A Fathomless Chaos of Eternal Night

 So this was an indie comic book script I wrote back in 2011 for a series called (in)sanity. Not much work was done, my artist and co-writer did like 4-6 pages of art for it I believe. Our idea was basically that the stories that H.P. Lovecraft wrote were based on his real life experiences. A fun, though not necessarily an original idea. I wrote this script with only a basic idea of how comic books were written. I think I used a Kevin Smith comic script as a template. Turned it in and my co-writer basically ghosted me. I didn't think it was that bad lol. I feel like I'm a much better writer now, but for 28 year old me, I thought it was pretty decent. I've checked around, from what I can tell he's never done anything with it and I certainly don't want to impinge on any of his ideas, so I decided to share it as a bit of nostalgia!

“A Fathomless Chaos of Eternal Night"

Page One - Four panels. 

CAPTION: Arkham Sanitarium, 1929

Panel One

We have returned to the office of Dr. Hardstrom. Hardstrom sits once again behind his desk and Lovecraft, our hero, sits on the chair in front of the desk. The room is lit with very little light. 

Hardstrom: So, what did you think of the first patient, Jervas Dudley?

Panel Two

We cut to a near POV panel, from Lovecraft's perspective. We see Dr. Hardstrom sitting behind the desk.  I’m having trouble understanding this panel :/ - Didn't make sense before, any better now? Yep, all good 

Lovecraft: It was almost what I expected, though not quite. 

Hardstrom: How so?

Lovecraft: Well, I wasn't expecting their delusions to be, so vivid. 

Panel Three

Cut to a full on shot of Hardstrom, leaning back in his chair, very casual. 

Hardstrom: I wouldn't get too caught up in these patients' stories, Mr. Lovecraft. The mind works in mysterious ways, even in the insane. 

Panel Four

Hardstrom slides another manila folder across the desk; we can see that the name Paul Wilson is written on the folder. 

Hardstrom: Anyway, I'm afraid I won't be able to accompany you on this case. I'm a very busy man, with many things to see to around here. However, I've arranged for my assistant, Ms. Ashmore, who I believe you met outside, to help you.

 

 

Page Two

Panel One

Lovecraft stands up, taking the manila folder and leans across the desk to shake Dr. Hardstrom's hand.

Lovecraft: I thank you very much, Doctor, for all the help you've given me. 

Panel Two

Hardstrom also stands to shake Lovecraft's hand.

Hardstrom: It has been a pleasure, if you need anything, I'm sure Ms. Ashmore will be able to accommodate you. One more thing...

Panel Three

We close in on Hardstrom's face. A shadow passes over it, ominous. 

Hardstrom: Be careful that you do not let these patients' delusions affect you, Mr. Lovecraft. I've seen many a great man crack whilst studying this field.

Panel Four

We cut back to a full body shot of Lovecraft, who nods with a frown on his face and of the room behind him. 

Lovecraft: Thank you, I will be sure to use the utmost caution as I listen to their stories. 

Panel Five

We cut to a shot of the entire room, with Lovecraft heading towards the door way, waving a hand behind him and Dr. Hardstrom sitting down. 

Hardstrom: Good luck, Mr. Lovecraft.

Lovecraft: Good-bye!

 

 

Page Three - Four panels

Panel One

We re-enter the outer office and the desk area of Marie Ashmore. We get our first real good look at Marie as she is filing some papers. She is tall, Lovecraft's height at least and slender. She has long, brown hair which is at the moment tied into a bun. She is wearing a nursing outfit typical of the era. We can tell by her posture alone, that this a woman ahead of her time, confident.

Marie: Ah, Mr. Lovecraft. I understand I am to help you out around here.

Panel Two

Cut to a shot of Lovecraft, who is startled a bit by the beauty of Marie Ashmore, is red in the face. He is clearly a little awkward around women at the moment, a slouch enters his posture. Writer's note - I'm picturing something akin to Frank Quitely's Clark Kent here. 

Lovecraft: Y-yes. That's what Dr. Hardstrom tells me.

Panel Three

Marie approaches Lovecraft, taking the manila envelope from him.

Marie: Ah, 19C. One of my favourites! Shall we?

Lovecraft: Yes, we shall.

Panel Four

Lovecraft and Marie are in the hallway, the shadows cast down on the floor tell us it's around noon. Which leads Marie to-

Marie: After this patient, we'll take a break for lunch at the 'mess hall'. Is that okay with you?

Lovecraft: Splendid.

 

 

Page Four - Splash page.

We're in the quad between the main building and Building C. Marie and Lovecraft walk along the path. Several of the slightly more sane patients are wondering about. 

Marie: So, if I may ask, what is your interest in these patients?

Lovecraft: I-it's for my thesis. I'm looking to see if there are any commonalities in these patients' delusions. 

Marie: Looking to see how sane the insane are? - Temporary dialog if I can think of something better, felt like I needed to have Marie say something before they got to the building in response to Lovecraft.

Lovecraft: Precisely!

Marie: Just so you know, Mr. Wilson is if I can say this off the record, one of our few patients who is on the way to becoming sane. He's made significant progress the past couple months. There's even a possibility he gets released next year.

 

 

Page Five - Three panels

Panel One

We are in front of Building C now. Lovecraft and Marie are climbing the steps to the building.

Marie: Here we are.

Panel Two

Lovecraft and Marie are walking down a hallway in Building C, there are patients rooms lining the hallway, the lighting is dim.

Marie: It's right down here at the end of this corridor. 

Panel Three

A shot of the door to Room 19C. 

Marie (off panel): Here we are. Hello, Mr. Wilson, you have a visitor.

-

Page Six - Four Panels

Panel One

Marie is unlocking the door. Lovecraft waits standing with the manila envelope. 

Panel Two

The room is fairly small. The bed is pushed against the left wall and a wheel chair is folded up, leaning against the bed, there is a window on the back wall and a toilet on the right wall. Lovecraft has extended his hand to Paul Wilson, who is our storyteller this time around.

Lovecraft: Very pleased to meet you, Mr. Wilson.

Wilson: Likewise, what can I do for you?

Panel Three

A shot of the entirety of the room.

Lovecraft: It's fairly simple, really. I'd just like to hear your story.

Panel Four

Close up of Paul Wilson, a blonde man, who is of English ancestry. There's a look of brief hesitation on his face.

Marie (OP): Mr. Lovecraft is writing his thesis paper and would be grateful of any help you could give, Mr. Wilson.

Wilson: Very well, then. I believe I'm finally ready to tell my story.

 

Page Seven - Three Panels

Panel One

We're in the Pacific Ocean; a Ship is in view, your typical looking cargo ship of the early 1900s. 

CAPTION: It all started when I was working on a cargo ship that sailed the Pacific.

 Panel Two

Another ship has pulled alongside the cargo ship, this one a German war ship from The Great War.

CAPTION: During the War, our ship was taken hostage by the Germans. 

Panel Three

Paul is on the deck of the German boat, at night, near a small lifeboat that he is working on lowering.

CAPTION: I escaped, in the middle of the night and set sail in the vast Pacific.

 

Page Eight - Six Panels

Panel One

The small lifeboat is nearly a spec in the vast ocean.

CAPTION: I sailed for days without knowing what direction I was going in, or even if I would be rescued.

Panel Two

At night, in the distance there is an odd land mass.

Panel Three

It is day again; Paul is waking in the lifeboat.

Panel Four 

Paul is stepping out of the boat, the ground is black and sticky, like wet tar, we see this reflected in some of the tar sticking to Paul's shoes. There are decaying fish surrounding the boat and as far off in the distance as fifty feet "in land".

CAPTION: The lifeboat landed on the strangest mass of land I have ever seen.

Panel Five

A close up shot of Paul's face, he is holding his hand up to shield his eyes from the sun.

CAPTION: The sun was beating down on my face and I saw nothing but that black, sticky land mass for as far as my eyes could see.

Panel Six

Paul has tilted the lifeboat on its side and is sitting underneath it, in the shade.

CAPTION: I sat by the ocean, hoping against hope that I might see some ship that would save me.

 

Page Nine - Four Panels

Panel One

Paul has started to walk, the further "in land" he walks, the drier the land mass becomes.

CAPTION: Finally, after three days of waiting, I began to explore that damned island.

Panel Two

During day, off in the distance, a dark large object looms.

CAPTION: It was then, that I saw it and in a way, I was drawn to it.

Panel Three

At night, Paul has his shirt off and is sleeping on the black ground.

Panel Four

Paul is walking again, shirt over his head to shield his face from the sun.

 

Page Ten - Splash Page

Paul is standing before a vast black mountain, jagged with "ledges and outcroppings".

 

Page Eleven - Three Panels

Panel One

Paul is sleeping at the foot of the mountain.

CAPTION: Exhausted, I slept and was troubled by disturbing dreams.

Panel Two

Paul has begun to climb the mountainside.

CAPTION: I awoke in the dead of night and began my ascent.

Panel Three

The view from the top of the mountain. I can't do this one justice, so we'll rely on Mr. Lovecraft: "...when I gained the summit of the mound and looked down the other side into an immeasurable pit or canyon..." "As the moon climbed higher in the sky, I began to see that the slopes of the valley were not quite so perpendicular as I had imagined."

 

Page Twelve - Four Panels

Panel One

Paul is climbing down a slope, holding onto ledges as he does so.

Panel Two

Across a valley, on an opposite side of the slope that Paul is on, an object shines in the moonlight. Paul is in the foreground.

CAPTION: I climbed ledges and walked across a valley, catching a glimmer of something.

Panel Three

An above shot, we see the black valleys and cliffs as Paul walks across them.

Panel Four

Paul reaches the monolith. Once again, I defer to Lovecraft for the description: "...on whose surface I could now trace both inscriptions and crude sculptures. The writing was in a system of hieroglyphics unknown to me..." " consisting for the most part of conventionalised aquatic symbols such as fishes, eels, octopi, crustaceans, molluscs, whales..." and then the carving.

CAPTION: I reached that dreadful monolith, what would I give to have never arrived?

 

Page Thirteen - Six Panels

Panel One

We see Paul standing at the edge of a crevice, the monolith is seen below as per Lovecraft's description. 

CAPTION: It was unlike anything I have ever seen or could ever have imagined.

Panel Two

Up close shot of the hieroglyphs, written in the strange language.

Panel Three

A shot of the different sea creatures on the monolith.

Panel Four

Shot of the drawing of the Deep Ones.

Panel Five

Paul rears back in horror at the sight of the last carving.

Panel Six

Paul turns his head, catching a glimpse of...

-

Page Fourteen - Three Panels

Panel One

A shot of a clawed and webbed hand.

Panel Two

A shot of glinting, razor sharp teeth in the moonlight.

Panel Three

A shot of a dark, shadowy figure in the shape of one of the Deep Ones. It's climbing up the monolith towards Paul, only that clawed and webbed hand is clearly visible.

 

Page Fifteen - Two Panels

Panel One

Paul turns to run.

CAPTION: I'm afraid I don't remember much after that. Though I must have climbed down those cliffs and walked back to the boat.

Panel Two

Shot of Paul, back at the boat. A great thunderstorm is happening and a Ship is seen in the background. 

CAPTION: I was saved.

 

Page Sixteen - Four Panels

Panel One

Paul, on a ship, sitting down, a blanket wrapped around him and a blank look on his face.

Panel Two

Paul in a hospital bed.

CAPTION: We returned to San Francisco, whereupon I was admitted to a hospital there and given Morphine. Then I was released.

Panel Three

Paul, sitting in his dark apartment. Nothing is visible save the rainy night outside the window and the desk he is sitting in front of.

CAPTION: I had lost my mind and my soul. For what good are souls if things like that exist?

Panel Four

Paul sits at his typewriter, the room dark save for the storm outside and a lit candle.

CAPTION: I decided to record my story, and then take my own life. Until...

 

Page Seventeen - Six Panels

Panel One

The door of the apartment slowly begins to open. Lightning cracks.

Panel Two

The clawed, webbed hand appears around the doorframe, pushing it open.

Panel Three

Paul gets up quickly from the chair, heading for the window.

Panel Four 

Lightning strikes again, illuminating part of the dark green being that had been climbing the monolith.

Panel Five

Paul jumps, crashing out of the window.

Panel Six

Above the street, from the apartment, we see the clawed, webbed hand on the broken window seal. Below, in the rainy streets, lies the broken and bloodied body of Paul Wilson. A pool of blood is starting to mix with the watery street.

-

Page Eighteen - Four Panels

Panel One

We have reached the end of Dagon and have returned to 19C, where Lovecraft, Marie Ashmore and Paul Wilson are. Wilson and Marie are sitting on the bed and Lovecraft is leaning against the wall.

Paul: I awake in Arkham, with broken legs, under physical and mental care.

Lovecraft: Fascinating. Absolutely fascinating! Have you any idea what the monolith or creature is?

Panel Two

A shot of Paul, looking gravely.

Paul: A fever dream, perhaps? That fed into delusions of a creature that could and did not exist. Being out in the sun for that long cannot be well for one.

Panel Three

Lovecraft nods.

Lovecraft: Ah. I see. Well, thank you again for telling your story, Mr. Wilson. It will prove most helpful for my thesis.

Panel Four

Wilson and Lovecraft shake hands.

Paul: Glad I could be of help.

 

Page Nineteen - Six Panels

Panel One

CAPTION: Cafeteria, Noon.

We see a shot of Lovecraft, sitting at a long table, research book open that says, "INNSMOUTH, MA. The Esoteric Order of Dagon-" The rest is not visible, blocked by a paper which Lovecraft has hand written, "Monolith, what is the connection to this Esoteric Order? Must research!!!"

Panel Two

An above shot of part of the cafeteria. The floors are white; the tables are a brownish metallic. Marie sits across from Lovecraft.

Marie: So, what do you think of our Institution?

Panel Three

Lovecraft nods.

Lovecraft: Mmn, it's very nice.

Panel Four

A panel of awkward silence, as they sit across the table from one another. In a window, we can see it is raining.

Panel Five

Marie leans forward.

Marie: So tell me about yourself, Mr. Lovecraft.

Panel Six

Close up of Lovecraft as he flushes once again.

Lovecraft: I'm afraid there's not much to tell. I'm from Providence, my mother recently passed and I'm a student at Miskatonic.

 

Page Twenty - Six Panels

Panel One

Marie touches Lovecraft's hand in a comforting gesture.

Marie: I'm sorry to hear that.

Panel Two

They each look down at their touching hands.

Panel Three

Marie pulls her hand back.

Marie: Sorry! Sometimes I can be a little too bold.

Panel Four

Another panel of awkward silence, Lovecraft's usually fair, delicate pallor is now nearly beat red.

Panel Five

Marie leans back in her chair, Lovecraft's pallor is returning to normal.

Marie: So, what makes a student int--

Panel Six

An orderly bursts into the cafeteria, interrupting and stopping all conversation.

Orderly: Nurse! Come quick! Something has happened in 19C!!! There was screaming!!!

 

Page Twenty-one - Two Panels

Panel One

Overhead view of the quad area, the orderly is in front, followed by Marie and then Lovecraft as they head toward Ward C.

Panel Two

The group rushes down the hallway of Ward C, heading towards us and 19C.

-

Page Twenty-two - Splash Page

19C, the room is empty, save for a puddle of water near the window. The orderly, Marie and Lovecraft stand near the doorway in shock. 

Lovecraft: What in the world...?

CAPTION: End.