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The Sandman Presents: Marquee Moon by Peter Hogan Second Draft (1997), Pages 1-8
PAGE ONE Panel 1. Large panel. This is also effectively our title page, so one possibility would be to have a framing arch above the panel, featuring the title (preferably including the Marquee logo) with a full moon and a couple of wolves. And in the panel itself, we meet Tamara straight away. As stated, there's a strong resemblance between her and Celeste. She's about 5' 7" tall, shoulder length dark hair (curly=a perm), slight build (almost boyish). Aged about 18/19 and definitely pretty (Celeste was portrayed as dropdead gorgeous—maybe Tamara's less so, i.e. at a slightly gawky stage—though we'll be watching her blossom in this story) with riveting green eyes. Somewhat innocent. Right now she looks pretty roadworn and bedraggled—no makeup at all. She's carrying a backpack (not a massive one, but pretty big—and it looks bigger on her) and is dressed for the road: hideously ugly walking boots (or earth shoes or clogs), flared blue jeans with massive bellbottoms, one of those padded/quilt anorak jackets (a dull red). When she takes the jacket off we'll see a tight round-necked pullover with a flowery pattern around the yoke and the frilly collar of the white blouse that's underneath that (Karen Carpenter has been a big influence on Tamara's fashion sense). She's occupying the centre of the panel, and is standing outside Victoria Station, looking at an unfolded map or an open A-Z. It's New Year's Day 1977, and pretty cold and rainy. Lots of pedestrians (of all types and ages—but no punks) trudging past her—and we want them to be ragged and dull, a flared-trouser freakshow, all of them looking dead-eyed and defeated. Even though she's tired and wet Tamara (and the punks we'll meet later) looks vividly alive by comparison. TITLE: MARQUEE MOON TODD: Ideally, we should use the Marquee logo for the title (it'll be seen several times in this story). CREDITS: Writer: Peter Hogan Artists: pencils—Peter Doherty; inks—Matt "D'israeli" Brooker (pages 1-45) and Doherty (46-56) Letterer: Todd Klein Color & Seps: Daniel Vozzo Editor: Alisa Kwitney Consultant: Neil Gaiman Based upon characters created by Neil Gaiman [NOTE: The script does not indicate a cover artist, but Peter Hogan has revealed that John Bolton was the frontrunner for the job.] CAPTION: I WAS SO DIFFERENT BACK THEN. I WENT THROUGH SOME REALLY BIG CHANGES, THAT TRIP TO LONDON... Panel 2. Medium/wide: Tamara standing outside an old redbrick mansion block somewhere near Victoria. Looking up at it, or entering its doorway. CAPTION: IT WAS NEW YEAR'S DAY WHEN I ARRIVED, AND BOY, WAS I TIRED... CAPTION: I'D BEEN ON THE ROAD FOR MONTHS, SCHLEPPING AROUND EUROPE SEEING FAMILY AND VISITING MUSEUMS. THIS WAS MY LAST STOP, AND THERE WERE NO MORE RELATIVES TO SEE... CAPTION: THIS ONE WAS JUST FOR FUN, AND I INTENDED TO HAVE SOME. ALISA: Your eagle eyes will doubtless have spotted that I didn't mention what the year is. We'll convey that information a bit more subtly (visually), within the next couple of pages. Panel 3. Smaller: a door being opened, revealing the occupant: a small and extremely dowdy woman in late middle-age (almost wizened). Like Madge, Dame Edna's friend. She's wearing a shapeless cardigan and is in bad need of a visit to the hairdressers. Cigarette dangling from lip (a centimetre of ash about to drop from tip). Her name's Elsie. If you've got room to show more, you could show Tamara outside in the corridor (could even be outdoors, on a balcony). Flat has a number on door (Thirteen). CAPTION: I WAS SUPPOSED TO BE STAYING WITH AN OLD FRIEND WHO'D BEEN LIVING HERE FOR THE LAST YEAR... CAPTION: BUT WHEN I GOT TO HER PLACE... ELSIE: YES? Panel 4. Small close-up of Tamara, from Elsie's perspective. Tamara is hesitant, uncertain that she's got the right place, worried that she hasn't. TAMARA: er... TAMARA: DOES JUDY LIVE HERE? PAGE TWO Panel 1. Medium/wide, and from Tamara's perspective. Behind Elsie Tamara's friend Judy has appeared, pulling the door wide open and grinning broadly. And Judy's a dominatrix/prostitute, her image somewhere between Emma Peel and Julie Walters in Personal Services—she's wearing a skintight black vinyl catsuit, high heel shoes or boots. Her fair hair is up in a ponytail, she wears lots of eye makeup, green (DANIEL!) nail varnish and lipstick. Judy is a few years older than Tamara (25 or thereabouts) but is not one of the People, just a mere human with nothing remotely supernatural about her. JUDY: TAMMY... JUDY: YOU MADE IT. COME ON IN. JUDY: ELSIE, PUT THE KETTLE ON... Panel 2. Smallish two-shot: the two of them being huggy-kissy in the doorway, or just inside. It's just an ordinary/plain hallway—except for a cheesy 'erotic art' print (framed) hanging on one wall—with a corridor leading to the rest of the flat, with several doors leading off it. Tamara has taken her backpack off, and is either carrying it or else has just dumped it on the floor. Elsie has vanished off-panel. JUDY: HAPPY NEW YEAR. HOW WAS PARIS? TAMARA: IT WAS OKAY... TAMARA: WHAT'S WITH THE CATSUIT? YOU JUST GET BACK FROM A PARTY? Panel 3. Medium/wide: in the foreground we want to see a rear view of Judy's slave-client, a podgy middle-aged man wearing a rubber bondage mask and very little else (either nothing or else a studded leather codpiece/jockstrap). In the background both girls have turned to look at him—Tamara surprised and shocked, Judy semi-amused but trying to hide it. SLAVE: DID YOU CALL, MADAM? SLAVE: IS THERE ANYTHING YOU REQUIRE? Panel 4. Medium, from Tamara's perspective: Judy's turning on the slave viciously, pointing back down the corridor and almost spitting out her words. Slave is slinking away like a whipped dog, down the corridor and into the background. JUDY: NO. NOW, GET BACK IN YOUR BOX. JUDY: AND DON'T COME OUT TILL I GIVE YOU PERMISSION. SLAVE (small): yes, mistress. Panel 5. Small close-up of Tamara, part puzzled, part shocked, part intrigued. TAMARA: YOU'RE A HOOKER? PAGE THREE Panel 1. Smallish close-up of Judy, scowling slightly—sort of annoyed that her secret profession got revealed so dramatically. Lighting a cigarette (in a cigarette-holder) with a flashy lighter (Dunhill or similar). JUDY: OH, DON'T LOOK AT ME LIKE THAT. JUDY: IT'S OKAY FOR YOU, BUT THE REST OF US HAVE GOTTA EARN A BUCK OR TWO...AND I COULDN'T GET A WORK PERMIT TO TEACH HERE. Panel 2. Two-shot: Judy exhaling, left arm across her waist and holding elbow of right arm, right hand flourishing cigarette-holder. Very matter-of-fact. To the right of Judy, Elsie enters from kitchen, carrying a teatray. JUDY: BESIDES, I DON'T FUCK THESE GUYS. I JUST TIE 'EM UP AND WHIP 'EM A BIT. JUDY: IS THAT SO BAD? ELSIE: TEA'S UP. Panel 3. Medium/wide: Judy taking tea tray from Elsie, Tamara a bit stunned. JUDY: THANKS, ELSIE. TAMARA: I...I DON'T KNOW. IS IT? JUDY: IT'S A LIVING. C'MON, LET'S GO SIDDOWN IN MY ROOM. Panel 4. Medium/large: Judy entering her room (carrying tea tray), followed by Tamara (carrying her rucksack). Judy grinning, Tamara still shocked-but-curious. And this is Judy's room i.e. the place where she lives, with no sexual or S&M trapping whatsoever. It's effectively a bedsit, with a lot of cheap and tatty G-Plan furniture: a double-bed, a tatty sofa, a coffee table, a small portable TV, a Dansette record player. Records stacked up beside it (most of them out of their sleeves (which are dogeared). Albums would include early Iggy Pop and Bob Marley. Coffee table has magazines: Time Out (you get extra bonus points if you use the genuine issue—and give Dominic Wells my regards) and Sniffin' Glue (you'll find the December 1976 issue in the book collection). Also has ashtray (overflowing with lipsticked butts). Judy's not very tidy, so there's girlie clutter (make-up, knickers etc) all over the place. A couple of books by her bed (a Jackie Collins novel, plus some scholarly academic work). Posters on the wall (taped, not framed): maybe something arty from Athena (Mucha or Lautrec) and/or a movie poster for A Clockwork Orange, plus postcards and snapshots. Also, somewhere prominent (on the wall) we want to see a calendar that says '1977' in big letters. ALISA: we'll plant a few more '1977's' over the next couple of scenes (though not in the flashback, obviously), so people should be in no doubt what year it is. Especially not after they see Mr Strummer's shirt in a few pages' time... JUDY: YOU WOULDN'T BELIEVE IT, BUT THAT GUY'S A BIG GAME SHOW HOST HERE. TAMARA: REALLY? Panel 5. Smallish: Judy putting a 7" single on the dansette, placing needle in the groove. It's the EMI pressing of Anarchy In The U.K. (show the label, if you can manage it and can find reference) which came in a completely black sleeve—so maybe Judy is holding the sleeve in one hand. That teatray is now resting on the coffee table. JUDY: OH, HONEY—I'VE HAD THE LOT. POLITICIANS, JUDGES... JUDY: WHAT IS IT WITH THE MEN IN THIS COUNTRY? Panel 6. Judy smiling—part contentment/pride, part whimsical sigh. The Dansette behind her emits musical notes. JUDY: FORTUNATELY, I FOUND A GOOD ONE. JUDY: HIS NAME'S RAY—YOU'LL MEET HIM LATER ON. RECORD PLAYER: A few musical notes. PAGE FOUR Panel 1. Smallish: Tamara is now sitting (perched, still somewhat uncomfortable) on the sofa, and has removed her jacket. She's glancing/gesturing towards the record player. Judy still standing, fiddling with stuff or en route to the sofa. RECORD PLAYER: A few musical notes. TAMARA: WHAT ARE WE LISTENING TO? JUDY: THE SEX PISTOLS. TAMARA: WHO? Panel 2. Mainly a close-up of Judy stopped in her tracks, slightly surprised and mildly gossipy; Tamara deeply puzzled (or off panel entirely). ALISA/TODD: If there's room, could we have musical notes floating about for the next few panels (to show the record's still playing)? On the other hand—and this'll crop up again every time we have music playing—would it just be an annoying, confusing and intrusive mess? Vote now! JUDY: YOU'VE NEVER HEARD OF THEM? THEY'RE LIKE, PUBLIC ENEMY NUMBER ONE IN THIS COUNTRY. TAMARA: A ROCK GROUP? WHY? Panel 3. Two-shot: both on the sofa. Judy on our right, pouring tea and smiling teasingly. JUDY: OH, THEY SAID 'FUCK' ON PRIMETIME TV—BUT ANYONE'D THINK THEY'D KILLED SOMEBODY, THE WAY THE PRESS REACTED. JUDY: SO, ARE YOU SHOCKED? BY ME, I MEAN... Panel 4. Another two-shot: Judy is now stretched out on the sofa, knees bent up (or feet resting in Tamara's lap), cupping her mug/cup and giggling; Tamara a bit embarrassed but not wanting to be thought prudish, choosing her words carefully. TAMARA: NOT...SHOCKED, EXACTLY. BUT... TAMARA: IT DOES TAKE A BIT OF GETTING USED TO... JUDY: hee...THAT'S WHAT I SAID. Panel 5. Small close-up of Judy, serious and caring. JUDY: YOU STILL WANNA STAY HERE? I MEAN, YOU WOULDN'T HAVE TO SEE ANY OF THE CLIENTS OR ANYTHING... Panel 6. Small close-up of Tamara, smiling ruefully. CAPTION: PART OF ME WANTED TO JUST LEAVE, STRAIGHT AWAY. BUT I WAS SO TIRED...AND ANOTHER PART OF ME WAS KIND OF THRILLED AT KNOWING HOW MUCH DAD WOULD DISAPPROVE. TAMARA: IF YOU'RE SURE... TAMARA: I MEAN, I GUESS... CAPTION: SO I STAYED. PAGE FIVE Panel 1. Medium two-shot: Judy smiling, pleased and relieved, prodding Tamara with one foot; Tamara leaning slightly, pushed by Judy's foot, grinning. JUDY: GOOD. JUDY: THEN GET CHANGED—WE'RE GOING TO A GIG, SOON AS I GET RID OF MISTER RUBBERHEAD OUT THERE. Panel 2. Similar, but smaller: Tamara is slumping back, one forearm on her forehead, brushing her hair back. Judy has swing round into face-front sitting position, and is reaching for a packet/envelope or box on the coffee table. TAMARA: NO WAY. I COULDN'T—I'M POOPED. JUDY: OH, WE HAVE THE CURE FOR THAT. Panel 3. Smallish: in the foreground, Judy's hands chopping out a couple of lines of white powder (with a razor blade) on a small pocket mirror; in the background, Tamara is sitting up and forwards, frowning slightly. Curious, a little shocked, very wary and an eentsy bit thrilled at this proximity to la vie boheme. TAMARA: IS THAT...COKE? Panel 4. Smallish: Judy from Tamara's perspective. She's kneeling on the floor, rolling up a banknote (hey, remember when we had pound notes?) and concentrating on what she's doing. We can clearly see the two white lines on the mirror. JUDY: NOPE. THIS IS SULPHATE. JUDY: YOU KNOW—SPEED. Panel 5. Similar, from the same perspective/angle: Judy proffering the rolled-up banknote towards us/Tamara. Wiping the underside of her nose with the forefinger of her other hand. One of those lines on the mirror has now disappeared. JUDY: snnnf JUDY: HERE... Panel 6. Close-up of Tamara, a little scared, her loyalties torn. A large part of her wants to give this stuff a try. TAMARA: I CAN'T. I MEAN, I DON'T DO DRUGS. TAMARA: I MEAN, I PROMISED MY DAD... PAGE SIX Panel 1. Scene change, and a flashback. We're in JFK airport, outside passport control near some checking-in desks (I think Freddie Laker was operating by this point—though good luck tracking down reference on his logo. Maybe it'd be easier using a more established airline—was Pan-Am still going? Or TWA?), where Tamara is saying goodbye to her mum and dad. She's similarly (though not identically) attired to when we first saw her, though a lot less tired and roadweary. This is several months earlier—Octoberish—so it'd already be cold enough for the others to be wearing overcoats and hats. Vassily, Tamara's father looks pretty much identical to when seen as Celeste's grandfather in 'The Hunt'—maybe a little younger (the People age very slowly, and are very long-lived. Vassily's roughly two hundred years old, but looking good on it. Then again, he'll lose his wife between these two stories, and that would have aged him somewhat). Tamara's mother Anya is blonde, looks fiftyish, and a lot more glamorous (and relaxed) than her husband. She's roughly the same height as he is. But what we want in this panel is a smallish close-up of Vassily, in stern nagging mode, shaking a finger at us/Tamara. DANIEL: Rather than have fluffy panel borders, I'd rather we used colour to convey the fact that this is a flashback i.e. have this scene coloured sepia, or else in black and white. VASSILY: NO DRUGS. VASSILY: YOU HEAR ME, TAMARA? Panel 2. Medium: and pull back, to show the whole group. Tamara's rucksack is resting nearby on a baggage trolley. She's shuffling her feet awkwardly, embarrassed (and annoyed at being lectured to), her head bowed. Vassily still stern with hands on hips, Anya serious (but not unkindly). TAMARA: DAD...PLEASE. PEOPLE ARE LOOKING. TAMARA: AND YOU KNOW I DON'T TAKE DRUGS. Panel 3. Smallish two-shot: Vassily still in lecture-mode, Tamara still the lectured, bobbing her head and ready to agree to anything just to shut him up. VASSILY: I SHOULD HOPE NOT. THESE THINGS, THEY ARE POISON TO OUR KIND... TAMARA: OKAY, OKAY, I PROMISE. VASSILY: AND NO BOYS. Panel 4. Medium group shot: Vassily in background, still grumpily blustering. In the foreground, Anya has dived in between them and is good-naturedly scolding him while serenely fiddling and fussing with (adjusting) Tamara's hair or clothing. VASSILY: NOT UNLESS THEY ARE OF THE PEOPLE, AND FROM RESPECTABLE FAMILIES... ANYA: OH, LEAVE HER ALONE, VASSILY. ANYA: TAMARA IS A GOOD GIRL. I KNOW THAT, AND SO DO YOU. Panel 5. Two-shot (in profile): Vassily (one hand on hip, waving the other dramatic for effect), still being awkward. Anya serene but firm—we suspect she's ultimately the boss here. VASSILY: I STILL DON'T SEE WHY SHE HAS TO GO TO EUROPE, ANYA. ANYA: IT'S EDUCATIONAL, THAT'S WHY. VASSILY: tcha. BECAUSE EVERYTHING IS OLD AND BROKEN THERE, WITH BAD PLUMBING... Panel 6. Smaller two shot: Vassily waxing lyrical about the New World, smiling, gesturing broadly with one hand. Anya with one eyebrow raised, quietly half-smiling in triumph. There's a sense of finality/closure here—she approves of Tamara going and too bad if Vassily doesn't—this is her final word. VASSILY: HERE, EVERYTHING IS NICE. YOU CAN SHOP LIKE A PERSON. ANYA: AND IN EUROPE THEY HAVE ART. PAGE SEVEN Panel 1. Medium, a group shot: Vassily in the background, still bantering but only mildly peeved (he knows he's lost); Anya smiling approvingly at Tamara, her head slightly on one side; Tamara embarrassed, on the verge of blushing. VASSILY: WE DON'T HAVE ART IN AMERICA? ANYA: BESIDES, IT'S TIME SHE MET MORE OF THE PEOPLE. WHO KNOWS? MAYBE SHE WILL MEET A NICE BOY OVER THERE... TAMARA: MAMA, PLEASE. Panel 2. Smaller: a two-shot: Anya fussing, Tamara placatory. ANYA: WELL, YOU DON'T SEEM TO LIKE THE BOYS WE INTRODUCE YOU TO HERE. PERHAPS UNCLE NIKOLAI KNOWS SOME NICE BOYS IN PARIS... TAMARA: sigh. YES, MAMA. ANYA: AND IN LONDON YOU ARE STAYING WITH THAT GIRL? Panel 3. Similar: Vassily poking his nose in, concerned/fussing; Anya very matter-of-fact. TAMARA: JUDY. YES, MAMA. VASSILY: WHO? ANYA: SHE WAS TAMARA'S SUBSTITUTE TEACHER LAST FALL. A NICE GIRL. A BIT BOHEMIAN, PERHAPS... Panel 4. Small two-shot: Vassily flaring up again, Anya making a swatting motion with one hand i.e. relax, don't worry so much. VASSILY: SHE'S NOT ONE OF US? ANYA: OH, STOP FUSSING, VASSILY. ANYA: SHE'S A TEACHER. SHE'S RESPONSIBLE. Panel 5. And we're out of the flashback, and back in to full colour in Judy's room, picking up where we left off—a close-up of Judy as we last saw her, offering us/Tamara the banknote, eyebrows raised in invitation. JUDY: THIS ISN'T "DRUGS," HONEY—THIS IS JUST LIKE, NECESSARY. JUDY: EVERYBODY USES THIS STUFF. IT'S ONLY WHAT THEY STICK IN PEP PILLS. Panel 6. Smallish close-up of Tamara, a slightly naughty grin. What the hell! Head lowered, already bending down to sniff, banknote in hand. JUDY (off): OR IS THAT CAFFEINE? I CAN NEVER REMEMBER... TAMARA: OH, WELL...I GUESS ONCE WOULDN'T HURT...AND THIS TRIP IS SUPPOSED TO BE EDUCATIONAL. TAMARA: I SNIFF IT, RIGHT? Panel 7. Similar: small close-up of Tamara, tossing her head back up again, snuffling and smiling, her eyes big, bright and wide in surprise/pleasure (traces of white powder visible round her nose). TAMARA: snnnnuff TAMARA: Oh.... TAMARA: WOW. We interrupt this story for a RADIO CLASH NEWSFLASH: The Clash have kindly agreed—and we have it in writing—to allow us to depict them for a brief cameo here. Which is damn decent of them, and very cool for us. On with the show... PAGE EIGHT Panel 1. Scene change: a large close-up of Joe Strummer of the Clash, his face distorted into a grimace (mouth wide open) and dripping with sweat. He's onstage at the Roxy, a new punk club that's only recently opened in Covent Garden. There's a good shot of him at this gig—wearing a special '1977' shirt to christen the new year—on page 290 of England's Dreaming. (You'll find further reference on the Clash in quite a few books; for reference on the Roxy—and more shots of the Clash gig there—see the book 100 Nights At The Roxy). Let's have a good, clear shot of the shirt, so people are in no doubt whatsoever what year this is! TODD: Could you make this lettering large and doubly bold, please. This is the introduction to a song, but this bit is spoken/yelled (so no musical notes here), but otherwise please treat all the singing bits the same way. STRUMMER: LONDON'S BURNING. Panel 2. A large panel (the lion's share of this page). Pull back so we can see the entire band onstage—or at any rate the three-guitar line-up of Strummer, Jones and Simonon (it's Terry Chimes on drums at this point, not Topper Headon—and since I can't find any decent reference shots of Chimes you're probably best off hiding his face behind one of the guitarists). Strummer could have his guitar slung upside down behind his back (he did that a lot—plenty of photos of him doing it) while grabbing the mike stand with both hands, a man possessed. There's a dancefloor area in front of the stage which is rimmed by benched seats and mirrored walls; in front of the band is a heaving mob of fans (mainly males). No spitting! That came later on, and we'll cover it in due course. The audience is about 40% female—mainly sitting on those benched seats or standing further back. Tamara and Judy are both standing at the back (so a back view only—if at all), and both girls have changed clothes (see description in next panel). Some distance behind them is a bar. Most people are drinking cans of Special Brew or Colt 45 (remember that? I don't even know if they still make it, but you'll find reference in that Roxy book); a few people are smoking large cone-shaped joints (which were sold behind the bar). There was also an upstairs bar, so presumably there's a staircase at the back leading upwards. The Roxy's site—41-43 Neal Street—is just a couple of shopfronts these days, so the place must have been pretty small. Incidentally, as regards the lyrics, I came across a nice line about punk's negativity the other day, which explains its central paradox i.e. how can people with so much energy and enthusiasm claim to be bored? And the line is this: "they pretended they didn't care, because they cared so much." STRUMMER AND JONES (with musical notes, please): LONDON'S BURNING WITH BOREDOM NOW... STRUMMER AND JONES (with musical notes, please): LONDON'S BURNING, DIAL 99999... ALISA: We should credit the song on a text page; remind me to dig out the details. Panel 3. Next three panels are small two-shots: Tamara and Judy, standing at the back of the crowd (other punks surrounding them). Judy has changed clothes—she's now wearing a slinky Chinese dress with mandarin collar, her hair now in insane plaits (like Lene Lovich used to have). Tamara still in jeans, but she's taken her sweater off and has it tied round her waist. Both toting cans of beer. Tamara is extremely animated—bouncy and speeding, shouting in Judy's ear. Judy leaning to listen, smiling slightly. TAMARA: I'VE NEVER SEEN A GROUP LIKE THIS. TAMARA: WHAT DID YOU SAY THIS MUSIC WAS CALLED? Panel 4. Similar: Judy now yelling in Tamara's ear. JUDY: IT'S CALLED PUNK ROCK, HONEY—AND THEY'RE CALLED THE CLASH. JUDY: WHADDAYA THINK? Panel 5. Similar: Tamara leaping about, grinning/excited and speeding like crazy. Judy quietly amused. TAMARA: I LOVE IT.
Thanks to Peter Hogan for providing the script and artwork, Peter Doherty and Hogan for answering my interview questions, and Adrian Brown at the Voices From Beyond forum for helping make it possible. An excerpt of this script originally appeared on John McMahon's Straight to Hell site. | |||||||||||||||||||||||||||||||||||||
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