Near Death - ...hoo boy... - R.A.Wonsowski

Scene takes place in a corporate board room, with open plan offices outside.

Layout:
1234
5678
9999
9999

Panel 1 - MARKHAM hides behind the tipped-over conference table, back up against it, kind of in a seated position, head down, eyes squeezed shut, a Smith&Wesson 457 in each hand:

Unseen gunmen are somewhere on the other side (we can't see them), their bullets blasting through and tearing up the table around MARKHAM.  Glass is shattering in the background.

SFX:  BLAM! BLAM! BLAM! BLAM!

SFX:  KSHHH!!

SFX:  BAM!BAM!BAM!


Panel 2 - Same as above, but no blasting or crashing.  Quiet moment.

NO COPY


Panel 3 - Same P.O.V., but MARKHAM is now peeking around the table nervously.

NO COPY


Panel 4 - Same P.O.V.  MARKHAM is sitting on the floor again, his back to the table again, and he's swearing at his shoes.

MARKHAM:  (small lettering) #@$K!


Panel 5 - Same as above, but MARKHAM's eyes look heavenward.  His face is  like a chid who is admitting he broke the lamp because he was running in the house, sorry eyes, pouty lip...

MARKHAM:  God?  I know you're up there laughin'yer ass off...

MARKHAM:  ...'specially with the "no-kill" thing...


Panel 6 - Same as Panel 3, peeking around the table again.

MARKHAM: ...but help me out here, I swear I'll put twenty in the plate next Sunday...


Panel 7 - Same as Panel 5, but with that "oh, yeah, almost forgot" expression.

MARKHAM:  ...oh, uh...Amen.


Panel 8 - MARKHAM rises from his position and swings around, pistols almost leading his body to a firing stance behind the table.

NO COPY


Panel 9 - As seen from MARKHAM's eyes:  foreground - MARKHAM's forearms and guns, muzzle-flash trailing in an arc, sweeping from right to left, shells ejecting from the chambers; background - from left to right:  gunman shot in a kneecap and a calf, gunman shot in the foot and hip, gunman shot in the kneecap, gunman shot in the scrotum, gunman shot in the hand and elbow.  Their faces are all distorted in agony.

SFX:  BLAM! BLAM! BLAM!

MARKHAM:  (to the one he shot in the groin)  Sorry!

SFX:  BLAM! BLAM! BLAM!

Near Death - Poison At 30,000 Feet - Niel Jacoby

Panel 1: Markham is walking down the aisle of an airplane, towards the back. We can see he's looking towards a sleeping enforcer-type (think Vin Diesel, or Michael Chiklis) who's in an aisle seat on the side of the plane at Markham's right, with a young, somewhat frightened girl in the window seat. Markham's right hand  is in his pocket, the other at his side. The enforcer has a glass of red wine in front of him.

NO COPY

Panel 2: Markham is passing by the enforcer's seat, and his hand is slipping out of his pocket.

Inset panel: a small pill drops into the enforcer's glass.

SFX(small): PLP

Enforcer(bubbly balloon, warped text): Zzzzz... Zzzzz

Inset panel: Close on the enforcer, turning his head, but still asleep.

Enforcer(jagged balloon): SNRK

Panel 3: Markham and the girl are staring at the enforcer, tense and startled..

NO COPY.

Panel 4: Close on the enforcer, drooling and asleep.

Enforcer(bubbly balloon, warped text): Zzzzz...Z....

Panel 5: Markham has his finger to his lips, and is winking to the girl.

Markham(small balloon, small text): sh.

Inset panel: the girl is winking back, smiling.

Near Death - At Death's Door - J.D. Coughlan

Panel 1: Woodward's POV. Lying in a hospital bed, looking up. Markham stands at the foot of the bed, stoic, looking down at Woodward.

MARKHAM: Simon Eric Woodward.

MARKHAM: Between 1951 and 1967 you killed twenty-two people -- mostly children -- and got away with it. But I had a bit of luck this week; came into some information that pinned you.

Panel 2: Woodward's private hospital room. Woodward is an original character, in his mid-80s, and looks very old and ill. He is managing a weak grin though.

WOODWARD: And what? >wheeze< You thought you'd turn me in? Kill me? Torture me?

WOODWARD: >wheeze< Young man, I don't know who you are, but I've been in more pain than you can imagine for years now. My doctors now tell me I won't last the week, so prison would be pointless, and at this point I'd welcome execution. >hack<

Panel 3: On Markham again, this time he's grinning and his body language should indicate he is now pacing around the room.

MARKHAM: Oh, I know. See, because of a recent... lifestyle change, I don't get to have much fun anymore, but with you I found a little loophole.

MARKHAM: I may not be able to kill you, Mr. Woodward, but while you were out I had some paperwork fudged...

Panel 4: Close on Woodward. Horror and terror on his face.

MARKHAM (O.P.): You've been receiving the best and most advanced new medical treatments.

MARKHAM (O.P.): They've tuned you up like a beat up Ford Mustang -- gave you a Ferrari's engine.

MARKHAM (O.P.): You're gonna live much, much longer now.

Panel 5: Markham quite comfortably takes a seat.

MARKHAM: But before I leave I'm gonna tell you all about where you're going when you do die...

END OF PAGE

Near Death – 50 Shades Of Grey – Shaun Richens.

PAGE TWENTY-ONE

4 PANELS.

LAYOUT

112

333

334

Set up Markham has been pulled into a situation involving the Mob trafficking woman into the country. We come in during the main confrontation between Markham and the Mob Boss, Vito Gacha.

1. We are in the office of VITO GACHA, the office has that kind of vibe. Vito Gacha lies on the floor; he is wearing a fine suit, white shirt, and black tie. His nose is bleeding from the punch MARKHAM gave him; some of the blood has splattered onto his crisp white shirt. Vito is on his back, using his arms to crawl away towards a cabinet. He is facing towards us, and Markham who is off panel.

VITO:

        What gives you the right to judge me? 

        You’re hands are covered in blood.

2. Same as panel 1. however Vito has crawled further away, his back up against the cabinet now. The shadow of Markham stretches out towards Vito not quite blocking him from the light yet.

VITO 1:

         I know the stuff you’ve done Markham.

         (LINK)

         VITO 2:

         Your past's as black as mine.

3. A worm’s eye view looking up at Markham. He is rim lit with the light behind him. He holds his pistol in hand outstretched pointing at Vito.

MARKHAM 1:

        My histories pretty dark.

        (LINK)

        MARKHAM 2:

        But compared to your its no worse than grey.

4.Insert panel in 3. Same as panel 2. However Vito has raised his hands to shield his face. Markham’s shadow covers Vito now.

         VITO 1: (SMALL FONT)

         Please

         (LINK)

         VITO 2:

         Don’t…

Near Death – Nearest Death – MK Stangeland Jr.

(7 Panels)

Panel 1: An elderly MARKHAM sits on a park bench. He looks old, but it’s still clearly MARKHAM.

Panel 2: A younger man comes to the bench  - DEATH. He has a dark color scheme to him, with a black suit, black hair, even the color of his skin. About the only thing about him that isn’t black is the shirt beneath his suit coat. His build is about as skeletal as one could look while still realistically looking like they’re capable of being alive and getting up and walking around on their own.

DEATH: Mr. Markham?

MARKHAM: ?

DEATH: Do you mind if I join you?

Panel 3: DEATH sits on the bench next to MARKHAM. MARKHAM doesn’t seem all that pleased by the decision.

MARKHAM: I know you?

DEATH: I’m sure you’ll recognize me if you look hard and think about it.

Panel 4: MARKHAM squints as he looks at DEATH tries to figure out who he is.

Panel 5: MARKHAM’s eyes go wide as he realizes DEATH’s identity.

Panel 6: MARKHAM is looking down towards the ground in front of him as he lets his head slump. DEATH looks nonchalant as he leans back on the bench.

MARKHAM: It’s finally my time, then?

DEATH: Not quite.

DEATH (2): But soon.

Panel 7: MARKHAM picks his head back up.

DEATH: Consider this a small reward for surviving so long.

DEATH (2): Most of us thought you’d bite it again years ago.

END PAGE

Near Death - Coming Soon - Grant McLaughlin

1 - A scene reminiscent of the moment in the first issue when Markham wakes up screaming on Sutton's operating table after his "visit" to Hell.  The man on the table kind of looks like Markham, but there are some noticeable differences.  Let's say his nose is too big and his jawline is the wrong shape.  And instead of just one shock of white hair, his entire mop is white.  In Sutton's place is a (by Hollywood standards) far more attractive woman.  She wears operating clothing, but somehow manages to have cleavage showing.  As well, she isn't wearing a mask or doctor's scrub cap, meaning that her face and long, luscious hair are both visible. Anyways, near-Markham is sitting up quickly on the table and near-Sutton is surprised, putting a hand to her chest (without covering the cleavage).

NEAR-MARKHAM: I will kill no more!

2 - Switch scene.  Near-Markham is wearing a suit similar to Markham, but maybe not quite as nice.  Facing the reader, he stands with an assault rifle in each hand, guns blazing.  He grimaces in determination as he unloads the weapons.

NEAR-MARKHAM: Huarghhh!

SFX (along the bottom of the page): brakka-akka-akka-akka

3 - Near-Markham stands with two girls, one on each arm.  They are scantily clad and just as well proportioned as near-Sutton.  Near-Markham's suit is ripped up and covered in blood, but no one seems to notice or mind.

GIRL 1: Thank you for saving us!

NEAR-MARKHAM: No problem, ladies.  It's all in a day's work since my...

4 - A movie title screen.  Have it in the style of the "Near Death" covers.  The image of near-Markham can be him doing something crazy, like jumping out of a helicopter while shooting a gun or something.  In place of "Near Death", the title is "Epiphany".  Where the creators' names are, it's written:

A Casey Clinton Production
Written by Devon Lincoln

5 - Focus in on the "Written by Devon Lincoln" part.  Pull out slightly to show that the previous four panels were all on a TV screen.  Two bars are visible on either side of the words to show that the TV is behind a protective barrier.

MARKHAM (off-panel): -heh-

6 - Pull even further back to show that Markham is sitting in the common area of the prison, watching TV (which is still behind those bars and still shows the "Epiphany" title screen).  Some other prisoners are around, but they don't really pay Markham any mind at the moment.

MARKHAM: I'm glad that he managed to turn things around, but I hope his next effort is slightly more nuanced.

Near Death – Nothing to Lose - Ben Rosenthal

1.  A close up of Markham, from chest height walking out of a building with his hands in his pockets.

CAPTION (Markham)

I've had visions of Hell.

2.  A wider shot of Markham, from knee height walking.  The building that he just walked out of a good distance away now. One of his pockets containing one of his hands has bulged slightly, as Markham has just pressed a button on a remote within his pocket.

CAPTION (Markham)

Stands to reason that if there is a Hell, has to be a heaven too.

And I know that’s where you are.

3.  Same as Panel 2, but a full body shot of Markham, still walking with his hands in his pockets as the building he just walked out of is exploding.

CAPTION (Markham)

I won’t be joining you.

But neither will the ones responsible for taking you.

Near Death- Face In The Crowd -Dan Hill

Page One

1.1
WIDE PANEL: We OPEN inside Markham’s bedroom. It’s night and the blinds throw strips of shadow across the bed.

Markham is on the bed asleep. The sheets are twisted and strewn about.

CAPTION (MARKHAM)

When I close my eyes I try to remember.

1.2
CUT TO a CLOSE UP on Markham in blazing daylight. Behind him we can see a cloudless and hazy yellow sky.

CAPTION (MARKHAM)

But they’re all still there. They're all still watching me...

1.3
CUT TO a CLOSE UP on Markham’s eyes looking out of the panel towards us, squinting slightly.  

CAPTION (MARKHAM)

...waiting for me.

1.4
WIDE PANEL: From Markham’s POV we are looking out at the strange desert landscape (the one from Markham’s near death experience in the first issue)-- we’re in hell.

Dotted around the landscape, as in the first issue, are all of Markham’s PAST VICTIMS. They all bear the marks of how they died.

CAPTION (MARKHAM)

I look out at them and I try to remember.

(link)

I try to remember his face.

(link)

The first of many.

1.5
SMALL INSET PANEL on the right side of Panel 1.4. This is a TIGHT SHOT on Markham as he continues to survey his hellish surroundings and the people before him.

CAPTION (MARKHAM)

Seeing his face means this will all soon be over.

(link)

But I can’t quite picture it.  

1,6
WIDE PANEL: CUT TO the bedroom from the first panel. Markham is sitting up in bed now, looking off into the distance, deep in thought.

CAPTION (MARKHAM)

Maybe tomorrow.

Why 'Near Death'?

Can a person truly change? Does everyone deserve a second chance?

These are the two questions Jay Faerber and Simone Guglielmini's Near Death ask the reader.

The premise of the book is simple:

Markham, a killer for hire, is badly wounded during an assignment. During this ordeal he has a near death experience and glimpses hell, seeing what's waiting for him there. As a result, he turns over a new leaf and pledges to save a life for every one he's ever taken. 

The majority of the issues are done in one stories, elegantly told by Faerber, Guglielmini and Riley. This gives the comic an episodic feel and also means anyone can jump on board with any issue.

During the second issue Markham is presented with a moral quandary. A man tasks Markham with protecting him from two assailants. Markham later learns this man is a convicted sex offender. Shortly after, Markham has a conversation with his friend, Sutton, seeking her advice. It's only a short two page scene but serves as an excellent insight into the reasons behind Markham's new outlook.

This isn't some mission of virtue for him. It's selfishness, pure and simple. He's doing it because he doesn't want to see 'that place' again. As the issue unravels it's fascinating to watch Markham struggle with his newfound code to not kill people but still deliver something approaching justice.

As the series progresses (taking in a three parter which ties up some of the events from the previous issues) we begin to see a different side to Markham. He begins to acknowledge that, yes, he might just be seeking some kind of forgiveness, some kind of redemption for his former life. But he knows it's a long road, one he may not see the end of.

My own experience of  Near Death began with the first trade and I was hooked straight away. Not since Scalped, have I promptly added a title to my monthly order.

In the single issues we get excellent short essays by Faerber talking about his favourite examples of crime literature, movies and TV. More recently these have been joined by a fantastic backup in the form of Ed Brisson's Murder Book strips.

Unfortunately, the combination of excellent stories and value for money couldn't lift the sales of the book and it's currently on hiatus as Faerber and co work out their next move.

So, like Markham's initial motivations, this weeks pick is a little bit of a selfish move. I want the tenured writers and the play at homes to dig their hooks into a cool character, one I deserve feels more traction and visibility. I'd like visitors to the blog to have their interest piqued enough to check out the first issue (super cheap on Comixology) or trade.

Like Markham, this series deserves a second chance.