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The Sandman Presents: Marquee Moon by Peter Hogan Second Draft (1997), Pages 17-24
PAGE SEVENTEEN Panel 1. Small close-up of Tamara, surprised at such outright rudeness, maybe can't quite believe her ears. TAMARA: PARDON ME? Panel 2. Close-up of the Weasel, maybe pointing pistol-like with one hand, raising a beer can with the other. THE WEASEL: I SAID, THEY'RE SHIT. THE WEASEL: ALL AMERICAN BANDS ARE SHIT. Panel 3. Medium/wide: Vic has lowered his paper to comment, an explosion of derision; Ray more good-natured banter; Judy smiling broadly, taking coat off or dumping it on a chair; Tamara bemused. VIC: BOLLOCKS. RAY: YEAH, COME ON, WEASE—IGGY'S GOOD. JUDY: DON'T MIND THE WEASEL, TAMMY—HE'S LIKE THIS WITH EVERYONE. Panel 4. Medium: The Weasel grudgingly admitting they've got a point. Behind him, Vic and Ray continue to needle him (Vic still moody, Ray grinning). THE WEASEL: OKAY, I'LL GIVE YER THAT ONE—ALL AMERICAN BANDS ARE SHIT EXCEPT IGGY. VIC: AND THE DOLLS. RAY: AND LOU REED... Panel 5. Close-up of the Weasel, snarling angrily. THE WEASEL: WILL YOU LOT FUCKIN' SHADDUP ABOUT OLD FUCKIN' AMERICANS. THE WEASEL: THEY 'AVEN'T GOT ANY PROPER BANDS, 'AVE THEY? NOT PUNK BANDS... Panel 6. Medium: Jimmy and Vic both teasing (even Vic's realised this is funny by now); the Weasel swatting the air in annoyance and dismissal; Ray puzzled. JIMMY: WHAT ABOUT THE RAMONES? VIC: AND RICHARD HELL... THE WEASEL: OH, FUCK OFF. RAY: I THOUGHT WE WAS NEW WAVE NOW? PAGE EIGHTEEN Panel 1. Smallish two-shot: Tamara trying to salvage the reputation of her musical taste; Ray pleased and pleasant. TAMARA: WELL, I LIKED THAT BAND WE SAW THE OTHER NIGHT... RAY: YEAH, THEY'RE GOOD, AIN'T THEY? Panel 2. Smallish close-up of Judy, puzzled and slightly peeved. JUDY: WHERE'S BRIAN? JUDY: I THOUGHT YOU GUYS WERE SUPPOSED TO BE REHEARSING? Panel 3. Smallish two-shot: Ray serious, somewhat pissed off; the Weasel also grumpy and disgusted, with arms folded. RAY: WE HAD A RUCK WITH BRIAN...MUSICAL DIFFERENCES, Y'KNOW? THE WEASEL: THE TOSSER WANTS TO BE ROD FUCKIN' STEWART. Panel 4. Close-up of Ray, still pissed off and somewhat exasperated. RAY: AND THEN THE WANKER WALKED OUT ON US... RAY: SO WE'VE GOT A GIG FRIDAY NIGHT, AND NO FUCKIN' SINGER. Panel 5. Two-shot: Judy in the foreground, almost playful (she knows she's making mischief); Tamara in the background, shocked and embarrassed that she's being put on the spot like this. JUDY: TAMMY CAN SING... TAMARA: JOO-DEE... Panel 6. Two-shot: Judy and Tamara in profile. Judy's unrepentant, Tamara's trying to plead her way out of this. JUDY: WELL, YOU CAN. I'VE HEARD YOU... TAMARA: THAT WAS LIKE, JUST MESSING AROUND. I'VE NEVER SUNG IN FRONT OF PEOPLE... JUDY: FIRST TIME FOR EVERYTHING, TAMMY. PAGE NINETEEN Panel 1. Close-up of the Weasel, flabberghasted that anyone might seriously suggest that this nerdette could be in his band. THE WEASEL: YOU'RE KIDDIN.' THE WEASEL: I MEAN...LOOK AT 'ER. Panel 2. Close-up of Judy, eyes narrowed, peeved. JUDY: IS THAT ALL THAT'S BOTHERING YOU? Panel 3. Medium/large: Judy has Tamara's hand in hers—and that 'Sex' carrier bag in her other hand—and is literally dragging the bemused Tamara out of the door (the door they came in is fine—we'll assume the bathroom is upstairs). JUDY: COME ON, GIRL... JUDY: MAKEOVER TIME. TAMARA: BUT I DON'T... Panel 4. Smallish: And that door slams shut behind them. SFX: SLAM. Panel 5. Vic looking over his paper, mildly amused. A medium close-up. VIC: YOU GOT A REAL WAY WITH WOMEN, YOU KNOW THAT? Panel 6. Basically a two shot (though we need Vic as well—Ray would be addressing him): Ray being reasonable, Weasel annoyed that all this is even being considered. As background business over the next couple of panels, we want to see Vic getting up and fetching a guitar, maybe returning to his seat with it. RAY: I SUPPOSE WE COULD GIVE 'ER A TRY, COULDN'T WE? THE WEASEL: WHAT THE FUCK FOR? PAGE TWENTY Panel 1. Similar (smallish) two-shot: both Ray and Weasel argumentative. RAY: BECAUSE WE NEED A SINGER, STUPID. THE WEASEL: WHY HER? WHAT'S WRONG WITH VIC? Panel 2. Close-up of Vic, dismissing the idea. Lower lip stuck out, shaking head. Tuning his guitar. VIC: IF I'D WANTED TO BE A SINGER, I'D'VE BEEN A SINGER. I'M A GUITARIST. VIC: I'M OKAY DOING BACKING. ANY MORE'N THAT AND MY PLAYING FUCKS UP. Panel 3. Two-shot: Vic now strumming the guitar in the background. In the foreground, an enthusiastic Ray is addressing the grumpy (arms folded) Weasel. Jimmy chiming in from the background. VIC: I SUPPOSE HAVING A CHICK SINGER WOULD BE A GOOD ANGLE... RAY: THAT'S RIGHT. AND WE NEED SOME SORT OF GIMMICK. RAY: NOBODY ELSE HAS GOT A GIRL SINGER THESE DAYS. 'SPECIALLY NOT AN AMERICAN ONE... JIMMY: YEAH. Panel 4. Medium: a two-shot. The Weasel, scandalised/outraged that their principles are being compromised. Ray is taken aback by the depth of this onslaught, is maybe even a little sheepish. THE WEASEL: I CAN'T BELIEVE YOU'RE USING WORDS LIKE "GIMMICK." THE WEASEL: IF WE'RE GONNA BE SOME POXY POP GROUP, WE SHOULDA JUST HUNG ONTO SODDIN' BRIAN. Panel 5. Large close-up of the Weasel. Real vitriol. THE WEASEL: JUST 'CAUSE YOU'RE SHAGGIN' SOME YANK BIRD DOESN'T MEAN EVERYBODY FANCIES 'EM. AND IT DOESN'T MEAN WE HAVE TO HAVE 'ER DODGY MATE IN THE BAND, EITHER. THE WEASEL: HAVE YOU SEEN HER NOSE? A FIVER SAYS THIS STUPID BOILER'S ANOTHER FUCKIN' SPEEDFREAK. PAGE TWENTY ONE Panel 1. Medium two-shot of Ray (puzzled and annoyed) and Vic (reasonable, the peacemaker here). RAY: MAYBE SHE'S JUST GOT A COLD... RAY: AN' WHAT'S WRONG WITH SPEED, ANYWAY? VIC: LOOK, IT CAN'T KILL US TO HEAR HER, CAN IT? Panel 2. Tiny close-up of Ray, needling Weasel. RAY: OR ARE YOU GONNA BE A CUNT ALL YER LIFE? Panel 3. Tiny close-up of the Weasel. Part angry, part hurt. THE WEASEL: THAT AIN'T FAIR. I'M JUST THINKIN' OF THE BAND. THE WEASEL: AND ANOTHER THING... Panel 4. Identical to last panel, but now the Weasel is lost for words. THE WEASEL (small): fuck... THE WEASEL (small): me... Panel 5. Large two-shot, which gets the lion's share of this page and dominates it: framed in the (open) doorway is Judy proudly (and smugly) ushering Tamara (smiling nervously) before her. Tamara's wearing a skin-tight rubber dress (with chain-link belt) that definitely makes the most of what she's got. Dress is not that short (a couple of inches above the knee), but tight enough to make underwear impossible, so let's have some stiff nipples here. She's wearing much more make-up (especially eyeliner—the same as Judy's, 'cause she's supplied it); they've brushed her hair back behind her ears and pinned it (but it's breaking loose in a very charming way—maybe Tamara's fiddling with it nervously). She's barefoot and bare-legged, and her shyness adds a whole extra dimension of sexiness here. JUDY: YOU WISH. CAPTION: SO IT WAS ALL JUDY'S FAULT. I'D NEVER HAVE HAD THE NERVE TO WEAR THAT DRESS IF SHE HADN'T MADE ME TAKE SOME MORE SPEED... CAPTION: AND THE MINUTE I TOOK IT, I FELT HUMAN AGAIN... PAGE TWENTY TWO Panel 1. Medium/large panel: the group, full frontal. Ray at the back on drums, both drumsticks currently in one hand. Weasel on bass, Vic on guitar (both tuning up). Tammy standing nervously between the two guitarists. She's holding a hand microphone at about waist level, pointing it away from her. Very tentative in manner. Judy and Jimmy are their audience (don't have to see them in this panel though). CAPTION: AND I MUST HAVE LOOKED OKAY, 'CAUSE THEY GAVE ME AN AUDITION AFTER ALL. RAY: WHAT WE GONNA PLAY, THEN? TAMARA (small): er... TAMARA: DO YOU GUYS KNOW THAT MARILYN MONROE SONG, 'RUNNING WILD'? IT'S FROM SOME LIKE IT HOT... Panel 2. Small close-up of Vic, mildly amused, mildly friendly. VIC: NO. VIC: BUT THAT WON'T STOP US. HOW'D'S IT GO? Panel 3. Medium/large: mainly Tamara, singing her heart out. ALISA: All lyrics—even this one—are by me, unless otherwise stated. And I've trimmed them all to the bone (or thereabouts). CAPTION: I FELT SO STUPID. I'D CHOSEN THE SONG, AND THEN I COULDN'T REMEMBER ANY OF THE WORDS—SO I HAD TO MAKE UP SOME NEW ONES ON THE SPOT. TAMARA (with musical notes): RUNNIN' WILD, ON A SPREE... TAMARA (with musical notes): RUNNIN' WILD, SILLY ME... CAPTION: IT TOOK FOREVER, BUT I TAUGHT THEM THE SONG—EXCEPT I ALWAYS STARTED SINGING TOO LATE OR TOO SOON... Panel 4. Smallish: rear view of Tamara taking a bow (or curtseying exaggeratedly); beyond her, Judy is clapping and screaming enthusiastically and Jimmy is smiling and clapping in a more restrained manner. CAPTION: BUT ABOUT LIKE, AN HOUR LATER WE FINALLY MANAGED TO PLAY IT ONCE RIGHT THROUGH WITHOUT IT SOUNDING TOO BAD... JUDY: WOO WOO! JUDY: MORE! Panel 5. Smallish two-shot: Ray and the Weasel bickering. RAY: WELL, THAT WAS BOLLOCKS. ARE YOU FUCKIN' DEAF, WEASEL? THE WEASEL: WHARRABOUT YOU? YOU WERE ALL OVER THE FUCKIN' SHOP... Panel 6. Small close-up of Vic, smiling approvingly. Impressed and optimistic. VIC: YEAH, BUT SHE WAS ALL RIGHT... VIC: SIX MORE LIKE THAT AN' WE'VE GOT A SET. PAGE TWENTY THREE Panel 1. Exterior, evening/night. Medium/large panel. We haven't said where this squat is, but Camden would be a good bet. It's a dilapidated Victorian terraced house, and Tamara and Judy are in the process of leaving—Judy pulling the front door shut, Tamara (half-pretending, half-serious) having a go at her. Tamara has changed back into jeans again. Don't forget, there's now a bit of snow on the ground, and this scene gives you another opportunity for passers-by, graffiti and posters. Pools of light from lampposts and car headlights. CAPTION: SO THEY ASKED ME TO BE THEIR NEW SINGER. EVEN THE WEASEL AGREED. CAPTION: AND I HEARD MYSELF SAYING, 'SURE, WHY NOT?', LIKE I KNEW WHAT I WAS DOING. TAMARA: JUDY—WHAT HAVE YOU GOTTEN ME INTO? Panel 2. Smallish two-shot: the duo walking down the street, linking arms. Tamara still in shock, Judy bubbly. JUDY: I'VE GOTTEN YOU INTO A BAND, SILLY. TAMARA: GOD, MY KNEES ARE STILL SHAKING... JUDY: YOU'LL BE FINE. I WAS RIGHT ABOUT THE DRESS, WASN'T I? Panel 3. Similar. Tamara a bit more relaxed (also puzzled/curious). TAMARA: I GUESS... TAMARA: DO THEY ALL LIVE THERE? JUDY: UH-HUH. EXCEPT JIMMY. HE'S JUST STAYING WITH RAY WHILE HIS MOM'S ON VACATION... Panel 4. Close-up of Tamara, looking deeply puzzled. CAPTION: I COULDN'T FIGURE OUT WHICH OF THOSE GUYS WAS LIKE ME...OR WHY THEY DIDN'T SEEM TO HAVE RECOGNISED ME EITHER... JUDY (off): AND THERE'S A GUY CALLED NIGEL LIVES THERE TOO—HE'S KIND OF LIKE THEIR MANAGER... Panel 5. Two-shot, quite close in: Judy turning to Tamara in a confidential (and slightly concerned) way. Tamara embarrassed, laughing. JUDY: YOU DO REALIZE VIC REALLY LIKES YOU? TAMARA: HE DOES NOT. Panel 6. Mainly Judy, pushing the point home, grinning. Tamara just visible, blushing slightly and acting both surprised and astounded (implications dawning). JUDY: HONEY, HE COULD BARELY TAKE HIS EYES OFF YOU. TAMARA: NO? REALLY? JUDY: UH-HUH. YOU MADE A HIT. Panel 7. Small close-up of Tamara, smiling slightly—pleased and flattered and grudgingly admitting the depth of her interest. TAMARA: I GUESS HE IS KIND OF CUTE... PAGE TWENTY FOUR Panel 1. Large panel: Exterior, night. Tamara's in wolf-form, and is standing on a rooftop across the street from the squat, looking down on the house. Maybe her front paws are up on some kind of ledge; she's attentive, but...depressed, and her tail is down. Since we've already had a front view of her looking forlorn, let's have a rear/side view of her here. Behind her, there are paw prints tracked in the snow. This also gives us the opportunity for a rooftop shot of a lightly snow-covered London stretching off into the distant background beyond her (a magical winter wonderland—the same kind of feel as in Peter Pan, or Mary Poppins) with some visibly recognisable landmarks (GPO Tower and Centrepoint would both be visible from Camden). At night, this dilapidated city looked magical even then. Assuming we had the full moon earlier, we don't need it again here (but put it in if you really want to). CAPTION: I WENT BACK THERE LATE THAT NIGHT, JUST IN CASE MY FRIEND CAME OUT TO PLAY... CAPTION: BUT EVEN IN THIS FORM MY NOSE WAS JUST SHOT. I COULDN'T SCENT A THING. Panel 2. Medium: the front door of the squat, and the pavement in front of it, as seen from above and also diagonally (she's across the street). The snow isn't that heavy, but is definitely heavy enough to show footprints. And there's definitely been some foot traffic on the pavement, but we can clearly see a set of human prints (barefoot) leaving the house, and becoming a set of wolf prints (maybe the prints get all mixed up with others, and are clearly wolf as they move away on their own path—into middle of road is a possibility). We need to be fairly close in on all this so it's clear what's going on. CAPTION: FORTUNATELY MY EYES STILL WORKED, AND THEY TOLD ME I WAS OUT OF LUCK. I'D ALREADY MISSED HIM. Panel 3. Close-up of Tamara-wolf—sad yet again. Maybe she's turning away disconsolately, or jumping down from her vantage point onto the roof (or a fire escape). CAPTION: I WAITED AN HOUR OR SO, BUT HE NEVER SHOWED... CAPTION: SO I GAVE UP AND WENT BACK TO JUDY'S... Panel 4. Medium/small: outside Judy's flat. She's in human form (and clothed), and is looking at the doormat, where we might (we don't have to) make out the fact that there's a dead rabbit lying there. CAPTION: BUT WHEN I GOT THERE... CAPTION: I FOUND A PRESENT WAITING FOR ME ON THE DOORSTEP.
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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