ONE NIGHT AT LORRAINES
ONE NIGHT AT LORRAINES (2022)
BLACK AND WHITE COMIC
READ THE FULL FINISHED COMIC IN THE COMICS SECTION!
Page ONE
PANEL 1: Close up fine briefcase with a tentacle extending from it. From the handle a tag is dangling with “PROPERTY OF TONI” written on it.
PANEL 2: The camera follows up to the handle of the briefcase being held by hands with bruised knuckles. The tentacle is wrapped around the arm.
PANEL 3: The camera follows up to the back of a man's head who is breathing out smoke. The visual language of the smoke wisp is reminiscent of the tentacle, marrying the two.
PANEL 4:The train enters the dirty station. The silhouette of JAMES and his briefcase stands against the glass of the passenger's window. A wisp of smoke leaves the train's chimney.
PANEL 5: The passenger doors open and James begins to walk in, the cloud of smoke leaving his mouth obstructs his face as his hand reaches for his cigarette. Passengers are spooked and move out of his way.
PANEL 6: We finally see his face, his mouth still obstructed by smoke, his calloused hands removing his cigarette.
JAMES NARRATION
I’ve always wanted to be a gangster.
Page TWO
PANEL 1: The train leaves the station. The train is on a track elevated above the city, behind it an aged skyline of decrepit buildings. In the foreground is the platform James was on.
JAMES NARRATION 1
It started when I was fifteen. I came home one day and told my mom that I got into some trouble with the local mob, The Coal Street Crows.
PANEL 2: James sits with his legs spread and his suitcase at his side. Separating the panel is a pole, on the opposite side, further down on the seat are a mother and daughter huddling together, disgusted and scared by him.
JAMES NARRATION
Oh she cried and cried but I told her that I only needed to do a few favors for them and I’d be free as, well, a bird.
PANEL 3: Borderless panel of James portrait. Full view of his face with the cigarette dangling from his lips, lost in thought.
JAMES NARRATION
That was two years ago.
PANEL 4: In the midground a younger James on his bike exchanges a package for money with a sketchy man. In the foreground is the Constable (that we will see at the end of the story) willfully turning a blind eye.
JAMES NARRATION
Since then I’ve been making a nice cut doing deliveries..
PANEL 5: In the midground is a modern day James holding a baseball bat, shouting at an elderly store clerk opening a cash register.
JAMES NARRATION
...a bit of extortion..
PANEL 6: James relieved, dragging on a cigarette, his hand dripping with blood. Loose cash flies around him and a broken bat is at his side. A his feet is the same old man laying face down in a pool of blood.
JAMES NARRATION
...a little…
JAMES NARRATION
..Fun.
Page THREE:
PANEL 1: Back in the train, James tilts his head back smiling.
JAMES NARRATION
God, she’d die if she knew how much fun I’ve been having.
PANEL 2: Back in his memories, James unloads his stained, dirty money onto his family's table. The home is dilapidated and filthy. At the end of the table is his elderly, disgusted mother. Standing behind him with her hands on his shoulders is his beautiful older sister Mallory. She has long dark hair.
JAMES NARRATION
I don’t feel too bad about the things I’ve done though. Ever since my old man ran off when I was ten, I've had to work jobs to put food on the table…
PANEL 3: Mallory has her hand on James shoulder, James puts his hand over hers. The two share a loving look.
JAMES NARRATION
If I didn’t… My sister Mallory would have to work.
PANEL 4: In the present day in the seats across from James, a tired sex-worker is being handed some cash. The John's hand is around her shoulder with his fingers beneath her bra-strap. Her hand is on the man’s lap as the other is reaching for the money.
PANEL 5: James eyes burn with intensity.
JAMES NARRATION
And I’ll never let that happen.
PANEL 6: James walks the streets as the train drives chugs along the tracks above him.
JAMES NARRATION
This side of the city feels all wrong. The air is thicker, the buildings taller and the sounds louder. It’s as if the litter-stained streets themselves are screaming at me, telling me I don’t belong, to turn around and go back to my side of the tracks.
But I can’t.
Not yet.
Page FOUR
PANEL 1: James stands in a wet, trash littered alleyway. He has set the briefcase down and is facing three doors with symbols from Zoroaster's Oracle: The Nine Spirits of Intelligence. The symbols are in the Reference Folder.
The left door is #VII Adamstra - Conflict and Violence.
The middle door is #VIII: Psykomena - Folly and Ridicule
The right door is #IX: Psykelia - Luck and Fortune
JAMES NARRATION
Earlier this evening I was told to pick up a briefcase waiting for me at the train station. All’s I gotta do is take it to a person named Toni who runs a jazz club on the other side of town called Lorraine’s. If I do this and return I’ll be a full fledged Crow.
PANEL 2: James fishes a note out of his pocket
JAMES NARRATION
Everything else would be explained to me in the note.
PANEL 3: POV James holds the note up with only the number 8 written on it. He holds it up to the middle door with the Roman numerals, VIII, along with a backwards crescent moon. The Spirit of Folly and Ridicule.
JAMES NARRATION
Great. Really helpful.
JAMES NARRATION
Whatever, after tonight I won’t have to worry about Mallory ending up on the streets or Mom not getting her medication. I won’t need to worry about the landlord harassing us over unpaid rent or anymore more of this errand boy shit.
PANEL 4: Jame's leg is behind the suitcase. In the foreground a rat comes into the frame, sniffing at the briefcase from a short distance.
.
JAMES NARRATION
No. I’ll be one of the guys.
PANEL 5: A tentacle extends from the briefcase grabbing the rat, bending it unnaturally.
JAMES NARRATION
A made man.
PANEL 6: The tentacle retreats back into the briefcase with the rat, as blood leaks out onto the pavement.
JAMES NARRATION
A gangster.
Page FIVE
PANEL 1:James does a secret knock on the door displaying the 8th Intelligence. He knocks on the crescent moon symbol.
JAMES NARRATION
I’m pretty sure this is the roman numeral for 8. If not, I’ll just knock on all the other doors until someone-
PANEL 2: A tall, hairless man with strong sunken features opens the door, towering over James. Fog emerges from behind him.
DOOR MAN
You don’t want to come in here, child.
PANEL 3: James recoils, holding the suitcase to his chest.
JAMES NARRATION
I have never heard a voice like that in my entire life. I can feel it echoing through my core as it twists and contorts my stomach and everything in my body is telling me to run.
But I have a job to do.
PANEL 4: James straightens his posture and points confidently at the Door Man. The tentacle lifts James hat up, tipping it to the door man
JAMES
As a matter of fact, I do. I’m James of the Coal Street Crows. I’ve got a delivery for Toni.
PANEL 5: James gets closer to the Door Man who still towers over him.
JAMES
…And I ain’t no kid, you got that?
Or do I need to show you how we do things down on Coal Street?
Page SIX
PANEL 1: The Door Man stands aside, allowing access to the door
DOOR MAN
..Very well. Your fate is your own to decide. You may pass at your own discretion.
PANEL 2: The Door Man holds out his hand, expectantly. James looks down confused.
JAMES
What’s with the hand out? You expect’ a tip or something?
PANEL 3: James passes the door, looking behind his shoulder with a devilish smirk.
JAMES
Well I got one for ya:
PANEL 4: James descends down the steps into pure darkness. Flipping off the doorman as he enters the unknown.
JAMES
fix your face, freak!
You look like death warmed over!
Page SEVEN
PANEL 1: James walks through an MC Escher series of winding staircases
JAMES NARRATION
Huh. Something’s not right.
From the outside I thought this staircase was only a few steps to enter the club, but I feel like I’ve been walking blind for hours through pitch black nothingness, the only guide in this abyss is the faint sound of music echoing through the stairwell.
PANEL 2: A sliver of light shines through the opening crack of a doorway illuminating some of James features as he passes through a strange threshold.
JAMES NARRATION
I can feel the reverberations of a low bass, like an arrhythmic heartbeat pulsating all around me as I crawl clumsily down this endlessly dark hallway. Slowly, a mysterious cocktail of pungent aromas began to waft towards me.
Hopefully it won’t be much longer until I find-
Page EIGHT
PANEL 1: James enters Lorraines. The door bears the symbol of the crescent moon. To the left of him is the band playing strange instruments. One member is playing a trumpet that reaches the ceiling, another on a keyboard, saxophone, drums and the lead is playing bass while vocals. A large crowd of people is cramped together listening. The patrons and band all look like they are from different time periods.
JAMES NARRATION
Lorraines.
JAMES NARRATION
I’ve only ever heard tale of this place once or twice, and the way it was described I never could quite picture it- but standing here, even now, I’m still having a hard time.
PANEL 2, 3, 4, 5: Portraits of the members of the band, all from different time periods and from different parts of the world.
JAMES NARRATION
The music being played is not like anything I’ve ever heard. It’s sending out strange vibrations that I can feel pulsating through my blood and echoing in my bones.
PANEL 6, 7, 8, 9: Portraits of the crowd dancing, also all from different time periods
JAMES NARRATION
I have lived in this city my whole life. I’ve seen every face and have been to every corner on every street but this hole in a wall is like a distant planet full of aliens.
Page NINE
PANEL 1: James takes off his hat as the band finishes playing.
JAMES NARRATION
The band finishes its set to a deafening applause. Without their hypnotizing symphony the sensation of the beat of my own heart feels foriegn and out of sync with the rest of my body.
PANEL 2: James heads for the bar
JAMES NARRATION
I know I’m on the clock but god damn if I need a drink.
PANEL 3: James sits at the bar. In the foreground is the silhouette of the back of the bartender.
JAMES 3
I’ll have a uh-
PANEL 4: The bartender walks away from James revealing Patron 1/Clyde sitting at the bar.
JAMES
Alright.
OFFSCREEN PATRON
HEY TONI IS HERE!
OFFSCREEN PATRON
HELL YEAH!
Page TEN
PANEL 1: James spins around in his chair looking around the bar. In the foreground is Clyde smiling to himself.
JAMES
What? Toni? Where is he?
PANEL 2: Close up of Clydes side profile. He is a frightening man with sharp, beady eyes. He bears some resemblance to James, but older and time has not been kind.
CLYDE
You’re looking for Toni eh? You’ll see them soon enough
PANEL 3: Close up of James and Clyde
JAMES
Do you know them? I got to something to deliver and-
CLYDE
Yeah yeah yeah I know the routine. You’re not the first one, won’t be the last.
PANEL 4: Clyde deeply drinks from his pint glass
CLYDE
Toni will be out soon.
PANEL 5: James scowls at Clyde.
PANEL 6: Clyde grins, devilishly.
CLYDE
Heh. What’s your name, kid?
Page ELEVEN
PANEL 1: Clyde is in the foreground with a bemused James in the midground. Background shows a crowd of patrons.
JAMES
My name is James, and I’m not a-
CLYDE
Bub, get Jimmy here a bourbon
JAMES
It’s James, and I’m not-
PANEL 2: A glass of bourbon is speedily placed in front of James
BARTENDER
Bourbon.
JAMES
Thanks, I-
PANEL 3: As James grabs the glass he looks over his shoulder as he is called from offscreen
CLYDE OFFSCREEN
HEY JIMMY! GET OVER HERE!
PANEL 4: Borderless panel of a mix of patrons at a table with an empty chair waiting for James
CLYDE
I got some friends I’d like ya to meet.
PANEL 5: James downs the bourbon in one gulp with his back to the bar.
PANEL 6: James wipes his mouth and begins walking off panel. The Bartender enters frame and takes the dirty glass.
JAMES
I’m sick of this place already.
PANEL 7: As James leaves the frame a tentacle slips the Bartender a bill
PAGE TWELVE
PANEL 1: James sits at the crowded table. In the foreground are the back of the patrons' heads, Clyde is gesturing to James who has an annoyed expression. The patrons are a mix of personalities but as time-displaced as the now thinned crowd of revelers that were dancing to the music.
CLYDE
HA HA HA Here he is boys
JIMMMYYY
MARK
Jimmy, Jimmy, Jimmy, look at him.
JACK
GOD DAMN!
MEL
He’s just a lad
PANEL 2: James looks uncomfortable as the grown men snicker
CLYDE
How old are ya son?
JAMES
I’m 18… next month.
JACK
He’s a teenager!
MARK
Tony’s robbing the cradle this time
CLYDE
Cut the kid some slack, boys.
Say… How did you get yourself into delivering for Toni?
PANEL 3: Clyde and the ragtag group of men listen with interest.
JAMES
I got into some trouble and Albert helped me out of it. So I’ve been doing work for them and-
CLYDE
The Killdeers?
JAMES
What?
CLYDE
That’s the crew you’re running with?
PANEL 4: Zoom out to the table
JAMES
Maybe the one my grandpa was with. I’m with the Crows, that is, I will be after tonight.
CLYDE
Eh?
PANEL 5: Close up of James looking a bit naive
JAMES
Well, Albert said once I deliver this to Toni I’ll officially be one of them.
PAGE THIRTEEN
PANEL 1: The patrons erupt into laughter to the annoyance of James.
PANEL 2: The patrons and the tentacles to toast.
ALL PATRONS
TO JIMMY THE KID!
PANEL 3: Close up of the raised glasses.
CLYDE (offscreen)
WE NEED MORE BOURBON!
MEL (offscreen)
AND WHISKEY!
JACK (offscreen)
AND RYE!
PAGE FOURTEEN
PANEL 1: Overhead view of the table. James is keeled over. Mel and Jack are arguing. Clyde and Mark are smoking.
JAMES NARRATION
It’s been hours of drinking and smoking, the music has long faded and the crowd’s thinned out while the tables overflow with empty glasses. What seemed like celebration has turned to suicide by alcohol. I can barely even think
At this rate I’ll be dead before Toni ever shows his face.
PANEL 2: James, in the same position as Panel 1, is slumped over on the table. Clyde leans into frame.
CLYDE
Don’t go white on me yet Jimmy!
JAMES
I don’t.. I don’t feel so good-
CLYDE
Don’t embarrass me in front of Toni.
PANEL 3: James looks over his shoulder as Clyde lifts a shot glass of tequila
JAMES
Toni? W-Where..?
CLYDE
Keep up kid.
PANEL 4: James holds the shot up to his lips, a tear forms in his eye as his face looks grim.
CLYDE (offscreen)
Drink.
PANEL 5: James pours it down his throat, tears and excess alcohol roll down his face as his whole body shivers.
PANEL 6: James keels over in a coughing fit as his body recoils.
PANEL 7: James in the foreground holds his hand to his face as he struggles to maintain his composure. In the background the table erupts into a fight as the patrons get rowdy. Mel holds onto Jack's collar as he is punched while Mark holds his glass high to keep it from knocking over.
MEL
WHY YOU LOUSY NO GOOD CHEATIN’ SONUVAB-
JACK
I’LL HAVE YOUR TONGUE FOR THAT-
PANEL 8: A gun is fired into the air.
PAGE FIFTEEN
PANEL 1: Clyde, holding the smoking barrel, clears the table. Pushing poker chips, cards, and glasses into the air.
PANEL 2: James looks on, terrified
JAMES
WHAT THE HELL IS GOING ON!?
PANEL 3: Clyde holds the gun up with a deranged look in his eyes.
CLYDE
WHAT DO YOU THINK, BOY? IT'S TIME FOR RUSSIA’S FAVORITE PASTIME!
PANEL 4: Close up of the open barrel of the revolver as bullets fall out
CLYDE
Six chambers .
PANEL 5: Close up of the open barrel of the revolver with one bullet
CLYDE
One bullet.
PANEL 6: Close up of the barrel closing on the gun.
PANEL 7: Clyde holds the gun up to his temple, making eye contact with the reader, a twisted smile is on his face as his eye bulges. The gun KLICKS emptys
SFX
KLICK
CLYDE
Are you feeling lucky?
PAGE SIXTEEN
PANEL 1: The Patrons laugh as the gun is passed around. Jack puts the gun to his temple, making a funny face. The gun KLICKS empty
PANEL 2: Mark puts the gun in his mouth and pulls the trigger with both hands. The patrons continue to laugh. The gun KLICKS empty
PANEL 3: Mark holds the gun out to James.
MARK
You’re up, kid.
PANEL 4: James hugs the suitcase on his lap as the tentacle squirms excitedly.
JAMES
Th-This is INSANE! I’m not doing that!
CLYDE offscreen
Ah ah ahhh, it’s your turn Jimmy, that’s the rules of the game.
JACK offscreen
We’re waiting!
MEL offscreen
Do it!
PANEL 5: Close up of James face, his eyes are wide with fear as sweat pours down his face
JAMES
I gotta get out of here,
I gotta-
PANEL 6: Camera pulls out to see that the tentacle has grabbed the gun and pointed it to James temple. James has a grim, terrified face, his eyes turned to the opposite direction his head is facing as the words KLICK form over his shoulder. Off screen the Patrons clap and hollar
PAGE SEVENTEEN
PANEL 1: James sits shellshocked
PANEL 2: A flash of light appears off screen, sending a splatter of blood onto James
PANEL 3: James touches the blood on his face.
PANEL 4: Close up of James bloodstained hand.
JAMES (whispering)
Enough.
PANEL 5: James throws the briefcase
JAMES
ENOUGH!
PANEL 6: The briefcase hits the corner of a wall and opens, revealing a mess of tentacles.
JAMES
WHERE IN THE GODDAMN HELL-
PANEL 7: The briefcase lands on the ground completely opened. Tentacles writhe out of it
JAMES
- IS TONI!?
PANEL 8: Clyde and Jack smirk
JACK
You were right, the kids got spunk
PANEL 9: In the background Mel lays on the ground holding the gun, his head blown open by a gunshot, In the foreground is James, roaring with blood stained on his face, his fists clenched
JAMES
CALL ME KID ONE MORE TIME!
If I don’t see Tony in the next FIVE seconds someone is gonna die!
PAGE EIGHTEEN
PANEL 1: A form emerges from the opened briefcase
JAMES offscreen
FIVE
PANEL 2: The form starts to take an hourglass shape
JAMES offscreen
FOUR
PANEL 3: The back of a woman's head
JAMES offscreen
THREE
PANEL 4: The back of the head turns to a side profile, an alluring eye turns to the reader
JAMES
TWO
PANEL 5: The woman smiles from behind James as she puts her hand on his shoulder
TONI
Hello James
PANEL 6: James is flung through the bar with supernatural force, knocking tables and chairs out of the way.
PANEL 7: Toni stands beside the patrons
CLYDE
Nice of you to finally come out Toni
TONI
Did you boys have fun tonight?
PANEL 8: A dazed James lay in the debris of broken wooden furniture
JAMES
Toni is -ugh- a broad?
PANEL 9: Mel sits up from the ground, the top of head still blown off.
MEL 9
When they want to be.
And watch your language son.
PAGE NINETEEN
PANEL 1: In the foreground James is on his knees, an overturn table missing a leg is near him. In the background Toni and the 4 patrons stand imposing.
JAMES
But…If you were in the briefcase… Then what was I delivering? Why am I here?
TONI
Oh James. You haven’t figured it out yet?
You were delivering me here
And Albert was delivering you to me
PANEL 2: Toni smirks.
And you are perfect.
PANEL 3: James is terrified
JAMES
No… I gotta get out of here
PANEL 4: Clyde smiles as the other patrons rush into action
CLYDE
You ain’t going nowhere son. Boy’s, why don’t you show him to a seat, poor lad looks like he is about to keel over.
PANEL 5: James fights off the four Patrons with the table leg. Clyde sneaks up behind him holding a Jameson bottle.
PANEL 6: The bottle is broken over James head
PANEL 7: James is propped up as Toni looks remorseful in the foreground
TONI
I can confidently say no one has put up this much of a fight in a long time.
You must have so much to live for.
PAGE TWENTY
PANEL 1: Toni wraps her tentacle around James neck.
TONI
It’s time to rest now, young man. You fought so hard your whole cruel, cold life, but the time for such barbarism is over. Submit to me-
PANEL 2: Close up of Toni
TONI
-and I will keep you warm.
PANEL 3: James is dropped to his knees near a bottle of liquor and broken pieces of wood
JAMES
Ma’am
PANEL 4: James strikes a match
JAMES
I think you’ll find yourself plenty warm
PANEL 5: James chugs the bottle of whiskey
PANEL 6: Jame blows fires onto Toni whose Tentacles emerge from her, spontaneously recoiling and exploding from her form
JAMES
IN HELL
PAGE TWENTY-ONE
Awesome Page
PANEL 1: Her form starts to lose shape and she appears more demonic than ever. Her hands are all crooked and extending at the reader as flames coat her fingers, face and body.
JAMES NARRATION
Toni’s scream is loud and abrasive like the banshee winds of a storm carried by the beating waves of a tempest ocean. She thrashes and writhes in the flames in a near hypnotic, mesmerizing dance.
I almost forget to run.
PANEL 2: James books it to the door, his alcohol stained clothes a lit in flames
JAMES NARRATION
Almost.
PANEL 3: Two patrons surround Toni who is now a ball of tentacles as the flames spread through the collapsing bar.
MEL
What in blazes!?
JACK
That kid did a number on this place!
PANEL 4: Clyde smiles through the flames, looking on at James’ escape with an impressed, almost proud look on his face.
CLYDE
Run for it son..
..Like a bat out of hell.
PAGE TWENTY-TWO
PANEL 1: James floats through darkness on fire. Behind him is the open doorway showing the blazing inferno that he left Lorraines in.
JAMES NARRATION
I’m back to the familiar blackened threshold that exists between the known and unknown world, a weightless space where all I can feel is a numbing, calming coldness despite my clothes burning to my skin. My vision is becoming so cloudy that all I can focus on is the distant light at the end of a long tunnel.
JAMES NARRATION
Mom, Mallory.
JAMES NARRATION
I’m coming home.
PANEL 2: The DOORMAN from earlier appears now, as a skeleton, revealing himself to have been a guardian like Charon the ferryman.
DOOR MAN / CHARON
I am dearly sorry James, but you did not pay the toll for your passageway, therefore I can not let you back into the world of the living.
PANEL 3: James decks the Dorr Man.
JAMES
The **** you can’t!
PANEL 4: James, still on fire, leaps towards the glowing bright rectangle is his salvation.
JAMES NARRATION
I don’t know if it's the fire or the beams of sunlight finally hitting my face but I am filled with an overwhelming feeling of warmth. A feeling I haven’t felt in forever. The feeling that I am…
PAGE TWENTY-THREE
PANEL 1: James stands in the doorway of Lorraines, streaks of flame/smoke emerging from him like tentacles. He reaches his hand out to feel the sunlight.
JAMES NARRATION
Alive.
PANEL 2: The sun rises against the familiar architecture, it is a glorious sight for James. The last he’ll ever see
PANEL 3: A a black tendril emerges from behind James, we see his face has melted down to the bone.
PANEL 4: The tentacle pulls James back down the stairs by his neck as he desperately claws as the ground.
PAGE TWENTY-FOUR
PANEL 1: The constable from Page 2 who turned a blind eye to James gang activities is writing up notes as Mallory sits on the stoop of her brownstone apartment. The street is dirty. In the window overlooking is James’ Mom.
CAPTION
Many Days Later
CONSTABLE
So let me get this straight.
You tell me your brother, James Gallo, has been working for an Albert Dubois for the last two years now?
MALLORY
Yes, Albert is one of those damn Crows.
PANEL 2: Mallory looks down, sad.
MALLORY
This whole city may as well be Coal Street.
PANEL 3: Mallory and the constable continue to talk as her heart breaks.
CONSTABLE
I see, and you say the last time you saw your brother James was the night he was making a delivery for Albert?
MALLORY
H-He promised me it would be the last one… that he just had to pick up a briefcase from the train station and take it to Lorraines and then-
PANEL 4: The Constable looks shocked.
CONSTABLE
LORRAINES!?
PANEL 5: The constable tips his hat and turns around
CONSTABLE
Sorry ma’am, you’d best forget all about this and just move on.
That boy is lost.
PANEL 6: Mallory runs down the stoop holding a small handful of paperbills..
MALLORY
Wait! Please! It’s not much but you can have all of it!
PANEL 7: Close up of Mallory as she opens her blouse to reveal her cleavage. The very thing James worked hard to prevent.
MALLORY
You can have anything…
PANEL 8: Close up of the constable looking over his shoulder, his face guilt-stricken.
MALLORY (Offscreen)
Just please help me.
CONSTABLE
Ma’am …
PANEL 9: The constable walks away leaving Mallory behind. Fall leaves dance in the autumn breeze,
CONSTABLE
I reckon you’d best save that money for a nice headstone.
PAGE TWENTY-FIVE
PANEL 1: Close up of Mallory, her beautiful black hair bleeds into the black of the margins of the lower half of the page.
MALLORY NARRATION
I’ll find you James. I swear I’ll find you.
If not in this life…
PANEL 2: The patrons gather around James in a last supper style composition. James looks hopelessly distraught and defeated.
MALLORY NARRATION
...Then the next.
CLYDE
Another round Jimmy?
PANEL 3: A black tendril closes the door to the bar on James, his fate sealed.
PAGE TWENTY-SIX
PANEL 1: The door bearing the markings of Folly and Ridicule stands tall in the alleyway, on the ground before it are the markings left by James as he was dragged within. The door awaits its next delivery of a lost, hellbent soul.
THE END.
