OLD WOUNDS – Script by Mike Marano (with Notes)

Old Wounds
Mike Marano

(March 26, 2011)

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

Panel One +++++++
(Panels one to three occupy the top third of the page)
A close-up shot of Arthur’ s eye in one corner of the panel and Maury’ s eye in the diagonally opposite corner (bottom-left vs top-right), both looking down at something.

…And that should about do it. We just need to tighten the core in.

This is tricky Art. I thought my fencing required precision. Here we go.
Panel Two +++++++
A close-up POV from their perspective, as their hands both twist the circular cover into place over the ominous sphere containing the bio-core liquid.

ARTHUR (off panel)
Good job Maury – nicely done. Now we’ re equipped with the only supercomputer on Earth with a liquid bio-core. No other lab techs can say they’ ve done what you just did.

MAURY (off panel)
I can’ t wait to start loading the data onto that gorgeous organic liquid memory hard drive Artie. We’ ll never fill it up, and with the incorporated nanotechnology, the possibilities

Panel Three +++++++
Medium shot of Maury regarding the bio-core as Arthur waves goodbye as he leaves the room.

Well, since you can’ t wait, then by all means start loading it up with whatever you like first. I’ ve got an appointment to keep. And my two pals and I don’ t want to keep her waiting…

No problem. I have a feeling that this…

Panel Four +++++++
(This panel occupies the entire middle third of the page.) [cont’d]

A long shot establishing the entirety of the computer lab, which looks almost cathedral- like.

Title Caption: OLD WOUNDS.

… is going to be the experience of a lifetime.

Panel Five +++++++
(Panels five and six occupy the bottom third of the page.)
Caption: Sometime later…
A medium shot of Maury, in his lab coat (and shirt, tie & slacks) dictating into his recorder while loading information into and then sneezing on the computer and the bio-core.

Maury Clayton audio files continued: Just about finished entering my personal favourite dossiers – all of the Moriarty case files and … KA-CHOO!

MAURY (separate caption balloon)
Ugh. On top of crazy workload, I think I’ m getting sick…

Panel Six +++++++
An extreme close-up of the liquid bio-core. Something is happening within. Activity.

Caption :…what else could go wrong?

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

Panel One +++++++
(Panels one and two occupy the top third of the page)
Medium shot of Maury taking off his lab coat as he sits in front of the workstation
entering more data. Something is looming behind him in the dark and tentacle-like wires
are creeping out from the shadows.

Just…about done. Now it’ s off to my fencing class and then the bar with Woo and
Sitwell. What’ s…?

Panel Two +++++++
An extreme close up of Maury’ s face with a look of terror/surprise/fear as we see the
tentacle/wire tips moving from all corners of the panel toward the centre of his face.


Panel Three +++++++
(Panels three, four and five occupy the middle third of the page)
Long shot of Maury being lifted up clean off the ground by his face via the tentacles, his
arms flailing at the wires. His shirt has been removed. [cont’d]
Caption: Holmes Inc agents Woo and Sitwell were asked later why they were meeting

Panel Four +++++++

Medium shot of Maury’ s body in profile, suspended in air, being encased between two
halves of tech covering the front and back of his torso, effectively wrapping around his
upper body. The front chest-side has the bio-core located in its centre.

Caption:… and they said the answer was simple. Maury was adamant about maintaining
both his extra-curricular activities and his social life…

Panel Five +++++++
Bird’ s eye view long shot of Maury spread-eagled on the ground. Still. His legs pointing
to the top of the panel and his head pointed at the bottom, with the wire-tentacles still
enveloping his face.

Caption: …because he didn’ t want to be consumed by his work.

Panel Six +++++++
(Panel six occupies the bottom third of the page.)
A tight shot of a computer monitor displaying this text:
Searching for.. SHERLOCK HOLMES.
Accessing… Accessing.
Two Matches Found: Sherlock Holmes The Second [a/k/a “ Number 2” ] and Sherlock
Holmes The Third [a/k/a/ “ Trey” ]
Location: Training Zone #2.

..And an image (medium shot) of Number Two and Trey in the training zone together.
Trey has just completed a complex somersaulting maneuver. Number Two trying to
connect with the distant Trey. His hand is reaching toward her shoulder. At the top of the
image a pair of giant, sinister eyes, can be seen looking down on them (it’ s the reflection
of Moriarty’ s eyes in the monitor).

Good show Trey.

* * * * * * * PAGE THREE (7 panels)
Panel One +++++++
(Panel one and two occupy the top third of the page, with panel two being twice as
big as panel one)
Long shot, overhead 3/4 view of Elizabeth and Arthur at the Holmes Inc firing range
They’ ve clearly just finished firing as smoke is coming out of Elizabeth’ s single gun and
out of both of Artie’ s handguns, Clint and Burt. [cont’d]

You know you can’ t always run in half-cocked with both of those barrels blazing, Arthur.

Panel Two +++++++
Medium shot of Elizabeth standing on the far left of the panel, hand on her hip with her
gun arm resting, with the barrel pointed up in the air. Arthur is on the far right of the

panel his guns up in the air as if he was shooting something as he’ s speaking. The word
balloons of their exchange alternate in the middle of the panel, one atop the other.

But they’ re a TEAM!

Your inaccurate gunplay has had consequences, Arthur.


The Warlock of Fireball Island almost got away. TechnoWolf got the drop on you and
nearly killed you. During our battle with the NinjaSpies of Neptune, your stray shot
cracked the already weakened SeaDome.

Panel Three +++++++
(Panels three, four and five occupy the middle third of the page.)
Elizbeth places her hand on Arthur’ s shoulder as he talks and looks up in the air trying to
justify his choices.

Almost got away Nearly killed me. As for he fight with those Sea Monkeys, I – { sigh} –
maybe I see your point Elizabeth,

Sometimes a well-placed single shot can do more than a hail of gunfire.

Panel Four +++++++
Medium shot from a POV from above and behind Edgar sitting at his desk. A middle-
aged man is facing Edgar with his palms flat on Edgar’ s desktop.

Caption: Meanwhile, in Edgar’ s office.

Do you know who I am, Mr. Holmes? [cont’d]

Panel Five +++++++
Long, 3/4 overhead shot with the man on the right and the seated Edgar on the left.

Aside from the fact that you’ re a wealthy left-handed newlywed who just stopped
smoking? No, not a thing.

What? But.. How could you possibly know that ?

Panel Six +++++++
Medium shot of Edgar seated behind his desk (a reverse of panel four), brushing his
nails against the lapel of his vest and looking absentmindedly out the window, bored and
seeking a more worthy distraction. The back of the Billionaire’ s head can be seen at the
bottom of the panel.

Your clothes signify your wealth, as I’ m sure you intended. Your belt is notched by a left
handed person – you. Nicotine is evident on your fingertips, but your clothes don’ t smell
of smoke. And since you got here, you haven’ t stopped fiddling with the wedding band
that you clearly aren’ t used to yet.

My Valentina doesn’ t like the smoke, you see, and …I SAY! That’ s not why I’ m here
Holmes. A priceless artifact from my collection has been stolen, I tell you. It’ s the…

Sound Effect Caption: BWOOP-WOOP-WOOP

Panel Seven +++++++
A large panel showing all three groups of people (Trey & Number Two, Edgar & the
Billionaire, and Arthur and Elizabeth) reacting to the security claxon as the building goes
into lockdown and the security shutters and blast-doors close. The groups can be broken
up by the word-effects (BWOOP-WOOP! Or something to that effect) of the alarm
taking the place of conventional panel borders.
* * * * * * * PAGE FOUR (6 panels)

Panel One (Panels one two and three occupy the top third of the page)
A close/medium shot of Arthur sliding under one of the closing blast-doors and towards
the camera, with Clint and Burt in his hands.


Panel Two +++++++
Canted medium/long 3/4 overhead shot of Edgar and the Billionaire in his office. Edgar
is near the top of this small panel, facing away from the Billionaire and standing with one
hand on his hip and his other fist up by his head. The billionaire looks on at Edgar from
the bottom of the panel.

Full lockdown.

Panel Three +++++++
Extreme close up of Edgar. His face covered mostly in shadow, he pops a pill into his
mouth with a flick of his thumb.

We’ re out of this fight.

Panel Four +++++++
(Panels four and five occupy the middle third of the page)
Tight medium shot of Number two and Trey. Number two is spinning around, mid
sentence and Trey has both swords drawn. More of the detail can be seen on the Holmes
Inc. training suits.
Trey, we have to ascertain…

Father, behind you!!

Panel Five +++++++
A grand introductory shot of the reborn Moriarty descending the entrance ramp to the
training zone almost as if he’ s walking down a grand staircase in all of his techno-1880s
glory. He’ s wearing the lab coat and shirt and tie (like a cravat) and seems to be carrying
a cane. Maury’ s face has been twisted by the nanomites and some tech is visible above
the collar, veins look like circuits, and his long-ish hair is almost confusable with wires.

You both bear the name of my nemesis, Sherlock Holmes. Yet neither of you are he. No
matter, my new eyes tell me that you are indeed related to him…

Panel Six +++++++
(Fills the entire bottom of the page)
A wide/long shot in which Moriarty leaps towards Number Two and Trey, his cane/
sword drawn as they put their guard up. Trey hold one sword above her head and the
other in front of her and Number Two puts his fists up.

… And the punishment for that is humiliation… then DEATH.

* * * * * * * PAGE FI VE (7 panels)

Panel One +++++++ (panels one and two occupy the top third of the page)
A medium/long shot of Moriarty viciously bringing his cane down hard on Trey and her
blocking it with her swords crossed in an X. Number Two can be seen running toward
Moriarty from behind.

Trey! That’ s Maury the lab tech! Something must have gone wrong with the installation
of the new bio-core. From what he said, it’ s obvious he thinks he’ s Moriarty.


Your Thrusts Are Turned

Your Strikes Repelled
Your Blade Won’ t Pierce
This Mortal Shell

Panel Two +++++++
A long, side-shot of Moriarty pivoting and kicking Trey forcefully with his extended left
leg and connecting hard with into Number Two’ s stomach with his outstretched cane
in his right hand. Almost like a deadly ballet pirouette. The swimming pool and diving
platform can be partially seen as the fight moves towards it.


Panel Three +++++++
(Panels three and four occupy the middle third of the page)
Trey backflips (or back-handsprings) out of the kick and lands on her feet in the
background while in the foreground Moriarty can be seen dragging Number Two by his
neck towards her. They’ re at the base of the Olympic level diving platform.

I really expected more from –

Panel Four +++++++
Number Two grabs onto both of Moriarty’ s forearms from behind in a moment of
surprise leaving him open for Trey to strike, and strike she does, slicing at the front of
Moriarty in an outward scissor motion.

By My Skilled Hands
My Swords, My Art
What Once Was One
Now Cleaves Apart! [cont’d]


Panel Five +++++++
(Panels five six and seven occupy the bottom third of the page)
Shirt shredded, Moriarty discards Number Two with one arm and the torn remains of
his shirt & tie with the other standing revealed as the techno-organic monstrosity he and
Maury have become. It is very clear that the exoframe is only covering his torso and
back, but is attached to him like a parasite. The bio-core is visible with its liquid bubbling
in the front chest region. He still has the lab coat on. Trey is ascending the platform

Father!! I think we found the bio-core. He’ s wearing it.

Arrogant child, You will live to regret that. Actually, no. You won’ t.

Panel Six +++++++
Long Shot. Number Two (with his back to the camera) is on the ground watching Trey
and Moriarty furiously engaged in sword combat atop the platform.

Wait. What’ s his gambit? I couldn’ t see this before. A feint, balestra* , lunge, disengage,
fleche, parry… He’ s avoiding In Quartata* * and favouring the coup passé* * * ? But the
only possible reason to do that is if…if you’ re specifically protecting your back.

Caption (at bottom):
* A quick forward hop or leap
* * A fencing attack which conceals your front while exposing your back.
* * * A cross-stepping maneuver that keeps you facing your opponent.

Panel Seven +++++++
Close up shot, from the shoulders up of Trey and Moriarty, swords locked. She’ s barely
keeping his cane/sword at bay with both of hers. An inset (circular) panel shows the
detail of an interface plug coming from the metal collar of the exoframe and connecting
into Maury’ s neck, at the base of his skull at the top of his spine. Trey’ s face is clenched,
as if she’ s wincing. Moriarty is smiling wildly

You’ re growing tired, child. Time to die.

* * * * * * * PAGE SI X (8 panels)

Panel One +++++++ (Panels one, two and three occupy the top third of the page)
A door slides opens and Arthur arrives, having cyber-picked the lock.



Can I call you Artie-Ficial Intelligence? And you’ re supposed to be Moriarty, I guess? Is
that an acronym? Does it stand for M echanized Organism Recalibrated for I ntelligence,
Analytical Research & Treasonous Yearnings?

Idiot. Not even worthy of my attention.

Panel Two +++++++
Close up on Number Two whispering to Arthur who’ s got both guns drawn.

Artie, sever the connection between the exoframe holding the bio-core and Maury’ s
nervous system. There’ s an interface plug on the back of his neck.

I figured. It’ s hardwired into his brain and spine. If I empty both mags into him, at least
one bullet SHOULD… no, I’ ve got a better idea. Safer for Trey too. Well, sort of. I

Panel Three +++++++
Medium/long shot of Artie kneeling and holstering one of his guns.

Caption: “ Sometimes a well-placed single shot can do more than a hail of gunfire…”

Panel Four +++++++
(Panels four and five occupy the middle third of the page)
A close up shot from the POV of Arthur’ s gunsight. Trey is looking directly at Arthur
wide-eyed and Moriarty is ignoring him. The crosshairs are close to the interface plug.

Trey! Sever the plug at the back of his neck!

Panel Five +++++++
Medium shot of Moriarty and Trey atop the diving platform, showing Trey bringing
down her swords and Moriarty blocking both of them with his cane while he looks in the
other direction back down at Arthur.

TREY(thought balloon) [cont’d]
Great. I’ ve been reduced to being Artie’ s distraction.

Three Holmes Aligned
We’ ll End This Fight
Lord Guide My Sword
With Luck and Might!

A painfully obvious ploy, you poor, poor, foolish –

Panel Six +++++++
(Panels six seven and eight occupy the bottom third of the page)
A silent panel. All that is seen is a bullet with a single motion line behind it, the severed
plug lashing about and Moriarty’ s wide-eyed face (with dilated pupils) and dead

Panel Seven +++++++
Top down, bird’ s eye view as he falls off the top of the diving platform. This panel can
mirror Moriarty’ s fall from issue one off the top of Reichenbach Falls.

Panel Eight +++++++
Long establishing shot / side view of the diving platform showing the distance of the fall
and the splash into the pool.

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

Panel One +++++++
(Panels one two and three occupy the first third of the page)
Number Two and Trey embrace silently. Arthur folds his arms and cocks an eyebrow in
the background.

Don’ t everybody thank me at once.

Panel Two +++++++
Long, full-body, hero shot of Trey, battle-damaged as if she had been walking towards
camera and stopped. Number Two is standing just behind her looking proud.

We’ ve lived up to the name Sherlock Holmes.

That we have.

Panel Three +++++++
Trey turns around and puts a hand on Number Two’ s shoulder. She’ s smiling.

You don’ t hear it enough.


Good show, Father. Bloody good show.

Panel Four +++++++
(Panel four is the entire middle third of the page)
Giant super panel, the BIG blast doors open and the rest of Holmes Inc. including support
staff flood into the pool room. It’ s a big group shot and a chance to include everyone
from Old Edgar to Elizabeth to Ryan.

Panel Five +++++++
A top down medium shot. Maury has been fished out of the pool and is lying face up in a
puddle with people surrounding him and attending to him, including Arthur.


Maury will be fine but the liquid core is unsalvageable. It’ s lost. Let’ s get this exoframe
off him. I’ ll deal with the clean-up here guys. You get Maury to sick bay. After all, this
tech is mine…

Panel Six +++++++
Artie is shown sitting in his lab, in the shadows. The only light piercing the darkness is
coming from the intact bio-core within the still-functioning exoframe, floating suspended
in a stasis cylinder before him.

Caption: …All Mine.




There’s some amazingly great stuff in here, Mike.  And I love how your scripts always have a reference point to the original master detective.  The story flows GREAT and feels really full for a seven pager, without being crazy with the panel count and dialog.  I love how they take Maury down, love how he starts up with the tentacles.  LOVE the line about being consumed by his work.

You still have a couple of lines to cut…some are redundant.  “You’ll live to regret that, no wait, no you won’t” is clunky.

“Now we’ re equipped with the only supercomputer on Earth with a liquid bio-core. No other lab techs can say they’ ve done what you just did.”

The second sentence re-states the first sentence.  Watch those redundancies.  I LOVE the scene with the all the deductions about the newlywed bit.  And the way you’ve worked sf Moriarty into our cast is just great.

Shave just a couple more redundant lines and you’ve got another great read, and a hit!


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