen standing on an adjacent rooftop and the building is surrounded by at least three armed guards. You can still see Elizabeth’s goggles on her forehead and Arthur’s backpack to differentiate their silhouettes.

Caption: …DeWolff Manufacturing!

ARTHUR

I can’t believe this place is still around. But tell me something: Why are there armed thugs guarding a manufacturing facility that’s closed for the night? Methinks it’s time to take a closer look, Betts.

ELIZABETH

Looks like it’s time to do some “detecting” –  and I will hurt you if you call me Betts again. Think you can keep this stealthy?

ARTHUR

Tally ho.

PAGE FIVE


*******PAGE FIVE (6 panels)

Panel One +++++++ (panels 1-2 occupy the top third of the page)

Long shot of Arthur, dusting his hands in the foreground while Liz completes tying and gagging the fallen guards in the background.

Caption: Several well-placed chops later…

ELIZABETH

I recognize some of these goons from our files. They’re drug muscle. You figure we have some squatters using this place for some moving and shaking during off hours?

ARTHUR

Like a drug-dealing timeshare? It’s possible. Whoever these blokes are, consider them mopped up, easy as..

Panel Two +++++++

In a similarly staged panel, Liz is half turned and looking up from her crouched position, Arthur stares straight ahead, shocked, with his eyes wide as saucepans. A floodlight has

just snapped on from one of the windows, illuminating them as clear as day in a spotlight.

ARTHUR

…pie?  Oh bollocks.

Panel Three +++++++ (panels 3 & 4 occupy the middle-third of the page)

Elizabeth and Arthur in a long shot evading gunfire, and essentially launching themselves towards he camera. Elizabeth is running full-out toward the camera, legs and arms pumping. Her head isn’t even visible, having disappeared beyond the top corners of the panel. All around her feet is the ground getting chewed up by machine gun fire, kicking up dust, debris and a CHAK –CHAK-CHAK sound and she has lost her goggles. Arthur is mid-way through a somersault/dive/flip, also hurtling towards the camera, with his arms tucked down and across into his holsters. There are two snipers firing from the windows in the far background.

Panel Four +++++++

Medium shot, Arthur has unfurled into a crouch and is smiling wickedly and looking cocky, guns chattering in his outstretched hands (with a brakka-brakka effect), does not see the HUGE shape lunging at him from behind, within the shadows. The hands and the bit of the attacker’s head that can be seen are MASSIVE. Arthur’s sidearms of choice, his machine-pistols, are affectionately named Clint and Burt respectively.

ARTHUR

Wankers. So glad I brought Clint and Burt with me. Good job boys.

ELIZABETH (Off Panel)

ARTHUR!

Panel Five +++++++ (panels 5 and six comprise the bottom third of the page)

This long shot panel is a snapshot in time, showing not only this juggernaut of a man who has raised Arthur aloft, but also Elizabeth springing into action, with a mighty kick about to connect with his midsection. As her kick connects near the bottom of the panel, Arthur can be seen hurtling from the man’s arms with alarming velocity in the top of the panel and smashing straight through the wood of a boarded up window and into a room that has been clearly sealed up for a long time.

Panel Six +++++++

Sherlock is crouched and examining the same room Arthur just smashed into during the present-day melee. He and his magnifying glass are focused on  what appear to be mud and the footprints on the floor. There should be some visual correlation between this and the last panel to show that it’s the same room. [cont’d]

Caption: 1892.

Caption: I arrived at the DeWolff facility after hours and surmised that the room which accommodated the oil and coal delivery would be a good place to start owing to the residue on the fibre.


PAGE SIX

******* PAGE SIX (7 panels)

Panel One +++++++ (Panels 1 & 2 occupy the top third of the page)

Arthur is in the foreground starting to get up, one hand supporting him, the other reaching back into his pack for something. Liz has jumped through the hole in the background.

ELIZABETH

Cleaned up the rest. They’re not going anywhere. Oi, there hasn’t been anyone in here for decades. What’s that pile of rubbish in the corner?

ARTHUR

I see it, I see it. Gimme some room.

Panel Two +++++++

Medium shot of Arthur using the device from his pack that looks like a cross between a jackhammer and a periscope and looking intently through the eyepiece as he scans the “mud” and the whole floor around it, bathing the area in an eerie glow.

ARTHUR

It’s a clay-like mineral – that accounts for its longevity. There are only a handful of places this could have come from. Oh, man.. this is from a.. hold on.. an underground quarry…

Panel Three +++++++ (Panels 3 – 5 occupy the middle third of the page)

Close up of Sherlock as he examines the texture of the clay/mineral between the fingers of his gloved hand and analyzes the bootprint through his magnifying glass.

SHERLOCK HOLMES

… the majority of which runs beneath Tremayne Manor! Good show. Paris is catacombed with such quarries! And the bootprint matches the footwear Desmond was last seen wearing! I must remember this for my memoir.

Panel Four +++++++

POV from Arthur, as seen through the device – the crosshairs rest on what looks to be a single piece of paper beneath the floor. [cont’d]

ARTHUR (OP)

Hey E, I think I found the missing memoir page!

ELIZABETH (OP)

ELIZABETH. And wait, what? That doesn’t make any sense. Who would steal it and hide it here? And why? Let’s take a look at it. What did Holmes discover next?

Panel Five +++++++

Long shot of Sherlock Holmes running, a hero-shot, with his coat billowing behind him. Also behind him is Sterling Tremayne, now in tow as they race through the cellar of Tremayne manor. A grand painting can be seen in the background.

STERLING

I say, Holmes, where are we going? My word, slow down!

SHERLOCK HOLMES

We are about to discover, my dear man, who killed Desmond Chalsteen!

Panel Six +++++++ (Panels 6 & 7 occupy the bottom third of the page)

A long, high shot over the shoulders of Holmes and Tremayne, the latter of which has drawn a revolver. Exposed, shocked, and clearly alive at the top of the panel is DESMOND CHALSTEEN.

SHERLOCK HOLMES

He’s been down here all along after having faked his death. He’s been traveling using the catacombs and…

TREMAYNE [enraged]

Make a fool out of ME will you? By thunder, I’LL KILL YOU!

Panel Seven +++++++

A panel showing Elizabeth and Arthur with the grand painting, which is now on the floor leaning against the wall. The safe that was behind the painting sits opened. Arthur is reading the memoir and Elizabeth is holding a mysterious cube.

ARTHUR

D’you think Holmesy witnessed a murder himself? The very murder he was asked to solve?  His last line reads “The answers to all of your questions lay within that which lies behind the painting.” The memoir stops there. Dammit, this feels like a ..

ELIZABETH

..Game? I don’t know what we’ve got here Art, but one thing I do know is this – when we get back to Baker St, we’re sure as hell going to find out.



PAGE SEVEN

*******PAGE SEVEN (6 panels)

Panel One +++++++

Caption: Baker St.

Arthur and Elizabeth are both holding the puzzle cube and a scrolled up note has popped out the top. Number Two observes them from afar and is brandishing a cigarette holder, (just for show). Young Edgar is walking by from right to left in front of the other characters. His head is buried in a book he’s holding open with one hand.

ARTHUR

Maybe this’ll finally shed some light on the case of Desmond Chalsteen.

EDGAR (without looking up)

Desmond Chalsteen? That old boy? I figured it was an anagram for “HOLMES DESCENDANT” before Number Two finished talking. Cracked the case before I left the building. Went to France anyway for a baguette. Posh town. Oh, and we solved the silliness in Madagascar. Jolly exciting mission. Good night.

Panel Two +++++++

Medium shot of Number Two in the foreground. Old Edgar, his father is visible with his back to the camera in the background. Number Two is gesticulating with the cigarette holder in his hand.

NUMBER TWO

Good show, you two. Brilliant.  Don’t you see? This whole case is a test, passed down from Holmes himself! All of his descendents are meant to take it. It’s all here in the note from Holmes in his puzzle cube.

OLD EDGAR

Eh?

Panel Three +++++++

Long shot of Old Edgar looking at the puzzle cube. Arthur slaps his forehead as he looks down, incredulous. Elizabeth stares in wide-eyed disbelief. Number Two breaks his cigarette holder in barely concealed anger/jealousy. He feels and looks frustrated.

OLD EDGAR

Oh, that child’s trinket. I remember! I put it back. <sigh> Solved that case straightaway, years ago! Good times.

NUMBER TWO

It took me… longer. Closer to a year. To solve it.

Panel Four +++++++

Long shot. Number Two’s back is to the camera, hands clasped behind his back as he stares up and out of the window at the moon in the night sky. This is the hero shot of the patriarch who just wants to be as good as the rest of his family or at the very least have some of his family be only as good as him. At the end of the day he just wants to fit in with the rest of them. There is a hint of frustration, and of feeling dejected. Defeated. He keeps re-living his own self-perceived failure in his mind.

NUMBER TWO

Every few years, I run the test again. I thought Edgar would at least climb in the DeerStalker before he got it. Wasn’t sure about you two. I thought, hoped…maybe I wouldn’t be the only one who…. Oh, listen to me. Alone in my bitterness with only my bruised ego’s humiliation for company. Good show Elizabeth. Arthur. Jolly good show. Dismissed.

Panel Five +++++++

Extreme wide shot of Elizabeth and Arthur in the foreground leaving Number Two’s office walking towards camera (just their heads and upper torsos are visible) with Number Two seated at his desk in the background and on the communicator. Elizabeth is firmly elbowing Arthur in the ribs.

NUMBER TWO

…That’s right Sitwell. Reset the factory. And make sure there are no drug squatters there next time. Yes. Hide another memoir page, put the box back…

NUMBER TWO (separate caption, quietly)

and Sitwell… what’s Trey doing next week?

ARTHUR (quietly to Elizabeth)

Oi Liz, that bloke is one barmy..

ELIZABETH

Hush. Leave him be. And stop trying to do the accent. You grew up in Toronto. And what did I say would happen if you didn’t use my proper name?

Panel Six +++++++

Medium-to-long shot of Arthur and Elizabeth stopped on an observation platform. Arthur’s holding his side. Elizabeth seems to be lost in thought, hugging herself, looking out the window. [Cont’d]

ARTHUR

Ow-ow-ow. Awright awright. So lemme get this straight, ELIZABETH. This was all a test for us? Gotta hand it to him. Ancient Sherlock’s crafty. I mean, not Mycroft brilliant, but for a distant second he’s pretty good.

ELIZABETH

No.

Outside the window (in her mind’s eye) is a faded out iconic hero-shot of Sherlock Holmes with a Parisian/ Eiffel tower backdrop,

ELIZABETH

He was the BEST.

FINIS.

-TY’S NOTES

LOOKS like good work all around, I haven’t had a chance to go over it, and am rushing out to my brother’s fiftieth birthday party.  First glance says that Alex isn’t using the full bleed of the page enough (or he’s using it all the time) and that you could push the boldness just a bit.  But that’s just FIRST glance.  I’ll give this a full read in a couple of hours.

Ty




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