V — We Wear the Mask — Brian Manton

1.
Thin wide panel.
The feet of a crowd of people, walking. There is a wide range of footware - expensive shoes, battered trainers, boots, sandles, high heels etc.
It is night time. The scene is lit by orange street light.

2.
Large panel.
Looking down on a crowd of hundreds of people, all wearing V masks. They are gathered in a city square. They all look up "toward the camera".

CAP:
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,—
This debt we pay to human guile;
With torn and bleeding hearts we smile,
And mouth with myriad subtleties.

CAP:
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
       We wear the mask.

CAP:
We smile, but, O great Christ, our cries
To thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet, and long the mile;


3.
Inset panel.
Medium shot of one of the people in the crowd. Low angle looking up at them. They have removed the mask and are holding it by their chest (at an angle where the mask is looking toward camera). The person's face is in shadow. We cannot see if it is a man or a woman.

CAP:
But let the world dream otherwise,
       We wear the mask!

Gutter text:
We Wear the Mask by Paul Laurence Dunbar

V - Fireworks - J.D. Coughlan

A brief interlude set during the main story, after Evey has been "kidnapped" by V.

Panel 1: A shot of the night sky, colourful fireworks exploding.

EVEY (CAP): "The fireworks always seemed odd to me."

Panel 2: In V's kitchen. He stands at the cooker, half-turning at Evey's comment. She sits at the table eating breakfast.

V: Hm?

EVEY: I was just saying... I remember Guy Fawkes Night when I was a little girl, my dad telling me all about it, and I always wondered... why fireworks? Seemed cruel to celebrate a man's death like that.

Panel 3: V turns dramatically to face Evey, his mask's eyes almost lit up with glee.

V: Ah but, my dear, it was not his death we celebrated.

V: Yes, that may be the reason the powers-that-be perpetuated the ritual -- to remind those under them that rebellion is futile...

Panel 4: V takes a seat opposite Evey. She stares engrossed at him. His body language is theatrical.

V: But the night became instead a memorial to a man who tried.

V: A man who had the courage to say "no" to those that would not listen, and, in response to their ignorance, take the path of action rather than acceptance. A man who, but for the merest slip of bad luck, would have changed the world with nothing more than a match. A man who was willing to die for that change.

Panel 5: Close up of V. Those eyes almost twinkle now.

V: Is the life of such a man not worth fireworks?

END OF PAGE

V – Vitality - Shaun Richens.

PAGE ONE – 9 PANEL GRID.

1.1

Black panel.

CAPTION:

First nothing.

1.2

A lit match grasped between finger and thumb. The small flame fights at the darkness all around.

CAPTION:

Then a flicker.

1.3

The top of a tall and thin white wax candle, the wic not yet lit. The hand holding the match hangs inches away from lighting the candle.

CAPTION:

The wait.

1.4

Close up on a pair of lips, they are pouted as they blow out the burning match held before them. The small flame leans away from the mouth as if trying to escape.

CAPTION:

Followed by the end.

1.5

Black Panel.

CAPTION:

The darkness

1.6

The candle burns brightly as it is clenched in a hand.

CAPTION:

Followed by the flame.

1.7

The candle is being lowered and placed on to a table.

CAPTION:

The fire.

1.8

V’s mask is bathed in light from the candle as it rests on the table next to it, the candlelight chasing shadows away from all around it.

CAPTION:

To start the inferno.

1.9

Black Panel.

V – VvVvV – MK Stangeland Jr.

V

V

V

(6 Panels)

PANEL 1: AGENT V holds up a Neuralyzer and points it at V.

AGENT V: My apologies. If you’d just look here, I’ll be out of your way in just a moment.

PANEL 2: V throws a dagger that goes straight through AGENT V’s Neuralyzer and knocks it out of his hand.

AGENT V: $#*^!

PANEL 3: V charges at AGENT V and slams him against a wall; the end result is that V pins AGENT V against the wall with a blade against V’s neck.

V (1): How very vexing.

V (2): If you wish your life to not be void, it would be verily suggested to vanquish the mystery as to what venue you originate from.

PANEL 4: AGENT V keeps his clam as he looks at V.

AGENT V (1): Seems the rumors were true. A masked man running around London stabbing people.

AGENT V (2): Release me and maybe we can talk.

PANEL 5: V decides to chance it, stepping away but keeping his knife pointed in AGENT V’s direction.

AGENT V (1): That’s better.

V: Start talking.

PANEL 6: AGENT V composes himself as he tells V more than he knows he probably should.

AGENT V (1): I’ll cut to the short version.

AGENT V (2): I’m part of a secret unaligned organization tasked with monitoring and handling extraterrestrial life living here on Earth.

AGENT V (3): The folks who currently run the UK? For years they’ve been working with a nasty group of aliens called ‘The Visitors’ which have managed to thwart us at every turn.

AGENT V (4): I’m here on recon because we think they’re getting ready to reveal themselves, which would blow a lid on our entire operation and ruin everything we’ve worked towards for decades.

(END PAGE)

(Yes, I did write this page simply as an excuse to throw together a bunch of ‘V’s.)

V - Vainglory - Grant McLaughlin

1 – Close-up of a roaring fire. It is bright, it is warm, it is dangerous.

CAPTION: “In anarchy, there is another way.”

MARIE (off-panel, tailless balloon): Richard.

2 – Pull back to our actual scene. London. Some night after V's viking funeral. The exact amount of time is up to you. A small group of people (half a dozen or so, let's say) huddle around some fire barrels for warmth. The fire lights their immediate surroundings, but there is a lot of darkness beyond that. They aren't necessarily a family, but a group of closely associated friends / acquaintances. They're all new characters. Among them is Marie and Richard. Marie looks away from the fire in a worried fashion. Richards puts a reassuring hand on Marie's shoulder.

CAPTION: “With anarchy, from rubble comes new life.”

MARIE: Richard, he's back.

RICHARD: Marie, you need to be more trusting.

3 – Richard turns and looks towards the shadows. He puts a hand to his mouth to project better. A figure is semi-visible in the darkness.

CAPTION: “Hope reinstated.”

RICHARD: Hullo there! It must be awfully cold in the shadows! Why don't you join us by the fire?

4 – The figure comes into the light. He looks a little worse for wear, a little sketchy, but he wears a smile.

CAPTION: “You must choose what comes next.”

FIGURE: That's awfully kind of you.

5 – More figures come out of the shadow to stand behind our initial figure. His smile is now more of a wicked grin, reaching into his jacket for something. The additional arrivals don't look any friendlier, striking different intimidating poses.

CAPTION: “Lives of our own, or a return to chains.”

FIGURE: But sharing's not what we had in mind.

6 – Move the perspective to a shot from behind the group of ne'er-do-wells, something around waist height. We're close in, focusing on the knife the initial figure pulled out of his jacket. In the background, we can see Richard and Marie holding each other in fear.

CAPTION: “Choose carefully.”

V - Five - Ben Rosenthal

1.  A city street during a rainy night.  People hurry about their business, trying to not get wet.  Along the walls are worn posters, some of which show the Guy Fawkes mask originally worn by V.

CAPTION
The message has been watered down.  Diluted.


2.  On the same street is a souvenir stand.  It is selling shirts with V's mask on it, looking much like a Che top but white.

CAPTION
What was once a crusade is now a logo on a shirt purchased by kids who are ignored by their parents.

CAPTION
I blame my predecessors.  They lost the way.


3.  A tall cloaked figure is standing on a roof top, looking down.  He looks like the original V, but is smaller - younger somehow.

CAPTION
I am the fifth V.  The true V.


4.  A close up of a battle damaged mask.  It is old and worn.

CAPTION
I am reclaiming my face.

V - Veronica - R.A. Wonsowski (lyrics by Elvis Costello)

Layout:
111
234
567

Panel 1 - Exterior:  nestled in the picturesque English countryside, stands the main cottage of the Diana Stanton Home for the Elderly (it says so on the carved wooden sign out front).  Looking vacantly out one of the bay windows is an old woman (VERONICA) of about 90.  It's raining lightly.  

CAPTION:  Well, now she sits in her favourite chair...


Panel 2 - Interior:  Lobby of the same cottage.   VERONICA is still staring out the window, sitting in a big armchair.  She looks frail and slender in her nightgown, with a posture and expression as if she's not quite sure where she is.  She is holding a photograph in a black frame.  A couple of other elderly men watch the telly; one of them is sporting an IV rigging, the other is in a wheelchair.  All three are in hospital gowns.  A burly looking orderly in scrubs is watching the TV from a distance, a NURSE checks a clipboard in the doorway while walking toward VERONICA.

CAPTION:  And she sits very quiet and still...


Panel 3 - From above and behind, the NURSE, standing, is talking to VERONICA, still seated and looking up at her face, as if she doesn't know who the nurse is.  We see that the photo she is holding is of the "Bollocks" girl ().


CAPTION:  And they call her a name that they never get right 
(and if they don't, then nobody else will...)


Panel 4 - VERONICA turns to see another burly ORDERLY (looking a little like he used to play on a prison rugby team), bearing a bouquet of roses (violet carsons, of course).  As big as the ORDERLY is, his face,though thuggish, should be gentle.

CAPTION:  But she used to have a carefree mind of her own...


Panel 5 - VERONICA looks out the window.  We see V, standing in the rain near a tree, doffing his (her?) hat and bowing, the smile of the Guy Fawkes mask visible.

CAPTION:  With a devilish look in her eye...


Panel 6 - Close-up on VERONICA's head and shoulders as she holds the bouquet, the rain running down the window streaking shadowlines upon her face.  Her mouth is open in an "oh" of surprise, but she shows no fear.  In the background, the NURSE, as if saying "why you big old smoothie", chucks the big ORDERLY's shoulder, who is a little embarrassed, and the two share shy smiles with each other.

CAPTION:  Saying "You can call me anything you like...


Panel 7 - Close-up now on only VERONICA's face.  Every wrinkle shows.  The roses frame her right cheek, and her eyes are flirtatious and young.  She smiles in a very Fawkes-ian grin.  

CAPTION:  "But my name is

TITLE CARD

NOTE: the title card is in the same fashion as Part 3 of the series.

Why V?

Remember, remember
the 5th of November -
the Gunpowder Treason and plot.
I know of no reason
the Gunpowder Treason
should ever be forgot.

Yes, yes, you Alan Moore purists - I've heard it all before.  WATCHMEN is the great 20th century's graphic Literature with a capital L.  MARVELMAN (or Miracleman, as they say here in the colonies) is the great Deconstruction of the Superheroic Myth.  Blah-dee-blah-blah-blah.  For my money, V FOR VENDETTA is my favourite work by Mr. Crazy-Beard-Magus.  And being that this week IS the 5th of November, I thought it would be fun to spotlight "V" himself.

Illustrated by David Lloyd, V FOR VENDETTA is set in a Fascist alternative England, slowly being torn down by the anarchist known only as "V".  Whether or not he is a terrorist or a freedom fighter depends on your point of view (made even more clear when you reread this 1980's classic in the light of 9-11; see if the British "Fate" system doesn't remind you of the NSA of the USA...but I digress...).  But what takes him from good character, or even intriguing character, to GREAT character is that (at least in the comics), terrorist-or-freedom-fighter is mixed up in the complete AMBIGUITY of V's own self.  Is he man or superman?  Human being or experimental subject?  Crazy or sane?  Male or female?  And even if we could look behind the frozen visage of the Guy Fawkes mask, would the answers make a difference?

You see, V is whoever you bring to the table.  It is no mistake that the group known as Anonymous used V as their template identity.  

This idea is more central than you might think...

V may speak in metaphor, or riddles, or song quotes, (he even quotes "Waiting for the Man" - V for Velvet Underground (RIP Lou Reed, by the way)), but he never lies.  And his truths are uncomfortable, to say the least.  His philosophies, borne out of Thatcher-paranoia, are remarkably prescient.  "People should not be afraid of their governments," he tells Evey, "Governments should be afraid of their people."  Sometimes, he didn't speak at all, as in the side story "Vincent", and yet his actions spoke volumes by the novel's end.

Those side stories, "Vincent" and it's companion tale "Vertigo", showed that even though the story of V FOR VENEDETTA was very much self-contained, there were many other avenues and alleyways V could have trod down, and there are endless songs that could still yet be played "in this vicious caberet".  

It's hard to start a revolution on an empty stomach...eggy in a basket?

(For the record, I enjoyed the movie version as well, but for altogether different reasons.  But we're here to talk comics, are we not?)

And so Verily we Value your Views on our Volume of Vendetta and Vengeance, whether Vast Vermilion Verisimilitude, or Vain Vaudevillian Vistas of Virtue Versus Villainous Vice...

...and we Very Venerably bring you...

V.