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Chapter 1


PANEL 1: Exterior; establishing shot (distant, aerial image) of a medieval English town
- day. Sky is overcast but not raining. The town is burning. Buildings are damaged and
or destroyed. People run riot in the streets.

(1) Caption: Berwick-Upon-Tweed, North East England, 1318.

PANEL 2: Exterior; isometric, medium distance image of the town. We can now see
crazed Scottish warriors attacking the ravaged town. Men, women and children are
running and screaming. Homes are being set alight and ransacked. It is complete

PANEL 3: Exterior; ground level, town centre. Women are being raped in their homes
and in the streets. The madness of war is rife. The scene is a living hell. Men are
fighting with swords, crossbows, knives, and anything they can get their hands on.
Some homeowners are fighting with pitchforks, spades, scythes etc. or just plain old
planks of wood. Children run or sit amidst the chaos screaming/ crying.

(2) Caption: My hometown was burned to the ground by invaders when I was just a

PANEL 4: Exterior; Street level/ medium distance shot of one small farmhouse, on the
outskirts of town. Outside, a farmer (Godrics Father) is bravely fighting two invading
warriors with a pitchfork (the warriors have swords). The two warriors look like theyre
enjoying the fight. Godrics father on the other hand looks petrified. (Background)
Godric (10 years old here) and his mother stand in the doorway of their home watching
the fight. They are terrified, but are too scared to intervene. Godrics mother is
standing in front of Godric, blocking the doorway, protecting him.

PANEL 5: Exterior; farmhouse. Over the shoulder (OS) shot of Godric and his mother.
They stare out at the scene in horror as Godrics poor father is slain by one of the

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(3) Sound (sword/ flesh): Schlew!

PANEL 6: Close up on Godrics face. He watches in silent fear, with tears streaming
down his cheeks, at the devastation unfolding in front of him.

(4) Caption: Those devils took my father and my mother

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PANEL 1: Interior; farmhouse. Medium close up. Godrics mother has turning to him.
She is stooping down, urgently, placing her rosary beads into his little hands and
caressing his face. Godric stares at her, crying, scared. (Background) The two
warriors are now advancing towards the house, with hungry grins on their faces.
Godrics fathers corpse bleeds out into the dirt.

(1) Godrics Mother: Take this, to remember us... to protect you... You have to go now!

(2) Godric: Mum come with me!

PANEL 2: Godrics POV/ close up on Godrics mother. She is smiling weakly, tears
rolling down her cheeks.

(3) Godrics Mother: We wont make it together, but I can stop them getting to you...

PANEL 3: Medium close up. The first warrior is aggressively forcing Godrics mother
up against the wall, and is beginning to pull his pants down to commence raping her.
Godric is running from the room, fleeing for his life. Notably, Godric is holding the

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rosary beads tightly in his fist. The second warrior is shouting menacingly after Godric,
but is clearly really only interested in the boys mother. Godrics mother looks
uncomfortable, but is not fighting the men. She seems to have accepted her fate as
long as it ensures the survival of her son.

(4) Godrics mother: Godric run! RUN!!!

(5) 2nd Warrior: Yeah, run you little bastard! Get out of here!

PANEL 4: Exterior; back of the farmhouse. Godric is fleeing the home through the
back door; tears streaming down his face, he runs away across a field. Several other
children are also running across the field to escape the town.

(6) Caption: My family gone, my home destroyed. My only chance was to flee.

PANEL 5: Exterior; edge of forest. Godric stops, to catch his breath, where the field
meets a forest. He has turned and is staring back at the town - watching it blaze.
Godric looks desperate, lost. Other children from the town run and stumble past him
into the forest.

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PANEL 1: Exterior; edge of forest, close-up, over the shoulder shot (OS). Godric
stares at the rosary beads in his open hand.

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PANEL 2: Exterior; forest. Medium distance shot. Godric clutches his rosary beads
tight and advances into the forest. He still has tears tumbling from his eyes, but looks
determined now, as he runs bravely into the unknown.

PANEL 3: Triple-wide panel. Exterior; collage of scenes showing Godric, along with
four or five other children. They are dirty and feral. Their clothes have become rags.
Panel 3a: They eat the remains of a dead boar, raw; using nothing but their hands
mouths dripping with blood. Panel 3b: They wash in and drink from a stream. Panel 3c:
They are huddled together - asleep in a small cave mouth.

(2) Caption: For years I lived as a savage, the forest became my home.

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PANEL 1: Exterior; forest (in a clearing) - day. It is winter, a thin layer of snow/ frost is
on the ground. Godric and two other children are stood around the youngest child,
staring at her she is dead from exposure.

(1) Caption: But the others were not as resilient as I Fever took them

PANEL 2: Exterior; forest (cave) - night. A wolf is quietly dragging one of the children
from the cave where they are sleeping. No one else notices.

(2) Caption: Wolves took them

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PANEL 3: Quadruple-wide panel. Exterior; forest day. Panel 3a: A boy is sat in front
of a rock hungrily eating a large piece of bread. Godric is sneaking up behind the rock
with his rosary beads wrapped around his fists, ready to garrotte the poor lad. Panel 3b:
Godric garrottes the boy to death with his rosary beads. The boy grimaces, drops the
bread, grabs at Godric, and kicks his feet out. Panel 3c: Godric picks up the bread and
offers half to his friend. His companion however, looks at him in fear and disgust.
Panel 3d: Godrics pal runs away from him, leaving Godric standing alone with the
bread in his hand and the body on the floor next to him. He watches as his friend runs

(3) Caption: Fear took them...

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PANEL 1: Exterior; moorland day. Alone now, and a couple of years older, Godric
walks across moorland, freezing. A blizzard howling around him.

(1) Caption: Then came the winter which I could not endure

PANEL 2: Interior; barn night. Godric is trying to sleep. He is shivering, curled up

behind a pig, freezing.

(2) Caption: And I was delivered unto thee

PANEL 3: Exterior; muddy ditch morning. Godric is perishing in the snowy, icy ditch,
he looks blue, close to death.

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(3) Caption: My Saviour

Panel 4: Exterior; field day. Godric is stumbling through the field, which is thick with
snow. It is a calm, sunny day, but he is on his last legs frostbitten and exhausted. In
the far distance sits a monastery - where he is headed.

(4) Caption: My Lord

PANEL 5: Exterior; Dominican monastery entrance day. Godric has collapsed in

front of the monastery - on the absolute brink of death. Two monks rush to his aid.

(5) Caption: My God.

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PANEL 1: Exterior; distant, isometric, establishing shot of Wicaston village dusk.

(1) Caption: Wicaston, South East England, 1348.

PANEL 2: Exterior; medium establishing shot of the village tavern in Wicaston. There
is a painted wooden sign hanging outside which bears the pubs name: The Devils
Twist Inn. An inverted pentagram inside a circle is the fading image on the sign.

PANEL 3: Interior; The Devils Twist Inn evening. The tavern is busy with the local
rabble. Godric is now grown up (in his late forties). He is a monk of the Dominican
order, and wears the appropriate black robe (consult biography for further details). He

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is sat alone at a table and has just finishing the last mouthful of a meal. He is looking
upwards as he is telepathically talking to God.

(2) Caption: And here I sit, with a full stomach, continuing to do your work. As I shall
d do gladly, till the end of my days lest ye yourself deliver me to hell.

PANEL 4: Interior; The Devils Twist Inn evening. As Godric polishes off his tankard
of ale, the barmaid (Frieda) has come over to take his plate.

(3) Frieda: You can come and pay at the bar when youre ready.

PANEL 5: Interior; The Devils Twist Inn evening. Godric wipes his mouth with the
back of his hand and looks at her somewhat unhappily as she leaves his table.

(4) Godric: Right... fine.

PANEL 6: Interior; The Devils Twist Inn evening. Godric is walking cautiously over to
the bar. In the background, Sir Ulric is jovially entering the tavern.

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PANEL 1: Interior; The Devils Twist Inn evening. Godric stands at the bar, speaking
with Frieda as she pours a mug of ale for another customer. Neither of them look happy.

(1) Godric: Do you have any rooms available?

(2) Frieda: Yes. We do.

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(3) Godric: Then, as well as my meal and cup of ale, might you also be so kind as to
provide a lowly travelling friar with a room for the night?

PANEL 2: Interior; The Devils Twist Inn evening. Godric has placed a pile of loose
change on the bar. He is gesturing to the money with both hands and is looking
somewhat feebly at Frieda looks very angry, she gestures to the money with one hand
and points to the door with the other. Sir Ulric is now stood very close behind Godric.

(4) Godric: Regretfully, that is all the money I have to offer.

(5) Frieda: That doesnt even cover the cost of your meal! Now piss off out of here!
I dont care if you are a friar. Were not a bleeding charity!

PANEL 3: Interior; The Devils Twist Inn evening. Lord Ulric has stepped forward and
come to Friar Godrics aid. He has his arms (and voice) raised, so that the whole pub is
beginning to listen to him. He is looking at Godric, but is addressing everyone. Godric
and Frieda both stare quizzically at him. Ulric is a commanding presence, and looks
happy, as he speaks.

(6) Ulric: Theres no need for that Frieda. You should show this man more respect.
This man is a Black Friar, a Dominican monk, a learned member of the
clergy, whom we would do well to welcome openly into our community. Im
sure there is plenty he could teach all of us, if only we take the time to listen...
Am I right Friar?

(7) Godric: You are indeed correct Sir, on all accounts, I might agree.

PANEL 4: Interior; The Devils Twist Inn evening. Sir Ulric has produced and now
holds up an expensive looking gold coin, he has everyones undivided attention, if he
didnt already. His other hand is gesturing towards Godric. Godric has a faint look of
relief about him. Frieda has relaxed a little and now stands with one hand one the bar,
and one hand on her hip, she seems to know what is about to happen. In the
background, the rabble are cheering and clinking their tankards together.

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(8) Ulric: Tonight, I will pay for this mans room and board and the rest of you fine folks
may have a drink on me, in honour of his holinesses arrival!

(9) Crowd (anonymous shout): God bless Lord Ulric!

(10) Ulric: I expect everyone to follow my example now, and show our friar the
hospitality he deserves...

PANEL 5: Interior; The Devils Twist Inn evening. Ulric has slapped the gold coin
onto the bar, directly on top of Godrics loose change. He points at Frieda with his other
hand and has something of a cheeky grin on his face. Frieda looks shrewdly back at
the lord, but has nonetheless begun pouring a mug of ale for him. The expectant mob
are already swarming the bar area.

(11) Ulric: That includes you Frieda!

(12) Sound (coins/ bar): Clink!

PANEL 6: Interior; The Devils Twist Inn evening. The Friar looks sincerely at the
Lord and lightly bows to him. Ulric is raising his tankard, now brimming with ale, to

(13) Godric: You have my gratitude Sir. A night out in the cold may have given me a

(14) Ulric: To our all powerful God, and the good men and women doing his work.

PANEL 7: Interior; The Devils Twist Inn evening. Sir Ulric takes a large swig of his
beer, whilst grinning corporately. He has also placed one of his strong hands on
Godrics shoulder. Godric looks at him curiously.

PANEL 8: Interior; The Devils Twist Inn evening. Ulric leaves Godric and the bar
area for more comfortable surroundings. The friar watches him walk away, a little
suspicious of his motives.

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PANEL 1: Exterior; establishing shot, Ezmes cottage, night. The cottage lies on the
edge of a forest, and has a grass clearing in front of it (grazing animals (sheep) have
kept the grass short). A tall, strong, shadowy figure (Ike) approaches the front door of
the cottage, carrying a pick and shovel. His breath can be seen in the cool night air.

PANEL 2: Interior; Ezmes cottage, night. It is dark in the cottage as Ike closes the
front door and rests his tools against the wall next to it. He is dirty and tired from a hard
days work in the fields.

PANEL 3: Collage. Interior; Ezmes cottage, night. Panel 3a: Ike uses flint to get a fire
going. Panel 3b: Ike has lit a candle and placed it on a small table. he now pours
himself a small mug of mead from a clay bottle, the mug sits next to the candle. Panel
3c: Ike is sitting in a comfortable chair next to a small table. Notably, there is a lute
resting next to the chair. He sits back and slowly, satisfyingly, sups his mead. Panel 3d:
Ike is sat in the chair, eyes closed looking very relaxed. The mug is still in his hand.
Both his arms rest on the arms of the chair. Panel 3e: Ike opens his eyes, a little
startled by the sound of the front door clunking open.


(1) Sound (door): Clunk.

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3a 3b

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PANEL 1: Interior; Ezmes cottage, night. The cottage is open plan. Ezme and Ike
each have a bed in there. Notably there is also a large, sturdy wooden table in there,
which doubles as a kitchen table, and an operating table. Ezme has just closed the
front door of the cottage, and is now taking off her cloak, whilst putting her bag on the
floor - next to Ikes tools.

PANEL 2: Medium close-up shot. Ezme is in the process of sitting down, her and Ike
smile warmly at each other.

PANEL 3: Medium close-up shot. Ezme has sat down in a chair on the other side of
the table - adjacent to where Ike is sat. She looks tired but contemplative, and is
looking at Ike. Ike is looking back at her, seemingly in some kind of silent agreement.

(1) Ezme: Oh, I do miss having Wyatt here.

PANEL 4: Medium close-up shot. Ezme is now sitting back with her eyes closed,
smiling slightly. She looks relaxed, her arms resting on the chairs arms. Ezme has
also kicked off her boots to get more comfortable. Ike is looking at her, drawing his cup
away from his mouth - having just finished taking a sip from it.

(2) Ezme: Play us a tune Ike, and pour me a cup of that mead would you love.

PANEL 5: Medium close up. Ike is confidently playing his lute. His mead sits on the
table. Ezme is sipping her newly poured cup of mead. Her eyes are closed, and she
looks very comfortable sat listening to the music.

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PANEL 1: Exterior; Ezmes cottage early morning. Wide/ long shot. The sun is low in
the sky, mist is still rising from the ground; the grass is full of dew. Ezme is outside on
the large, grass field in front of her house a few sheep are grazing. She carries a
basket and is picking magic mushrooms from the field. She sings to herself quietly as
she picks them. A dark figure wearing a hooded robe, carrying a book (Godric) is
walking into the scene, fifty meters or so from where Ezme is picking.

(1) Ezme (singing): Mushrooms, mushrooms, magic mushrooms. Lovely, lovely magic
mushrooms. Grown for me to pick and make brews. Mother
Natures gift now in bloom. Lovely, lovely magic mush...

PANEL 2: Wide shot, from behind Ezme, looking into the distance across the field.
Ezme has stopped singing and picking. She is standing up straight, trying to make out
Godric now stood still in the distance. He is silhouetted against the sun behind him.
He clearly knows Ezme is there, but does not address her directly. Instead, he has
started loudly dictating from the Bible, now held open in his hands.

(2) Godric (loudly): In the beginning God created the heaven and the earth... And the
earth was without form, and void; and darkness was upon
the face of the deep...

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PANEL 3: Close up/ wide shot, from behind Ezme. Ezme has raised her hand to her
forehead - to shield the sun from her eyes trying to better make out Godric. She
stands still, listening as he continues.

(3) Godric (loudly): And the spirit of God moved upon the face of the waters. And God
said, Let there be light: and there was light...

PANEL 4: Close up/ wide shot, from behind Ezme. Ezme remains standing up straight,
looking at Godric, but has now dropped her hand back down to her side.

(4) Ezme (to herself): Lunatic.

PANEL 5: Medium shot of entire scene. Godric is inaudible now, as Ezme has chosen
to ignore him. She is stooped down again and continues to gather more mushrooms,
singing as she does.

(5) Ezme: Mushrooms, mushrooms, magic mushrooms...

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PANEL 1: Exterior; establishing shot, Wicaston chapel late morning (sunny). Ezme
approaches a middle-aged man (Will - he is the chapel caretaker); repairing a dry stone
wall, around the church yard/ grave yard. Ezme is glancing over at Godric, who now
lurks, in the far distance beyond the chapel. He is now preaching in the central village
green two or three people are stood listening to him. Ezme is reaching into her bag
for something. Will, busy with the wall, has not noticed her yet.

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PANEL 2: Medium close up. Ezme has taken a small bag of ground up herbs/ roots
from her bag and is handing it to William. She is smiling. Will has stopped working and
looks very excited about what Ezme has to say.

(1) Ezme: Here you are William. Make a brew with this, drink it, wait for about half an
hour, and youre tadger ll be like a rock for two hours. I guarantee it, or you
can have your money back.

(2) Will: Ooh, my missus will be happy!

PANEL 3: Medium close up. Ezme has begun walking away, she is still smiling at Will
as she departs the scene. Will still looks very excited as he stashes the little bag in his
shirt and calls after Ezme.

(3) Ezme: Therere about four helpings there. Ill be in my cottage most of the evening,
should you want to make a donation.

(4) Will: Ooh thank you Ezme! Thank you, thank you, thank you!

PANEL 4: Exterior; establishing shot, vegetable field/ strip late morning (sunny). A
worker in the distance is ploughing the strip, with an Ox-drawn plough. Ezme is
approaching a woman (Millie) who is walking towards her, sowing seeds. Ezme is once
more glancing quizzically at Godric, who is again stood preaching in the far distance;
now with a crowd of around eight people gathered near him. Millie is smiling and
waving at Ezme.

(5) Millie: Ezme!

PANEL 5: Medium close-up. Ezme is stood close to Millie examining a terrible rash, of
large red blotches, all over her face and chest some of which are oozing puss. Ezme
looks a little shocked and has brought one hand to her mouth in surprise. Millie is
staring down at her rash.

(6) Ezme: Oh, Millie, you poor girl! Its got worse.

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(7) Millie: Ah, what can I do? I have to keep working. No time to worry about making
this all better.

PANEL 6: Medium close-up. Ezme has produced a lotion from her bag, and is applying
it to Millies chest with a small cloth. Millie has tossed her head back and closed her
eyes with relief. Her mouth also hangs open for the same reason. Ezme smiles at the
effect her lotion has on her friend.

(8) Ezme: This lotion will soothe it for now, and over time should make it go away.

(9) Millie: Ooh, wow, you are a miracle worker. God forbid you ever leave this village.

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PANEL 1: Exterior; establishing shot, courtyard/ knights training area, manor house
day (sunny). Wyatt (Lord Ulrics Page/ Ezmes grandson (10 years old)) is standing
opposite Puck (Lord Ulrics Squire (15 years old)). They are circling/ sparing with
wooden swords. Neither boy is dressed in armour. They have regular working clothes
(Tunics, stockings, boots). Sir Ulric is stood a short distance away, in the background,
watching (Ulric wears his regular wolf- crested armour). Both boys look incredibly
focussed on the fight. A few soldiers are milling about doing various tasks: carrying
wood/ sparring.

PANEL 2: OTS shot from behind Puck. Wyatt charges at Puck, sword held high.

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PANEL 3: Quadruple-wide panel. All medium close ups. Panel 3a: Wyatt hits at Puck
with his sword. Puck blocks with his own sword. Panel 3b: Wyatt hits again, Puck
blocks again. Panel 3c: Wyatt strikes and Puck blocks it a third time. Panel 3d: With
some effort Puck shoves Wyatt away from him, Wyatt reels back a little, knowing that
Puck has a significant strength advantage.


(1) Wyatt: Ha!

(2) Sound (wooden swords): CLACK!


(3) Wyatt: Ha!

(4) Sound (wooden swords): CLACK!


(5) Wyatt: Hah!

(6) Sound (wooden swords): CRACK!


(7) Puck: Ruagh!

PANEL 4: Medium distance/ wide shot. The boys are circling again, weapons raised,
ready to strike/ defend. Wyatt stares right at Puck, but Puck is glancing up at Lord Ulric
momentarily. Wyatt is panting now, and sweating - his adrenaline is pumping. Puck is
grinning, seemingly enjoying fighting the smaller boy - he knows he can beat. Lord Ulric
cups a hand to the side of his mouth whilst shouting advice from the sidelines.

(8) Ulric: Dont be afraid of him Wyatt. Hes bigger and stronger than you, but youve
got a solid bit of wood there. Swing it hard and fast, and you can hurt him

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PANEL 5: Puck is looking at Wyatt again, grinning and beckoning with his free hand.
Wyatt has a look of determination about him.

(9) Puck: Come on then, show me what youve got.

PANEL 6: Triple-wide panel. Panel 6a: Wyatt lunges at Puck. Panel 6b: Puck parries
Wyatts strike, sending the younger boy stumbling past him. Wyatt looks concerned.
Panel 6c: Puck kicks Wyatt in the backside, sending him flying. Wyatt looks more


(10) Wyatt: Yargh!


(11) Sound (wooden swords): Cunk!


(12) Sound (foot/ backside): Whump!

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PANEL 1: Wyatt has landed heavily on his chest in the dust his limbs are all spread
eagle. His sword has bounced a short way out in front of him. He is a little winded, and

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his face is a little dusty now. (Background) Puck is advancing steadily towards Wyatt -
his sword held up threateningly. (Ulrics voice is heard, but he is not in the panel).

(1) Wyatt: Oof!

(2) Ulric (off panel): On your feet boy, quick or hell have you!

PANEL 2: Triple-wide panel. Panel 2a: Wyatt scrambles to grab his sword and turns,
on his knees, to face Puck - who is about to bring down his sword on Wyatt. Panel 2b:
Close up; Wyatt blocks Pucks blow with his sword. Panel 2c: With a huge effort, Wyatt
has pushed up onto his feet, and shoved Puck stumbling a few feet away from him.
Puck looks rather shocked as the youngster sends him off balance. (Background) Ulric
is clapping and encouraging Wyatt.


(3) Sound (wooden swords): CUNK!


(4) Wyatt: Rrrragh!

(5) Puck: Agh!

(6) Ulric: Thats it lad, fight!

PANEL 3: Triple-wide panel. Panel 3a: Wyatt races into action and brings his sword
down at Pucks head. Puck manages to defend it but is sent reeling backwards again.
Panel 3b: Wyatt hits down hard again. Puck manages to block again but is now
severely losing his balance. Panel 3c: Puck has now fallen onto his arse in the dust,
but still Wyatt aggressively swings for him. Puck looks a bit angry now. (Background)
Ulric looks very excited, and is punching the air.


(7) Wyatt: Ha!

(8) Puck: Wah!

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(9) Sound (wooden swords): Crack!


(10) Wyatt: Huhn!

(11) Sound (wooden swords): Crack!


(12) Wyatt: Argh!

(13) Puck: Woah! You aggressive little bastard!

(14) Ulric: Go on Wyatt, have him!!!

(15) Sound (wooden swords): CRACK!

PANEL 4: Triple-wide panel. Panel 4a: Puck gets his act together and bashes Wyatts
sword away, sending Wyatt off balance. Wyatt looks a little surprised, as the tide turns
on him his sword flailing above and behind his head. Panel 4b: Puck brutally sweeps
Wyatts legs out from under him. Wyatt comes off his feet and is airborne once again.
Panel 4c: Close-up. Wyatt has landed heavily on his back. Once again, his sword has
bounced from his hand, and he lies winded in the dust.


(16) Wyatt: Uh!

(17) Sound (wooden swords): Smack!


(18) Sound (leg sweep): Schmick!


(19) Wyatt: Ooh

(20) Sound (Wyatt/ floor): Thump!

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PANEL 1: Puck has jumped up and is sticking the point of his sword to Wyatts neck.
Puck is out of breath, but almost smiling again. Wyatt seems relieved the fight is over.

(1) Puck: Yield?

PANEL 2: There is a pause while Wyatt catches his breath and considers his options.

PANEL 3: Wyatt graciously accepts defeat. Puck kindly removes his sword tip from
Wyatts throat, and offers his hand instead.

(2) Wyatt: Yield.

PANEL 4: Puck helps Wyatt to his feet.

PANEL 5: Puck picks up Wyatts sword for him and goes to hand it back. Wyatt is
dusting himself down.

(3) Puck: Dont feel bad mate, every defeat is a learning experience.

PANEL 6: Puck and Wyatt stand for a moment, smiling respectfully at each other.

PANEL 7: The boys stand poised to face off once more. (Background) Lord Ulric
stands staunchly with his arms folded. He looks serious.

(4) Ulric: Again!

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PANEL 1: Exterior; establishing shot, medium close-up, village green day (sunny).
Ezme is with an elderly man (Old Man) sat on a bench. He is staring at something
quizzically, straight ahead of him (off panel). The Old Man has one leg stretched out
and rests one of his hands on a walking stick. He has a dressing around his other hand;
Ezme is on the bench next to him, unwrapping it.

PANEL 2: Close up. Ezme has finished taking the bandage off. The Old Man has a
large open wound across the palm of his hand. The wound contains about six maggots.

(1) Ezme (off panel): Mm, those maggots have done a good job, all nice and fat.

PANEL 3: Medium close-up. Ezme picks the fat maggots out, with some tweezers and
puts them in a jar. Old Man watches her complacently.

PANEL 4: Ezme is reaching into her bag. She is exchanging the jar of old/ fed
maggots for a jar of fresh/ unfed maggots. Old Man is waiting patiently, and staring
ahead quizzically again.

PANEL 5: The back of the bench/ Ezme and Old Mans backs are in the foreground,
slightly silhouetted. In the distance (background), about 50 meters in front of Ezme and
Old Man, Godric is still stood preaching. His crowd has grown to around 15 people.

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Ezme is now placing the new maggots into the wound. Both Ezme and Old Man are
looking in Godrics direction.

(2) Old Man: Who is this blathering fool anyway?

(3) Ezme: Some wandering preacher I suppose.

PANEL 6: Front shot of Ezme and old man again, medium close-up. Ezme puts the
now empty jar and tweezers back in her bag. But she is listening intently to Old Man as
she does so. Old Man is still looking in Godrics direction as he speaks.

(4) Old Man: Bloody God Squad, who needs it? This towns been far better since that
dirty bastard of a vicar was got shut of

PANEL 7: Ezme is now wrapping a clean bandage around Old Mans wrist. He still
stares at the preacher. Ezme concentrates on the bandage.

(5) Old Man: Seems to me like this Christian God has brung nothing but war... Thirteen
hundred years of war, and still no peace on earth!

PANEL 8: Ezme has just finished tying the bandage and is smiling respectfully at Old
Man. He is smiling questioningly at her.

(6) Old Man: I mean how long does it take Ezme, really!?

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Page 15: Layout
3 4

7 8


PANEL 1: Medium distance shot, village green day (sunny). Friar Godric is
preaching, at full volume, staunch as ever. He is very animated in his delivery. He

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holds the bible securely in one hand, and has his other hand raised in some sort of
gesture of holy power. He looks very serious. The crowd watch him with various
expressions. Some curious, some mildly fearful, others amused. Ezme is strolling up to
the back of the small crowd to listen.

(1) Godric: Then Sihon came out against us, he and all his people, to fight at Jahaz.
And the lord our God delivered him before us; and we smote him, and his
sons, and all his people...

PANEL 2: Medium close-up. A man in front of Ezme speaks to his friend, next to him
The mans colleague looks at him and shrugs in agreement. Ezme watches them,
eavesdropping, in anticipation.

(2) Man in crowd: Ive heard enough of this rubbish, lets get back to work.

PANEL 3: The two men walk off together. Ezme has stepped forward into the gap they
left. Now at the front of the crowd, she watches and listens intently to Godric. He
notices her, and stares curiously at her, whilst he continues to spout his rhetoric.

(3) Godric: And we took all his cities at that time, and utterly destroyed the men, and
the women, and the little ones, of every city, we left none to remain...

PANEL 4: Godric is still in mid flow, turning a page in the good book, but looking up at
Ezme. Ezme looks a little taken aback by what she is hearing. She has one finger
raised, in order to get the friars attention. Most of the crowd now look in Ezmes

(4) Godric: Only the cattle we took for a prey unto ourselves, and the spoil of the cities
which we took...

(5) Ezme: Im sorry friar, just hold on a minute...

PANEL 5: Godric looks more than a little unhappy with Ezme for ruining his flow.
Nevertheless, he engages her in conversation. The crowd observe the altercation with
interest and, in some cases, amusement.

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(6) Godric: Yes, madam. What is it?

(7) Ezme: Well, I just want to confirm something...You just said that someone
destroyed the men, women and children, of several cities, then basically
stole everything that was left for themselves?

PANEL 6: Godric scans back through the passage to double check what he has just
read aloud. Ezme continues with her line of interrogation. The crowd continue to watch
and listen.

(8) Godric: Well, yes, yes, that is pretty much it...

(9) Ezme: And... well, sorry I missed the start... Youre talking about the devil right? Or
some kind of terrible, force of evil?

PANEL 7: The friar looks perplexed, amazed even that someone is questioning the
bible. He is pointing down to the passage in the bible, for emphasis. Ezme is
reiterating her question. Her palms are turned upwards in a questioning gesture.

(10) Ezme: I mean, these things: mass murder, pillaging, God does not condone these
things does he?

(11) Godric: The err... this passage is about Moses. Moses was a servant of God, from
the old testament. It was necessary at that time for God to eradicate
anyone who did not believe in him, in order to establish his authority over
men, as the one true God.

PANEL 8: The questioning goes on. Godric has now closed the bible and stands,
holding it by his ribs in his left hand. His right elbow rests on his left forearm, his right
hand is rubbing his chin. He looks increasingly agitated with Ezme. Ezme has stepped
forward from her place in the crowd, and has edged quite near to Godric. She has an
expression of disbelief on her face.

(12) Ezme: So, youre saying that God, actually God himself was telling this man, this

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(13) Godric: Moses

(14) Ezme: Moses, thank you... Youre saying that God told him to murder entire cities
full of innocent women and children?

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3 4

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PANEL 1: Profile, close up, Ezme and Godric. There is about three feet between their
faces. Godric has started to become quite irate. Ezme looks stubborn.

(1) Godric: They were not innocent, they were heathens! They were people who
worshipped false idols, false Gods.

(2) Ezme: But the children, I mean, a lot of them are not even old enough to
understand the concept of God, how can they be considered... heathens as
you call them?

PANEL 2: Profile, close up. The pair have edged a little closer to each other, the gap
closed to two feet now. They also look a fair bit angrier with each other, their faces a
little redder.

(3) Godric: It is not for us to question Gods methods woman! Just to do his will, and
put our trust into his grand plan!

(4) Ezme: Look, on any level, whether God wills it or not, how on earth is the... the
slaughtering of hundreds of thousands of children, children who dont even

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know what religion is, let alone... let alone... they, they... Well what kind of
God kills thousands of innocent children!?

PANEL 3: Profile, very close up. Godric looks very angry now, scarily so. He is right
up in Ezmes face. His pulse is racing, veins in his temples are protruding rather a lot.
Ezme stares at him, with some distaste, but says nothing. She also looks mad but is
clearly unafraid of Godric.

(5) Godric: The Lord God! Jehova! The one true God does, thats who!

PANEL 4: Medium distance, wide shot. Godric has stepped away from Ezme but is still
very annoyed. Addressing everyone, he waves his hand across the crowd in another
sharp outburst. Again, some in the crowd look frightened, others highly amused, others
excited. Ezme has backed away a fair bit from the mad friar, though she still looks at
him with disdain.

(6) Godric: And anyone who does not follow the one true God will be dammed! Just
like all those heathens from Jahaz!

PANEL 5: Medium distance, wide shot. Ezme has now begun to walk away from the
crowd, since the friars focus is no longer solely on her. Though she is glancing over
her shoulder - to throw in her final two pennies worth at Godric. The friar shouts (and
points) after her.

(7) Ezme: Well I for one will never follow such a disgraceful deity as yours friar.
Count me out!

(8) Godric: You will go to hell for such blasphemy!

(9) Crowd: Ooooooh!

PANEL 6: Medium distance shot. Ezme continues to walk away, she is a good fifty
meters off now (headed home). Godric turns sharply away in anger and bats a hand in
the crowds direction - to show his disapproval at their behaviour. The crowd cheer and
laugh at his anger.

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(10) Godric: Argh!

(11) Crowd: Weeeyyy!

(12) Crowd: Ha haa!

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PANEL 1: Exterior; main through road (village) day. Godric is walking (very angrily
and briskly) towards the tavern, where presumably he aims to get some rest. A rather
ornate looking horse-drawn carriage heads towards him on the road.

PANEL 2: As Godric stomps past the Manor house main gate, the carriage rolls past
him and begins braking.

(1) Sound (brakes/ wheels): Screeee!

PANEL 3: Godric continues stomping down the street. (Background) The carriage has
come to a halt. Lady Glynnis hastily opens the door and steps out of it.

PANEL 4: Lady Glynnis lifts her dress (to stop it dragging on the floor), and runs along
the roadside/ grass verge to catch up with Godric. Godric tries to ignore her initially.

(2) Glynnis: Excuse me Friar! ...

PANEL 5: Godric somewhat viciously turns around to acknowledge Lady Glynnis

hailing him. She looks substantially shocked at his tone.

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(3) Glynnis: Friar!

(4) Godric: WHAT!?

PANEL 6: Seeing Glynnis, Godric realizes he is speaking to a woman of status and

quickly remedies his tone. His expression is very apologetic/ solemn. He is bowing his
head slightly, has one hand to his heart (still clutching his bible) and the other hand held
out, palm up, in apology. Glynnis is now smiling, turning back towards her carriage and
beckoning Godric to follow her.

(5) Godric: Oh, your ladyship, please forgive me. You caught me... not in the best of
moods Friar Godric at your service. How may I be of help?

(6) Glynnis: Come with me.

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5 6


PANEL 1: Interior; establishing shot, dining room, manor day. Lord Ulric, Lady
Glynnis, their seventeen year old spoilt brat son (Hamlin), and the friar are sat around
the manors large dining table, talking with each other. They are drinking goblets of red
wine, and servants are taking their empty plates away from the table. Two running-
hounds (some of the lords hunting dogs) are also present. Godric is wiping his mouth
with a napkin. Ulric has a friendly/ questioning expression as he speaks with Godric.
Glynnis looks ezpectantly at Godric. Hamlin seems uninterested in anything, he just
looks unhappy.

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(1) Ulric: So, we currently have an empty village chapel, and a fast approaching
wedding, but we dont have a priest. And here you are, as if delivered by
God himself What do you say friar, will you help us?

PANEL 2: Medium shot. Godric is humbly addressing his hosts. Glynnis and Ulric
listen to him expectantly. Godric is gripping the base of his goblet.

(2) Godric: My Lord... My Lady, it would indeed seem that fate has indeed brought us
together. I will be more than happy to ensure your sons betrothal, and to
preach temporarily in your chapel...

PANEL 3: Godric, Glynnis and Ulric are all raising their glasses in a toast. Godric looks
sincere, Glynnis and Ulric are both smiling widely, very happy with the result of the
conversation. Hamlin stares at the three of them, red with anger.

(3) Godric: Heres to our time together.

(4) Glynnis: To our time together!

(5) Ulric: To our time together!

PANEL 4: Close up, Hamlin. Hamlin has stood up and is having a huge outburst. He
is very angry.

(6) Hamlin: Oh bollocks! So that means I still have to get married doesnt it!?

PANEL 5: Wide shot. Hamlin storms out the room. Glynnis, Ulric and Godric watch
him leave.

PANEL 6: Glynnis smiles, and raises her eyebrows with embarrassment, at the friar.
Ulric, resignedly, takes a large gulp of his wine.

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Page 19: Layout

2 3

4 5 6


PANEL 1: Exterior; establishing shot, medium distance day. It is now afternoon.

Rays of sunlight beam into the forest. Ulric and Wyatt are stood looking down at the
earth, in a forest. Puck is there also, but he looks outwards, he is already familiar with
what Sir Ulric is teaching Wyatt. They have a horse stood behind them also Puck is
leading/ holding it. Each of them has a bow (of appropriate size) across their chest/
back, and a scabbard of arrows. The Lord and Puck wear chainmail/ armour (with
cloaks). Wyatt wears his regular, training clothes. Sir Ulric is pointing to the ground,
speaking quietly.

(1) Ulric: What can you see Wyatt?

(2) Wyatt: Mm mud hair.

(3) Ulric: Hair, right, but what animal is it from?

(4) Wyatt: Mm... A fox?

(5) Ulric: No, not from a fox

PANEL 2: Medium close-up. Ulric and Wyatt are looking quizzically at Puck. Puck
stares at the ground and points to it. He is explaining something. Puck still has hold of
the horse with his other hand.

(6) Ulric: Can you tell him Puck?

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(7) Puck: Its deer hair sir.

(8) Ulric: It is deer hair, how can you tell?

PANEL 3: Top down shot of the three males stood around a rub in the forest floor.
Puck is gesturing to the area. Ulric and Wyatt are looking down at the rub.

(9) Puck: Well sir, besides already being familiar with what deer hair looks like, you
can tell because of the way the soils been flattened out. Its called a rub.
The deers been rolling around on the floor trying to get rid of the mites on its
body. A smaller animal would not have flattened such a large area, nor, due
to its lighter weight, would it have left such a deep impression in the soil.

PANEL 4: Medium close up. The three males are smiling at each other. Puck and
Ulric are looking at each other, Wyatt is looking at Ulric.

(10) Ulric: Very good Puck, so you do listen to me eh?

PANEL 5: Medium distance shot. Ulric and Wyatt are crouched. Puck remains
standing, holding the horse. Ulric is pointing along the pathway they are crouched near,
though he looks quizzically at Wyatt. Wyatt gazes where he points, his expression is

(11) Ulric: And what can you see there Wyatt?

(12) Wyatt: Deer tracks Sir?

PANEL 6: Medium distance shot. Wyatt and Ulric are upright again. Ulric has a hand
on the back of Wyatts head he is proud of Wyatt, and urging him to walk on. Wyatt is
smiling, happy to have pleased his lord. Close behind them, Puck smiles too, as he
leads the horse into a walk.

(13) Ulric: Deer tracks indeed. Come on then, lets see if we can find the beast.

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Page 20: Layout


PANEL 1: Exterior; establishing shot. Forest edge/ meadow day. Ulric, Wyatt, Puck
and the horse are stopped - where a field of long grass meets the forest. The late
afternoon sun shines beautifully down on them. Ulric and Wyatt are crouched again.
Ulric is pointing at some grass. Wyatt is concentrating on the grass where he points.
Puck is stood, holding the horse, and stroking the bridge of its nose.

(1) Ulric: So, what about the grass?

(2) Wyatt: Mm it...it looks like its been torn by something.

(3) Ulric: It does lad, it does look like that

PANEL 2: Medium close up, looking from the ground up. Ulric and Wyatt, still crouched,
but have turned to look back at Puck. Like before, Puck stays standing holding the
horse, and points to the ground with his other hand. Puck is explaining something
confidently. Wyatt and Ulric look at him attentively. In the foreground several long
blades of chewed/ serrated grass stand prominently the focus of the discussion.

(4) Ulric: Can you tell him why Puck?

(5) Puck: Yes sir... Well, theres every chance a deer ate that grass. Its due to the
way the animal eats. The deer will bite a clump of grass and tear upwards.
Itll then chew whatever it drags off the stem. Its the upwards, dragging
motion that creates that serrated edge. Smaller animals dont eat grass like

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(6) Ulric: Well explained Squire

PANEL 3: Medium close up. Ulric and Wyatt are now stood up. Ulric points to a
broken branch on a tree (the branch is eye height to Wyatt, chest height to Ulric). Ulric
is looking questioningly at Wyatt. Wyatt is looking at Ulric but gesturing with one hand
to the branch, and pointing with his other hand into the forest.

(7) Ulric: And how about this young Page, what can you see here?

(8) Wyatt: The branch has snapped... that way, where the deer ran back into the forest.

(9) Ulric: How do you know it was a deer?

(10) Wyatt: The height, a deer is tall for a forest animal. Smaller animals would go
under that branch.

PANEL 4: Close up. Lord Ulric and Wyatt are smiling at each other. Wyatt has his
head bowed slightly in mild embarrassment. Ulric is pointing at Wyatt. Puck is also
smiling at Wyatt.

(11) Ulric: Youre sharper than you look!

PANEL 5: Medium distance, wide shot. Ulric and Wyatt head back into the woods,
followed by Puck and finally the horse.

Page 21: Layout

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PANEL 1: Exterior; establishing shot, forest day. The three companions are deeper
into the forest this time, by a little stream. Again, Ulric is pointing at the ground, Wyatt is
looking where he points, and Puck is looking around the forest. Puck still has the horse
and is a little distance away from the other two. Wyatt and Ulrics backs block whatever
they are looking at from view.

(1) Ulric: And this is?

PANEL 2: Close up on a steaming pile of deer shit. Ulric and Wyatts feet can be seen
behind the faeces.

(2) Wyatt: Deer shit Sir?

(3) Ulric: Deer shit it is boy. Remember what it looks like for future reference... And we
can tell that the deer cant be far away because? ...

PANEL 3: Close up. Ulric is looking very happy with the boy, and has placed one hand
on Wyatts shoulder. Wyatt holds a finger in the air, and wears a rather excited penny
has dropped expression on his face.

(4) Wyatt: Because the shits still warm!

(5) Ulric: Ha! Well make a hunter out of you yet!

PANEL 4: Puck has crouched down (behind the horse), and is pointing excitedly
towards the deer, which he has just spotted in the distance. Wyatt and Ulric begin
slowly crouching behind a bush near to where they have been standing. The deer is
having a drink a little way up stream.

(6) Puck: Sir! The deer sir!

PANEL 5: Pucks POV/ OS. Puck is looking past the horse, along the stream and
directly at the deer. Its ten point head of antlers is most notable.

(7) Wyatt: Its a ten pointer!

(8) Ulric (off panel): Bugger me, so it is!

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PANEL 6: Close up of Ulric and Wyatt talking to each other. They are still crouched
low behind a bush. Ulric is looking expectantly at Wyatt. Wyatt looks a little shocked.

(9) Ulric: What do you say Wyatt, are you ready to shoot your first deer?

(10) Wyatt: Y,yes... yes sir. Thank you sir.

Page 22: Layout

2 3

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PANEL 1: Medium close up OS of Ulric. Ulric is motioning to Puck, moving his arm in a
curving motion. Puck has responded by slowly starting to walk the horse upstream.
Puck is careful to stay slightly crouched, and hidden, behind the horse as he leads it.
He also looks at Ulric in acknowledgement of the lords command.

(1) Ulric: Puck, guide the horse around, just walk him up to where the deer can see
him, and let him stop for a drink.

(2) Puck: Yes Sir.

PANEL 2: Wide shot. Puck is slowly moving up the little stream with the horse, leading
it closer to the deer. Wyatt and Ulric are readying their bows and arrows as they creep
closer, on the other side of the stream.

PANEL 3: Wide shot. Puck has led the horse to within about eight meters of the deer
and is letting it drink from the stream. He stays crouched, out of sight, behind the horse.

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Puck looks at the deer, but is beckoning for Ulric and Wyatt to wait a moment. The deer
is looking up at the horse, alert, ready to bolt.

PANEL 4: Medium Close up. The deer returns to drinking from the stream seemingly
unfazed by the horse (stood drinking in the background).

PANEL 5: Wide shot. Ulric is beckoning Wyatt forward with head and hand movements,
as they continue creeping closer to the deer. Puck watches them patiently/ excitedly
from behind the horse.

PANEL 6: Medium close up. Ulric and Wyatt have made it to within about ten meters of
the deer and are now crouched behind a low bush. (Background) the deer has raised
its head again, coming back into a state of alertness. Ulric is whispering advice to
Wyatt. Wyatt is loading an arrow onto his bow, whilst slowly rising into a standing

(3) Ulric: Aim for its head

PANEL 7: Close up. Wyatt has drawn back his arrow, and is now fully upright. He
looks incredibly focussed. A bead of sweat drips down his temple. Ulric remains

(4) Ulric: Easy

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3 4

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PANEL 1: Close up. Wyatt releases the arrow, exhaling heavily as he does.

(1) Sound (bow and arrow): Bung!

PANEL 2: Close up. The arrow whistles through the air.

(2) Sound (arrow): Fizz!

PANEL 3: Close up. The shot hits, with perfect precision, straight through the deers
head (The arrow actually goes in through one ear, so the point ends up sticking out of
the other ear it is a perfect kill shot).

(3) Sound (Arrow/ deer): Shluck!

PANEL 4: Wide shot. (Foreground) The deer has collapsed, dead on the forest floor.
(Background) Puck is stood with the horse, his free arm is pressed to the top of his
head in surprise. Ulric has picked Wyatt up, and is squeezing him, looking ecstatic.
Wyatt looks somewhat exhilarated.

(4) Puck: Ha haa! What a shot!

(5) Ulric: Your first kill, a heart of ten boy! A heart of ten!

PANEL 5: Wide shot. Puck is leading the horse towards the deer. Wyatt smiles
broadly as does Ulric, as they too, start jogging over to the carcass together.

Page 24: Layout

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PANEL 1: Interior; establishing shot, great hall, manor evening. Ulric sits at the head
of the dining table. Puck and Wyatt sit close to him on the far side of the table. Glynnis
sits at the opposite head of the table. Hamlin sits close to her on the near side of the
table. Ulric and Puck are both very proud of Wyatt. Glynnis and the brat do not look
happy and they speak little. Sir Ulric and his trainee knights are in high spirits indeed.
They are all feasting on the deer which Wyatt killed earlier. Sir Ulric is quite drunk,
though nobody else is. The house dogs roam around, as do servants.

(1) Ulric: In all my years as a knight, I have never, never seen a kill as clean as that! In
one ear, out the other! Ha! ... This boy is a prodigy I tell you!

PANEL 2: Medium close up (Ulric, Wyatt, Puck). Sir Ulric knocks back some more
wine. Wyatt smiles proudly, but is also a little embarrassed from all the praise. Puck,
eats his dinner, smiling, truly happy for Wyatt.

PANEL3: Medium close up. (Glynnis and Hamlin). Hamlin is bubbling with envy. His
mother is not happy with her husband. She continues to eat, and pats the hand of her
son, whispering to him.

(2) Glynnis: Its alright Hamlin, just eat your food.

PANEL 4: Wide shot. Hamlin looks like hes about to explode with rage, obviously they
have been sitting through this for sometime. Ulric is talking with a mouthful of food. He
is also pointing to a spot on the wall high above Glynnis head. Glynnis looks at Ulric
with some disdain, but continues eating. Wyatt and Puck look slightly uncomfortable,
and continue with their meals.

(3) Ulric: You know, I think Im going to take that beasts head and put it right there,
right up on the wall above my lovely wife. That way I can look at it, and think
about this day, every time I eat... Ha!

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PANEL 5: Close up on Ulric. He holds up a big piece of deer meat on his fork and
stares at it.

(4) Ulric: And how good does this taste?! Honestly, I think this is the best piece of
meat Ive had all year! A prime bit of venison

PANEL 6: POV/ OS Sir Ulric looks down the long table to his son, Hamlin. Hamlin is
yelling angrily at his father and throwing his cutlery down on the table. Glynnis looks at
Ulric in blame.

(5) Hamlin: It tastes like a beggars arsehole!

PANEL 7: Close up. Hamlin has stood up and kicked his chair back. He spits the food
in his mouth aggressively onto his plate.

(6) Hamlin: Puh!

PANEL 8: Wide shot. Hamlin storms out of the room. Puck and Wyatt have stopped
eating and sit quietly, both somewhat shocked at Hamlins behaviour. They look
towards Ulric. Ulric is staring after his son, appealing to all in the room. Glynnis stares
at Ulric angrily.

(7) Ulric: Well that wasnt too respectful was it, I mean weve been out all afternoon
hunting, providing this house with a good meal, and thats how that spoilt little
turd repays us!

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PANEL 1: Close up, Glynnis. She has stood up, leaning on the table, and is yelling
angrily at Ulric. She is pointing in the direction Hamlin left the room.

(1) Glynnis: You should not speak about him like that!

PANEL 2: Medium close up. Ulric is gesturing in Glynnis direction, but looks flippantly
at Puck and Wyatt. He also brings his goblet close to his mouth, about to swig down
more wine. Puck and Wyatt look very uncomfortable, not sure where to look, or what to

(2) Ulric: Oh, and here lies the problem.

PANEL 3: Medium distance. Glynnis is walking up the table, to engage her husband in
closer combat. Ulric is swigging his wine, watching her.

(3) Glynnis: Oh come on Ulric, youve been blathering about your fantastic young
apprentice, and your great hunt for an hour now! Hows your son
supposed to feel? You never teach him how to do anything!

PANEL 4: (Foreground) Glynnis stands opposite Ulric. She looks at him angrily, she
has one arm folded under her chest, the other hand raised to her chin like she is
thinking what to say next. Ulric has brought his goblet back down on the table. He has
his other hand raised in gesture he looks agitated. (Background) Puck, very tactfully,
gestures for Wyatt to get up, and they begin to leave the table.

(4) Ulric: Thats because hes un-teachable! He doesnt want to learn!

PANEL 5: (Background) Puck and Wyatt quietly slope off out of the room together.
Lord Ulric has stood up, to better confront his wife. Ulric towers over Glynnis, they are
stood perhaps three feet apart. Both look agitated and have their arms raised,
gesturing, emphasising their words.

(5) Ulric: Hamlin does not listen to me Glynnis, he never has!

(6) Glynnis: And whose fault is that!?

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PANEL 6: Close up Ulric. He looks quite defensive and has one hand is outstretched,
upturned, pointing to his chest slightly - in a gesture. Ulrics other hand is holding his

(7) Ulric: Well it isnt my fault! Any little problem hes ever had, he comes crying to you,
and you comfort him, and tell him it doesnt matter! Now, hes seventeen
years old, and he knows how to do nothing! ...

PANEL 7: OS Ulric, looking at Glynnis. Glynnis listens inpatiently to Ulrics rhetoric, her
arms folded again. Her bottom rests against the table edge.

(8) Ulric: If it was down to me hed have been able to hunt his own food by the time he
was ten, and hed be ready to fight a war by fifteen! ... If you dont believe me
just look at every other knight, page, or squire Ive ever trained!

PANEL 8: Ulric is triumphantly gulping down more wine. Glynnis is hitting back now.
She speaks aggressively, no longer leaning on the table; her arms held out in an
accusing gesture.

(9) Glynnis: But thats just it! All of your time has always been dedicated to these other
men! If youre not training soldiers, youre drinking with them, or youre
screwing in a brothel with them, or youre fighting in a tournament, or in a
bloody war with them!

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PANEL 1: Medium distance shot. Glynnis is striding away from Ulric towards another
room (the solar). He is following her, appealing.

(1) Ulric: I am a vassal! I swore an oath of fealty! Thats my life! ... Why cant you get
used to it?!

PANEL 2: Interior; wide shot, solar. Glynnis sits in a chair by a large fire place. She
has a hand to her head, a little tired from the debate. Ulric leans on the fire place,
opposite her chair, and remains standing. He leans on his elbow, his fingers tugging at
his goatee. He stares at the wall. Ulric still clutches his goblet of wine though it is
nearly empty now. They are both taking a moment to calm down.

PANEL 3: Wide shot. Glynnis raises her head and appeals softly to Ulric. Ulric looks
at her contemplatively.

(2) Glynnis: Your son needs your time.

PANEL 4: Close up on Ulric.

(3) Ulric: What am I supposed to do? My time is taken.

PANEL 5: Glynnis POV/ OS. Glynnis stands up in a sudden rage. Ulric finishes his
wine whilst looking at her in mild surprise.

(4) Glynnis: Your time is taken! What about the time you spend fucking whores in
town!? Wouldnt that time be better spent with your son!?

PANEL 6: OS shot of Glynnis. Ulric is walking back into the great hall, Glynnis is
looking at Ulric, shouting after him. She looks more stressed than angry.

(5) Glynnis: Why cant you train Hamlin? Train him to become a knight. That way,
hell get your time and the discipline...

(6) Ulric: Glynnis, weve talked about this... many times... Hes too old now. Hes
getting married in two weeks! ... Those opportunities have gone. He had that

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chance ten years ago, and he screamed and balled about it, and you told him
he didnt have to do it!

PANEL 7: Wide Shot. (Foreground) Glynnis sits down again, calling through to Ulric.
(Background) Ulric has picked up the carafe of wine from the dining table, in the
adjacent room (the great hall). He looks back at Glynnis as he starts heading back.

(7) Glynnis: You can still spend time with him.

(8) Ulric: But I cant though, can I?! Ive got a whole bloody fief to keep in order!
And foremost is my obligation to Puck and Wyatt.

PANEL 8: Ulric POV, sitting room. Ulric now sits in the chair on the opposite side of the
fire to Glynnis, and is gesturing to her with the wine carafe. He holds his goblet in his
other hand, ready to top himself up. Glynnis is gesturing no with a look, and wave of
her hand.

(9) Ulric: Wine?

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PANEL 1: Wide shot. Ulric has set the decanter down on a small table to the side of
his chair. He is taking a swig of wine. A dog has also wandered over to him and he
strokes its head. Glynnis sits, brooding unhappily in her chair one leg crossed over
the other.

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PANEL 2: OS of Glynnis. Glynnis is looking very shrewdly at her husband. Ulric is

leaning forward slightly, looking quite angry again. The dog stares up at Ulric,

(1) Glynnis: Why on earth did you ever take that common bastard child Wyatt on

(2) Ulric: Dont call him that hes a good lad!

PANEL 3: OS of Ulric. Ulric is gesturing angrily towards his wife, a little wine spills from
his goblet. Glynnis is leaning forward in her chair now, in-turn gesturing angrily towards
Ulric. The dog leaves the room.

(3) Glynnis: But hes a peasant! His familys of no benefit to us! Hes nothing but a
waste of time and money!

(4) Ulric: Christ, and youre nothing but a self-centred snob! All you care about is

PANEL 4: Close up on Glynnis. She is shrieking, on the edge of her seat.

(5) Glynnis: Because thats all that matters! Without it there is nothing! No life worth
living anyway!

PANEL 5: Close up on Ulric. He is on the edge of his seat. Leaning far forward, one
hand resting on his knee, the other gesturing with his goblet. Ulric too looks very
agitated now.

(6) Ulric: How many times has Ezme helped us? She delivered all of our children.
She cured Ceinwyn when she had fever... Shes got rid of more than one of
your unwanted messes! Without a word! Its not as if she goes around the
village blackening your name ... and still, because she isnt a wealthy woman,
because she isnt of noble blood you dont feel like we owe her!

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PANEL 6: Wide shot. Glynnis is still sat down, though Ulric has stood up now. Both
their arms are raised in anger/ gesture. More wine spills from Ulrics goblet. They both
look really mad.

(7) Glynnis: But thats the thing Ulric, she isnt noble and we dont owe her! Shes a
commoner! Shes a piece of dirt on your boot! She is beneath us!

PANEL 7: Close up on Ulrics face. He points a finger and yells at his wife. Saliva
sprays from his mouth.

(8) Ulric: You disgust me woman!

PANEL 8: Close up. Ulric takes a huge gulp of wine.

PANEL 9: Close up. Ulric aggressively wipes the dripping wine from his mouth with the
back of his hand.

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PANEL 1: OS of Ulric, he is shouting at Glynnis. She cowers a little in her chair.

Looking slightly frightened of her husband now. Ulric is very angry, but restrained.

(1) Ulric: Have you forgotten where I came from! ... I wasnt born into this life, I had to
earn it! ... For you to sit there ... to sit there and go on about ...

PANEL 2: Wide shot. Ulric is practically screaming at Glynnis but she now looks more
angry than scared. Glynnis grips the arms of her chair very tightly with rage.

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(2) Ulric: My father shovelled horseshit for a living! He was the kindest man Ive ever
known! No one is beneath me, you stuck-up bitch!

PANEL 3: Close up. Glynnis is yelling. Red with anger, leaning far forward, her fingers
are digging into the arms of her chair.

(3) Glynnis: Why dont you go and fuck her then! Go and fuck the old witch, if you like
her and her little sprat so much!

PANEL 4: Medium close up. Ulric throws his goblet across the room and begins
storming over to Glynnis.

PANEL 5: Medium close up. Glynnis is recoiling in her chair, screaming. Ulric hits her
legs out the way, and wraps a fistful of her long, golden hair around his fist.

(4) Glynnis: Agh! Aaagh!

PANEL 6: Medium distance shot. Glynnis grabs onto Ulrics wrist, as he drags her,
with one hand towards the open fire. Glynnis chair has fallen over in the struggle.

(5) Glynnis: Agh!

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PANEL 1: Close up. Ulric is forcing Glynnis face dangerously close to the lapping
flames. Some of the fine hairs protruding from the top and sides of her forehead begin
to singe. Glynnis is petrified. Ulric is furious.

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(1) Ulric: Ezme is worth a thousand of you! Youre nothing but a twisted, evil slut who
was lucky enough to be born into a rich family! Say a bad word about her or
her family again, and Ill fucking burn you Glynnis, I swear it!

PANEL 2: OS shot. Ulrics bailiff (Rowan) stands in the doorway to the sitting room.
He is shadowed/ silhouetted. (Background) Ulric has turned to look at Rowan, but still
keeps a tight grip of his wifes hair. Ulric looks a little shocked/ exhilarated. Glynnis
stays in position, gripping Ulrics wrist tightly with both hands - like a lamb in a lions

(2) Rowan: Sir... Sorry to disturb you sir, Lord Draper is here to see you.

PANEL 3: Close up. Ulric unravels his fist from Glynniss hair.

PANEL 4: Medium distance shot. Ulric throws Glynnis down onto the rug in front of the
fire and looks at her in disgust. She looks at the floor, in fear. The flames reflecting in
her eyes.

PANEL 5: Medium distance shot. Ulric walks briskly from the room, followed closely by
the dog. Ulric looks deadly serious. Rowan turns to follow Ulric out, but glances
concernedly at Glynnis as he leaves. (Background) Glynnis has begun curling up into a
foetal position on the rug. Two maids are walking over to help her.

PANEL 6: Medium distance shot. The two maids are now kneeling down comforting
Glynnis who has begun crying hysterically.

(3) Glynnis: Uh, uh, huuurrr, hurr

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Chapter 2


PANEL 1: Exterior; establishing shot from high up, looking down. Wicaston Chapel
day. It is a beautiful sunny morning. Light blasts down on the church, and a small flock
of white doves fly from its tower. A tiny Lady Glynnis can be seen riding side-saddle on
her horse; towards the building.

PANEL 2: Interior; chapel vestibule. Friar Godric is sweeping the floor at the front of
the church. He is the only person there. Shafts of bright white sunlight pour in through
the tall windows illuminating the dust being swept into the air.

PANEL 3: Wide shot, from behind Godric. Godric stops sweeping and looks to the
back of the church as Lady Glynnis enters the building.

(1) Sound (door closing): shum.

PANEL 4: OS/ Close up from behind Godric. Glynnis walks up the main aisle towards
the friar. She smiles as they greet each other.

(2) Godric: Lady Glynnis...

(3) Glynnis: Good morning Friar.

PANEL 5: Medium close up. Godric is hurriedly propping the brush against a wall and
motioning for Glynnis to sit on the front pew. She is sitting, smiling at him in thanks.

(4) Godric: Please, sit down.

PANEL 6: Medium close up. Godric is sitting himself down - adjacent to Glynnis; on
the same pew. She watches him sit, and looks a little concerned.

(5) Godric: Have you come to discuss the wedding Maam?

(6) Glynnis: Err, no actually...

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PANEL 1: Close up on Glynnis. Glynnis looks down at her hands, looking sheepish.
Her head is pointed slightly towards Godric.

(1) Glynnis: Mm... I... well Im not quite sure how to say this now that Im here...

PANEL 2: Close up on Godric. Godric looks very sincere.

(2) Godric: My Lady, I can assure you that whatever you say in here is between you,
me and the Lord God alone...

PANEL 3: Medium close up. Godric is listening attentively, though he looks a little
shocked. Glynnis is looking directly at him with utmost sincerity. Her hands placed
delicately on her lap.

(3) Glynnis: The thing is friar... well, how would you react if say, a member of this
village was a... a witch.

PANEL 4: Wide shot. The friar has taken a deep breath and turned to look at the
crucifix hanging from the front of the church as he mulls this over.

PANEL 5: Medium close up. Glynnis and Godric are facing each other again. They
both look sincerely at each other. They are turned, in their seats, looking more urgent
than before.

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(4) Godric: My lady... I... well what youre saying is an incredibly damaging accusation...
Such practices, if found to be true, are punishable by death.

(5) Glynnis: Yes... yes... Thats what I thought... And of-course I wouldnt come to
discuss such a matter if I didnt believe there to be an amount of integrity
to it...

PANEL 6: Close up on Glynnis. She looks to the floor and raises her hand to her

(6) Glynnis: Oh, this is difficult...

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PANEL 1: Medium close up/ wide shot, from behind Godric and Glynnis - looking to the
front of the church. Godric and Glynnis are slightly silhouetted beneath the large

(1) Godric: Might I ask what your opinion, about this individual, is based on?

(2) Glynnis: Oh friar, its... well this is the problem; my words are not anything I could
support with direct evidence... Its more... well my opinion is really based
on years of experience, many years of knowing this person, and... shall
we say, having dealings with this person

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PANEL 2: Close up on Glynnis. She looks a little distressed/ agitated.

(3) Glynnis: I believe this individual is manipulating my husband, to turn him against
me, and indulge her own needs... She has done so many things over the
years... terrible things... I...

PANEL 3: Close up on Glynnis. She is hanging her head into her hands and has
begun crying.

(4) Glynnis: Oh friar, I havent spoken of this to anyone before...

PANEL 4: Medium close up. Godric has produced a handkerchief and is handing it to
Glynnis. He is trying to comfort her by placing his other hand on her shoulder. She is
taking the handkerchief and looking at him with puppy dog eyes in a somewhat
desperate fashion.

(5) Glynnis: Im sorry you must think me so weak...

(6) Godric: My lady, you coming to discuss this does not denote weakness. On the
contrary, it takes a great deal of strength to speak out to condemn a

PANEL 5: Close up on Glynnis. Glynnis looks up a little shocked.

(7) Glynnis: But friar, I do not wish to condemn her...

PANEL 6: Close up on Godric. He looks most sincere.

(8) Godric: But you have already done so my Lady... now you have to decide if you
truly want to continue on this path... will you tell me of whom you speak?

PANEL 7: Long shot, high up looking down - from the back of the church. Godric looks
sincerely at Glynnis. She looks back at him, no longer crying.

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PANEL 1: Exterior; Medium distance shot. Ezmes Cottage evening/ night. The sun
is just dropping behind the forest/ fields. The wall candles are lit in Ezmes cottage as
the black-robed figure of Friar Godric sneaks carefully around to the back of the house.
Smoke rises from the chimney.

PANEL 2: Close up OS of Godric. Godric spies on Ezme through a back window.

Inside Ezme is ladling a mug of (magic) mushroom soup out from a saucepan
suspended above her fire. The fire is dying, just smouldering now.

PANEL 3: Interior; Ezmes cottage, medium shot. Ezme has sat down in a chair and is
happily supping her special brew. Godric can just be made out, shadily peering in the
window behind Ezme.

PANEL 4: Triple-wide panel. Exterior evening/ night. Panel 4a: Medium shot.
Godric rests against the firewood pile/ store at the back of the house and watches Ezme.
He is beginning to look bored. Panel 4b: Close up on Godric. The sky has darkened
Godric looks very bored and tired, but is just managing to peep in the window still.
Panel 4c: The sky is pitch black now. Light comes from the cottage window. Godric
has nodded off. He rests against the wood pile and the side of the house.

PANEL 5: Exterior; Back window of Ezmes cottage. Medium close up on Godric. The
light is out in the window now. Godric has woken up, with a slight start, to the sound of
Ezmes front door swinging shut.

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(1) Sound (door): Shum!

PANEL 6: Exterior; Ezmes Cottage. Medium close up on front door. Ezme is leaving
the cottage. She wears a hooded cloak and carries a lantern, though only the tail of her
cloak and back foot are visible, as she is walking out of the panel.

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4a 4b 4c
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PANEL 1: Exterior; Wide shot, Ezmes Cottage/ Forest edge night. Godric has
sprung into action and is shadily peering around the side of the cottage to see Ezme
heading into the forest armed only with her lantern. She wears a cloak and her hood
is up. She is smiling and looks sort of excited.

PANEL 2: Exterior; Medium close up. OS of Godric. Forest edge/ opening. Godric is
peering into the forest. He has clearly waited sometime before following Ezme in, as
she is now a good hundred yards up the pathway into the forest. Her figure is
silhouetted by the lamp she carries before her.

PANEL 3: Exterior; forest night. Close up on Ezme. Ezme is filled with a sense of
wonderment as she walks through the natural environment. Her face is lit up by the
light she carries but also by her inner joy. She is clearly quite high from the mushrooms
right now.

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PANEL 4: Exterior; forest night. Close up on Godric. Godric seems to be filled with a
fearful apprehension of the forest. He looks scared and agitated, as he begrudgingly
treads into the woods. He is all too familiar with the dangers which lie in a forest.

PANEL 5: Exterior; forest night. Triple wide panel. Panel 5b: Medium distance shot,
from behind Ezme. Ezme is in the process of raising her lantern and slowing in pace.
She is approaching a large spiders web, spun across the path in front of her. Panel 5b:
Medium close up on the web and Ezms face. Ezme is observing a large spider resting
patiently in the centre of its perfectly formed web. It is suspended between two trees,
about head height, right across the path. Ezme is gazing at it, smiling holding her
lantern up to help her examine it. Panel 5c: Ezme is ducking under the web, continuing
her walk, still smiling at the little creature.


(1) Ezme: What an amazing little creature you are... a more delicate and beautiful trap
than a spiders web, I could not imagine.

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PANEL 1: Exterior; forest night. Trailing shot of Godric. Godric is following Ezme
quite determinedly. He has gained some ground on her though he is careful to keep his
distance. He does not see the spiders web now close in front of him.

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PANEL 2: Close up on Godric. Godric has walked straight into the spider and its web
and is rather freaking out. Only the diminished moonlight lights him up.

(1) Godric: Eurgh! Uck! Get off me!

PANEL 3: Medium shot. Godric has managed to grab the spider and thrown it to the

(2) Godric: Uh!

PANEL 4: Quadruple-wide panel. Panel 4a: Close up on Godrics foot. Godric is

visciously stamping on the defenceless arachnid. Panel 4b: Medium close up. Looking
from the ground up at Godric. He has raised his leg, ready to stamp again he looks
very aggressive. Panel 4c: Close up on Godrics foot again. Again, he has stamped
down on the spider. Panel 4d: Godric lifts his foot away, the spider is now just a
squished bug in the mud.


(3) Sound (foot/ floor): Pamp!


(4) Godric: Eugh!


(5) Sound (foot/ floor): Pamp!

PANEL 5: Medium shot. Godric continues unhappily on his treck, Ezme is now almost
out of sight nothing but a dim light in the far distance.

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PANEL 1: Exterior; forest night. Medium close up. Ezme is walking along, looking a
little perplexed, as she has just heard an owl coo. She is wondering where the bird is.

(1) Sound (Owl): Coo-coo Coo-coo

PANEL 2: OS shot of Ezme, looking up at the owl. Ezme holds up her lantern and
sees the bird, sat on a tree branch directly above, staring down at her.

PANEL 3: OS shot of the owl, looking down at Ezme. Ezme still has her lantern held
up, illuminating the creature. Ezmes mouth has dropped open in awe.

(2) Ezme: ah! You beauty!

PANEL 4: Close up on the owl. The owl, a beautiful big eagle owl, simply remains
happily seated on its perch.

(3) Sound (Owl): Coo-coo!

PANEL 5: Close up on Ezme. She smiles most warmly at the bird.

(4) Ezme: A good evening to you too!

PANEL 6: Medium distance shot. Ezme walks forward in the foreground, continuing on
her walk. She has her head turned back and waves a hand at the owl. (Background)
The owl has twisted its head around, to watch Ezme leave.

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(5) Ezme: Bye-bye birdie.

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PANEL 1: Exterior; forest night. Medium distance shot. Godric is walking towards
the owls perch. He has not reached the bird yet, but walks briskly/ determinedly along
the path nearing its seat.

PANEL 2: Medium close up. As Godric passes directly under the owl, it regurgitates a
few pellets onto the top of his head. Godric recoils and raises his hands for cover as
the droppings land on him.

(1) Godric: What the?!

PANEL 3: OS of owl, looking down at Godric. Godric is looking up at the owl, and
seems quite angry. He is still flicking away the last remnants of waste from the top of
his head as he shouts at the animal.

(2) Godric: Eugh! You dirty bird!

PANEL 4: Medium close up on Godric from ground up. Godric appears to be searching
on the ground for something. (Background) the owl has turned its head around and
stares down curiously at the scheming friar.

PANEL 5: Close up. Godric has found a nice big stick about the size of a good, solid
(albeit skinny) baseball bat. His hand is grabbing the stick and lifting it off the ground.

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(3) Godric: Thatll do nicely.

PANEL 6: OS of Godric, looking up. Godric has slung the stick with brute force
towards the owl. The stick has smacked the branch the owl was perched on,
rebounded, and is now spinning back towards the earth. The owl is flying off in fright,
fortunately unharmed.

(4) Godric: Rrruagh!

(5) Sound (Stick/ branch): Bonk!

(6) Sound (Owl): Coooo!

PANEL 7: Close up on Godric. Godric has picked up the grounded stick again. He is
holding it up and examining it contemplatively.

(7) Godric: Mm, think Ill keep you.

PANEL 8: Medium distance shot looking at Godrics back. Godric is continuing up the
path. Ezme is still just a tiny speck of light in the far distance. He swishes the stick as
he walks.

(8) Sound (Stick/ air): Swish!... Swish!

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PANEL 1: Exterior; forest night. A trailing shot, from the ground shows a very young
wolf cub chasing after Ezme. At this point she is oblivious to the little canine.

PANEL 2: Trailing shot of the cub. The wolf is now very close to the tails of Ezmes
cloak and is putting its paws out to try and claw them/ grab them playfully.

(1) Sound (wolf cub): Arf!

PANEL 3: OS of Ezme, looking down at the cub. Ezme has turned and is looking down
at the cub a little shocked. She is sort of dragging it around behind her as she turns
as it is now holding onto her cloak tails with its front paws and teeth.

(2) Ezme: Oh! Oh my!

(3) Sound (wolf cub): Grrr!

PANEL 4: Medium close up. Ezme has crouched down and placed her lantern on the
floor. She lets the cub play with her hands pawing and nipping at them. She smiles

(4) Ezme: Oh, what a cute little fellow you are!

(5) Sound (wolf cub): Rrrraf!

PANEL 5: OS of Ezme. Ezme is still crouched, but has lifted her hands away from the
cub, in a submissive gesture. The cub is still trying to jump up and grab one of her
hands, though Ezmes eyes are fixed an a rather scary looking, angry face, which
belongs to the baby wolfs mother, a short distance up the path. The mother wolfs face
is only slightly revealed from the shadows which conceal the rest of her powerful body.
It is drooling, growling, and bearing its teeth. It looks more than ready to attack Ezme.

(6) Sound (Mother wolf): GGGGGRRRRRR

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PANEL 1: Medium distance shot. Slowly, carefully, Ezme is standing up. She has one
hand held out, in passive gesture, the other hand has picked up her lantern. The
mother wolf has advanced a little closer to Ezme, still looking extremely threatening.
The whole beast can be seen now illuminated by the lanterns light. The cub still
jumps up playfully at Ezme.

(1) Sound (Mother wolf): HHHHHGGGGGGGRRR

(2) Ezme: Ah, now dont worry... dont worry dear, I mean your cub no harm...

PANEL 2: OS of wolf mother. Ezme is stooping and shooing the wolf cub, by its bottom,
back to its protective mum.

(3) Ezme: Go on now little one, back to your mother...

PANEL 3: Medium distance shot. The wolf cub has returned to its mother and is
jumping up in her face now, pawing her nose - play fighting. The mother has suddenly
shifted its attention back to the cub. Ezme, has stood upright and is carefully backing
up, putting some distance between her and the wolves.

(4) Ezme: Its okay, Im going now, you look after him.

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PANEL 4: OS of Ezme. The mother wolf looks back up at Ezme, growling again,
standing its ground. The cub weaves happily between its mothers legs. Ezme smiles,
backing up - careful to keep the lantern between her and the mother wolf.

(5) Sound (Mother wolf): URGGRRR

PANEL 5: Medium shot. Ezme has put some distance between herself and the wolves.
The wolf mother watches her fiercely, though no longer growls. Ezme is in the process
of turning around to continue her walk.

PANEL 6: Medium distance shot. Ezme is hurriedly walking away from the wolves.
She breathes a huge sigh of relief, happy that the danger has now subsided.
(Background) The wolves have begun walking off, back into the shrubbery of the forest,
content that Ezme is no longer a theat.

(6) Ezme (sigh of relief): Phooooof

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PANEL 1: Exterior; forest night. Trailing shot of Godric ground level. Godric is now
walking along the path where Ezme met the wolves earlier. He still clutches the stick
he weaponized earlier.

PANEL 2: Trailing shot of Godric ground level. The wolf cub has now emerged and is
chasing Godric, much in the same way he chased Ezme before. Godric is not yet
aware of the little creature.

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PANEL 3: Medium shot on Godric. The wolf cub has caught up with Godric and is
chewing/ pawing at his robes. Godric looks shocked and angry as he turns to yell down
at the poor animal.

(1) Godric: Ah! Get off me dog!

(2) Sound (wolf cub): Hrrrr!

PANEL 4: Close up on wolf cub. Godric kicks the cub hard sending it rolling back into
the bushes.

(3) Sound (foot/ wolf cub): Thump!

(4) Sound (wolf cub): How! Row! Row!

PANEL 5: Medium shot of Godric. Godric turns and continues on with his walk. He
looks most grumpy.

PANEL 6: Trailing shot. The wolf cub runs back after Godric, more aggressively this
time. Godric has just noticed the cub.

(5) Sound (wolf cub): Rrrrraff!

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PANEL 1: Medium distance shot. The wolf cub has jumped up towards Godric but he
has acted faster than the animal and is viciously booting it in mid air. The poor little

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wolfs face and body are contorted with the impact. Godrics mouth is open, shouting.
He is irate.

(1) Godric: Get off me, you little son of a bitch!

(2) Sound (foot/ wolf cub): Kruh!

PANEL 2: OS of wolf cub. The wolf cub is pretty much knocked out. It is just about
managing to look up at Godric. Godric is advancing close to it, holding his stick aloft -

PANEL 3: Close up on wolf cub. Godric brings his stick down hard onto the poor little
creature essentially killing it.

(3) Sound (stick/ wolf cub): Thwack!

PANEL 4: Close up, looking up at Godric. He has raised his stick again ready for
another blow. Godric has a crazed look in his eyes. A little bit of the wolfs blood has
already sprayed onto his face.

PANEL 5: Close up, looking up at Godric. Godric smacks the wolf again (off-panel).
Blood sprays up, lightly spattering the monks face.

(4) Sound (stick/ wolf cub): Pamp!

PANEL 6: Close up, looking up at Godric. Godric has raised the stick again, and looks
more aggressive, and more blood stained.

PANEL 7: Close up, looking up at Godric. One more time, Godric smashes his stick
into the poor, dead, creatures body (off-panel). Again, blood sprays up.

(5) Sound (stick/ wolf cub): Cank!

PANEL 8: Close up on Godric. Godric wipes the blood from his face with the back of
his sleeve. He looks very grim.

PANEL 9: Close up on Godric. Godric stares down at the wolf (off-panel), looking most
uncomfortable, calming his breathing.

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PANEL 10: Medium distance shot. Godric is walking away from the scene.
(Foreground) The poor wolf cub is now revealed to be nothing more than a lifeless
bloody pile of fur, flesh and bones. Notably Godric has left his weapon at the scene.

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6 7 8

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PANEL 1: Establishing shot. Exterior; forest pool night. Ezme has come upon a
beautiful moonlit pool There are several small waterfalls at one end (6 feet high) and
a stream trickles out the bottom end of the pool. Ezme is standing near the edge of the
pool smiling widely. her lantern illuminates the place, which is an absolute picture of
natural beauty.

PANEL 2: Close up on Ezme. She smiles broadly, appreciating the scene.

PANEL 3: Medium close up on Ezme. Ezme has placed her lantern on a rock and
begun taking off her clothes.

PANEL 4: Pool-side shot of Ezme. Ezme has left her clothes on a rock next to the
lantern. Her boots are on the floor, at the pool side. Completely naked, she has begun
walking into the dark moonlit pool. She is ankle deep.

PANEL 5: Pool-side shot of Ezme. Ezme was waded further in towards the centre of
the pool. She is now up to her thighs. She brushes the water with her hand.

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PANEL 1: Exterior, forest night. Trailing shot. Godric has seen Ezmes lantern
perched on the rock (background), and he is moving slowly towards it, crouched low
to stay out of sight.

PANEL 2: Close up on Godric. Godric has reached a rock, close to where Ezmes
clothes and lantern are placed - but not the same rock. His hands are on the rock, and
he is slowly peering over the top. He has not caught sight of Ezme yet.

PANEL 3: OS of Godric wide shot. He has raised his head enough now so that he
can see Ezme floating blissfully in the centre of the pool. He looks shocked at the sight,
but not in a horrified way. Ezme has a most peaceful look on her face. Her breasts and
vagina are clearly exposed due to her position. (Background) A deer can just be seen
approaching the pool, from the shadows on the far side.

(1) Godric (to himself): Sweet Jesus!

PANEL 4: Medium close up of deer. The deer is very young - a fawn. It has begun
lapping the water at the edge of the pool.

PANEL 5: OS of Ezme. Ezme has obviously noticed the deer and has quietly stood up
to look at it The water is up to her belly in the centre of the pool where she stands.
The deer has lifted its head and watches Ezme, ready to bolt. Water drips from the
fawns mouth.

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(2) Sound (water/ Ezme): Sloosh.

PANEL 6: Medium distance, wide shot. Ezme stays where she is, smiles gently and
waves at the animal. The deer stays where it is and continues to stare at Ezme.

(3) Ezme (whispering): Hello there.

PANEL 7: Godrics POV. Ezme is advancing out of the water now only knee deep.
She is slowly approaching the fawn, which amazingly stays put, staring right at Ezme.

(4) Ezme: Its okay... its okay, I just want to say hello.

(5) Sound (water/ Ezme): Slosh sloosh.

PANEL 8: Close up on Godrics face. Godrics eyes widen and he exhales heavily at
the sight of the nude woman, and the spectacle of her approaching the deer.

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PANEL 1: Medium close up. Ezme is very close to the fawn now, ankle-deep in the
water. She is stooping down at the edge of the pool, directly in front of the animal,
scooping up a handful of water. The deer watches her nervously, but seems rooted to
its spot.

PANEL 2: Medium close up. Ezme is upright now, reaching out her hands for the deer
to drink from. Water drips from the underside of her hands. She is smiling gently,

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looking natural, completely at one with nature. The deer is stretching its neck out a little,
sniffing the edge of Ezmes fingers.

(1) Ezme: Its okay sweetie, Im a friend.

PANEL 3: Medium close up. The deer is licking the water from Ezmes left hand. She
gently strokes the deer on its neck with her right hand.

(2) Ezme: Ooh you lovely creature.

PANEL 4: OS of Godric. Godric has begun creeping from out behind the rock, closer
towards the edge of the small lake. (Background) Across the pool, Ezme is seen from
behind, her left hand close to her breast, her right hand stroking the animals neck. She
is smiling, laughing. Godric looks both inquisitive and disgusted with what he is

(3) Ezme: Ha, ha! Careful, that tickles!

PANEL 5: Wide shot. Godric is stood close to the edge of the pool. He is yelling
angrily, pointing at Ezme; lit up by the lantern light. Ezme has turned, and is staring at
Godric, shocked. The fawn has turned and bolted, only its hind quarters can be seen as
it disappears back into the darkness. The light of the full moon reflects in the water.

(4) Godric: Stop fornicating with that beast, witch!

PANEL 6: OS of Godric. Godric is staring angrily and accusatorily at Ezme. However

he is now a little uncomfortable too. Not sure how to continue this altercation. Ezme
has turned, graciously, to face Godric. She is not embarrassed by her nakedness, and
in-fact seems to be challenging Godric with it.

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PANEL 1: Medium distance shot from behind Godric. (Foreground) Four very
aggressive wolves (including the cubs mother from earlier) are pelting through the
forest towards Godric though he has not noticed them yet. (Middle-ground) Godric
stands, still staring at Ezme. (Background) Ezme is stood in much the same position as
before although, she seems to have noticed the movement of the wolves she is
looking past Godric inquisitively.

PANEL 2: Medium close up on Ezme. She is yelling in surprise, and pointing to the
fast approaching pack.

(1) Ezme: Look out!

PANEL 3: Close up on Godric. Godric looks quizzically, untrusting of Ezme, only

turning his head slightly to where she points.

PANEL 4: Medium distance shot. Godric has turned around fully now, just in time to
meet the wolves. He looks terrified as the pack all attack him simultaneously. One wolf
jumps up towards his neck, one to each of his arms, and the last one seems to be
heading for his nuts. Godric has begun to stumble over backwards due to his fear of
the animals attacking him. (Background) Ezme has started running into the pool to try
and help Godric.

(2) Godric: Uh!

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(3) Sound (wolf): Rarf!

(4) Sound (wolf): Rrrragh!

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PANEL 1: Medium close up on Godric. Godric has crashed to the ground. He is

grimacing with pain, struggling. The alpha wolf is biting his neck and blood is already
bubbling out of a vain. The other wolves are biting and tearing with absolute
savageness, one on each arm, and one on Godrics scrotum.

(1) Sound (wolf): HRRRRRRR!

PANEL 2: Trailing shot from behind Ezme. Ezme is rushing across the pond to help
Godric splashing and wading through the water. (Background) Godric is being
decimated by the wolves, unable to free himself. In the melee, Godrics blood is
colouring the wolves snouts, and his robes are getting torn to shreds.

(2) Sound (Ezme/ water): Splish! Splash!

PANEL 3: Medium distance shot on Godric. The wolves have inflicted some terrible
wounds on Godric. His arms are bleeding, his scrotum has been torn and is bleeding
heavily, and his throat is bleeding heavily also. The wolves are killing him. Godric is
doing his best to wrestle with the wild animals, but they continue to attack him

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(3) Sound (wolf): Rrrrr! Rugh!

PANEL 4: Medium close up on Ezme. Ezme is emerging from the water (on Godrics
side of the pond). Though still a few feet away, she is reaching for the lantern as she
frantically stumbles from the pool. She has a look of absolute urgency about her.

(4) Sound (Ezme/ water): Spaloosh!

PANEL 5: Close up. Ezmes hand grabs the lantern, lifting it from the rock.

PANEL 6: Close up on Godric. Godric is grimacing, his face is covered in blood, he

clearly doesnt have much fight left in him. The wolves have him.

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SPLASH: Medium distance shot. Ezme is stood right next to Godric, energetically
swinging her lantern and yelling in the direction of the wolves. The wolves are startled,
jumping backwards, as a bright, thick arc of fire emanates from the lantern - in the wake
of its swing. (It is debateable whether this is some kind of magic, or just the oil from the
lamp, flying out and catching light in the air). Godric is a half dead bloody mess,
struggling to hold onto his life - his entire body now covered in scratches, bite marks
and blood.

(1) Ezme: Leave him!

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PANEL 1: OS of wolves. The wolves have backed up a little bit but continue to growl
and bark at Ezme. They are not finished with their prey. Ezme is stepping over the friar,
staunchly holding the lantern between herself and the angry pack.

(1) Sound (wolf): Rrrrrrrrgh!

(2) Sound (wolf): Rrragh!

(3) Sound (wolf): Rarg!

PANEL 2: OS of wolves. Ezme is stood between the wolves and Godric now, and is
once again swinging the lantern at the wolves. This swing is even more powerful than
the first. Ezmes face looks truly aggressive as she shouts the beasts into retreat. A
blaze of fire arcs from lantern again, and this fire is so vast that it actually singes the fur
the wolves. They are rearing up, and leaping back, now looking terrified of Ezmes

(4) Ezme: BE GONE!

(5) Sound (Wolf): Hooow!

PANEL 3: OS of Ezme. The wolves have turned and are bolting back into the forest,
running in fear of their lives. Ezme has lowered her lantern and stands for a moment,
watching them go.

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PANEL 1: Medium distance shot. Ezme has placed the lantern back on the rock,
where it was before; and has turned her attention to Godric. She is standing up,
glancing at Godric, whilst in the process of tearing her undergarment in half (she has
taken this from the rock next to the lantern where she left it). Godric is laid on the
floor, exhausted, bleeding heavily and groaning. He holds one hand to his throat and
the other to his manhood.

(1) Godric: Uh Urrhh

(2) Sound (undergarment): Scraaaawwwiiiiiip!

PANEL 2: Close up. Ezme is shoving a cloth (part of her torn undergarment) under
Godrics hand, to cover the wound on his neck. He clutches it desperately. Blood
immediately starts seeping into the material.

(3) Ezme: Keep the pressure on it. Dont let go.

PANEL 3: Medium close up. Ezme is tying the other part of her undergarment around
Godrics crotch, sort of like a nappy. He is clutching his nuts again, this time with his
hand on top of the bandage. Like with the neck, blood is already seeping into the

PANEL 4: Medium close up. Finally Ezme ties up the tattered remains of Godrics
robes, which help keep the crotch bandage in place and restore him with some dignity.

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PANEL 5: Medium close up. Ezme is hastily throwing her dress on, whilst, at the same
time, pushing a foot into one of her boots.

PANEL 6: Medium close up. Ezme is helping Godric to stand up, but the process is
causing him a lot of pain. His left arm is around Ezmes neck, his right arm holds the
bandage to his neck. Ezmes right arm is supporting Godrics waist, whilst her left is
grabbing Godrics left hand (the one around her neck).

(4) Ezme: Now come on, we have to get you to my cottage, where I can patch you up

(5) Godric: AAAGH!

PANEL 7: Medium distance shot. Ezme and Godric are upright now. They stand for a
moment, to muster some energy. Blood drools from Godrics mouth and pours from his
neck wound he is a mess. Godric still has one hand on his neck, and the other
around Ezmes shoulders for support. She still has an arm around his waist, but has
now grabbed the lantern (from the rock) with her other hand.

(6) Ezme: Okay, okay, were up... Now for the hard part getting home.

PANEL 8: OS of Godric and Ezme. They both take a look straight ahead and see a
very long, dark, foreboding path, which continues into complete darkness.

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PANEL 1: Interior, Ezmes cottage night. Medium close up. Ike is sitting in a chair,
opposite the front door. He is about to take a sip from a cup of mead. His lute is
propped up on the table leg next to him. The room is dimly lit by a few candles and the
embers the log fire.

PANEL 2: Medium close up. Ike looks shocked. A sudden, loud bang on the door has
startled Ike so much that he has spilled his mead all over himself.

(1) Sound (door): BAM! BAM! BAM!

PANEL 3: Medium close up. Ike has placed his cup on the table, and is jumping up out
of his chair to answer the door.

PANEL 4: Medium distance shot. Ike is opening the door. He looks somewhat
shocked by the sight of his exhausted mother and the bloodied, half dead friar who is
still just about managing to hang from Ezmes neck. Notably, the lantern has been left
on the floor just outside the cottage doorway. Ezme and Godric are practically falling
into the house. Ike is extending an arm to help support the friar. Ezme looks
exhausted, Godric is as white as a sheet, and clearly close to death.

(2) Ezme: Ike, help me get him on the table.

PANEL 5: Medium close up. Ike and Ezme are strenuously pushing/ lifting Godric onto
the large, dining/ operating table in the cottage. Ike seems to be doing most of the hard
work. Godric is grimacing but has pretty much passed out by this point. Ezme is
looking at Godric but Ike is glancing at her.

(3) Ezme: Pack of wolves had a go at him.

PANEL 6: Medium close up. Ike is pressing one of his hands down on the blood-
soaked bandage on Godrics neck. Ike looks a little nauseous as the blood seeps from
the bandage over his fingers. Godric is completely passed out now, his body is limp.
Ezme is guiding Ike on what to do.

(4) Ezme: Put some pressure on his neck try to stem the bleeding.

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PANEL 7: Triple wide panel. Close ups. Panel 7a: Ezme pours out a bowl of water,
from a pot hanging over the fire. Panel 7b: Ezme grabs a pile of bandages (strips of
cloth) from a basket in the corner of the room. Panel 7c: Finally, Ezme takes a surgical
needle and thread, from her medical bag - on the floor by the front door.

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7a 7b 7c


PANEL 1: Wide shot. Ezme has the surgical needle and thread in her right hand, and a
dampened bandage in her left - ready to start stitching up Godric. Ike is moving out of
the way, taking his hand, and the bloodied makeshift bandage, away from Godrics neck
wound. Ezme has set the bowl of water and bandages on the table in front of Godric.

(1) Ezme: Okay, watch out the way. Take the cloth off his neck.

PANEL 2: Medium close up. Ezme has almost finished sewing up the neck wound.
The wet/ new bandage is now bloodied, as it has been used to clean Godrics wound,
and lies on Godrics shoulder where it can be reached easily if needed. Ike is
watching intently, holding a candle close, to help Ezme see what she is doing.

PANEL 3: Medium distance shot. Godric is on his back on the table. A view between
his legs shows the blood-soaked bandage around his crotch, and a pool of blood which
has built-up underneath it, contained by Godrics thighs on the table. (Background)
Ezme is squeezing out a clean bandage into the bowl of water, looking down the table
towards Godrics crotch. Ike is following her gaze looking decidedly uncomfortable. He
holds the candle up, illuminating both their faces.

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(2) Ezme: Now for the nasty one.

(3) Sound (bandage/ water): drip, plop, drip, plop, drip, plop.

PANEL 4: Medium close up. Godrics nappy bandage has been untied and lays
beneath his backside on the table. Ike has hold of Godrics scrotum, lifting it up, so
Ezme can work on stitching the back part onto his gooch. The wound is horrific. Ezme
and Ike both grimace at the sight of the open tear, and the awful amount of blood
seeping out of it. Ike holds the candle close, to light up the area. Ezme stands, with the
needle, ready to begin stitching.

(4) Ezme: Jesus!

PANEL 5: Medium distance shot. Ike is stood upright, still holding the now severely
reduced candle, awaiting his next orders. Ezme is wiping her brow, with another blood-
soaked bandage in her hand, having just finished stitching the wound up.

(5) Ezme: Okay, done.

PANEL 6: Medium close up. Ezme has put the bandage and needle down, and is
leaning her ear near Godrics nose and mouth to check if he is still breathing. She looks
most concerned. Ike is stood behind her, watching, also looking very concerned.

(6) Ezme: Shit! ... Hes stopped breathing.

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PANEL 1: Medium close up. Ezme has made a fist, and is hammering it hard on
Godrics chest. Ezme looks quite aggressive, and determined as she does this. Some
blood and saliva is spilling from Godrics mouth.

(1) Sound (fist/ chest): Pomp!

PANEL 2: Close up. Ezme stands a moment, with her hands clutching her hair,
despairing a little. (Background) Ike stands behind her, in the shadows, looking at her,

(2) Ezme: Shit!

PANEL 3: Close up. Ezmes fist is hitting Godrics chest again. And again, nothing
happens, the friar is dead.

(3) Sound: Pomp!

PANEL 4: Close up. Godrics face is lifeless, blood trickles from his mouth onto the
table. The colour is almost completely drained from his now ultra pale complexion.

PANEL 5: Medium close up. Ezme has run her hands down her face and has her
fingertips on her chin/ jaw. She is looking upwards, sighing.

(4) Ezme: Right... Shit.

PANEL 6: Close up. Ezme is taking a black bladed knife and two terracotta clay bowls
from a box in the corner of the room. (The blade resembles a stone-age cutting tool; the
handle is rather ornately carved. The knife looks ritualistic. The bowls are plain, each
able to hold approximately one litre of liquid).

PANEL 7: OS of Ezme. Ezme has the knife held up to about chin height, where it can
be easily observed by her and Ike, as it is the current topic of discussion between them.
She is walking towards a chair, next to the table where Godric lies. Ike is in front of
Ezme, with a desperate expression on his face. One of his arms is outstretched and his
fingertip is lightly touching one of Ezmes shoulders. He is waggling the forefinger of his
other hand at Ezme clearly trying to persuade her not to do what she is about to do.

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(5) Ezme: I have to try. Its his only chance now.

PANEL 8: Close up profile of Ezme and Ike. Ike has grabbed his mother, with both
hands, by her upper arms and is looking at her despairingly. He is stooped slightly so
that he can look straight into her eyes. She returns his gaze with sincerity, and perhaps
a little frustration.

(6) Ezme: I have to try Ike!

PANEL 9: Close up profile. Ike is now clutching his mothers forearms. She now has
her hands on either side of his face (though she can only really touch him with her
wrists, as she is still holding the bowls in one hand and the knife in the other). Their
foreheads are touching, and their gazes are bowed downwards. Ike looks scared and

(7) Ezme: Ill come back son... I promise Ill come back.

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PANEL 1: Medium close up. Ezme has positioned a chair, so the back is as close to
the friars head as is possible. She is sitting in the chair, leaning forward, rolling up her
sleeves. She holds the knife in the hand which isnt rolling up her sleeve. Two long
scars, where she has clearly slit her wrists in the past, are exposed.

PANEL 2: Medium close up. Ezme is slitting one of her wrists reopening one of the
old scars. She maintains a very brave face as she does this.

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PANEL 3: Medium close up. Ezme has placed the knife on the table, next to Godrics
body, just behind her own head. She is now in a completely relaxed position in the
chair. Ezmes head is laid back, so it is very near to Godrics head. Her legs are
stretched out. Blood oozes from Emes wrists, down to her hands, which are now
hanging limp over the arms of her chair.

PANEL 4: Close up. After only a few drops of blood have hit the floor, Ike is
methodically placing one of the terracotta clay bowls beneath one of Ezmes hands.
The bowl is now filling up with Ezmes blood.

PANEL 5: OS of Ike. Ike is standing up straight. He is very conscientiously watching

the two bowls filling up with his mothers blood. Ike is holding two lengths of cloth in his
hands, ready to quickly tie them around Ezmes wrists when the time is right. Ezmes
eyes are half closed, she seems to be weakly smiling at her son, she is on the verge of
passing out.

PANEL 6: OS of Ike. Ike has not moved, still monitoring the bowls, which are now very
nearly full. Ezmes fingertips are almost touching the rising levels of blood in each bowl.
Ezme has passed out now. Her eyes are closed, her head has rolled to one side, and
she looks peaceful, asleep.

PANEL 7: Close up. Ike is knelt by Ezmes side. He is quickly wrapping one of the
cloth strips around one of her slashed wrists in order to stop the bleeding. The clay
bowls are both full to the brim, which is clearly the indicator for Ike to stop Ezme losing
any more blood.

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PANEL 1: Interior?; bright white, vast, plain, spirit world/ realm/ dimension night?.
Medium distance shot. Ezmes soul is rising from her body. Her soul is a light blue
colour. Her physical body and everything else in the cottage has faded in colour so that
it is now only faintly visible. Everything physical is translucent on an otherwise pure
white background. Ezme looks young and beautiful in spirit form a perfect version of
herself. She wears an ethereally thin dress/ gown. It is an ultra light covering on her
body. Currently, the bottom half of Ezmes spirit is still inside her body, however the top
half (down to her waist) is vertical, she is glancing over curiously at Godrics physical
body. Ike can faintly be seen - finishing tying up the cloth around the last of her slit

PANEL 2: OS of Ezme. Ezme is looking upwards. Some distance above her, two
hundred feet perhaps, there is a bright yellow spotlight with a sort of light/ cloud spiral
emanating from it (like a worm hole). The silhouette of Godrics soul has already risen
high up towards the spiral.

PANEL 3: Medium distance shot, looking down at Ezme. Ezme is flying upwards to
catch Godric. She looks a bit like superman in flight, though her arms are elegantly
placed near her buttocks, palms facing outwards. She is facing up, looking determined.
Her hair and body, are trailing behind her, she is clearly moving at an astonishing speed.
Ezme does not have feet in her current form, instead, the lower part of her body,
beneath her hips, fades into a long ethereal tail. On the ground, below Ezme, the
cottage and forest have faded into almost nothing. And whiteness is all around them.

PANEL 4: Medium distance shot. Ezme has reached Godric, and slowed down her
pace considerably now. She is trailing a little way behind Godric, carefully monitoring
him, as he drifts, blissfully, towards the light/ worm hole above them. Like Ezme,
Godrics soul is also a perfect, un-scarred, younger, stronger version of himself; though
his soul is light orange in colour not blue. He too has a tail instead of feet. His
ghostly garment is a toga. Godric has not noticed Ezme yet, so hypnotised is he by the

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(1) Ezme (telepathically): Friar...

PANEL 5: Medium close up. Ezme is very close to Godric now, she has reached out
and placed her left hand on his right forearm. Godric has stopped in his tracks, and is
turning towards Ezme, looking a little startled by her presence and touch. He does not
look angry however, more confused. Where Ezme is holding Godrics arm, some white
light is emanating as if the touch is energised somehow. Ezme is looking at Godric,
caringly, compassionately.

(2) Ezme (telepathically): Friar

(3) Godric (telepathically): Uh... the witch... youre here.

PANEL 6: Medium close up. Ezme has now drifted up, so she is in a better position to
communicate with Godric, face to face. Godric is looking at Ezme, but pointing up to
the light he is almost like a lost child in his expression. Ezme looks most sincere, and
is now delicately holding Godrics forearm in hers so her fingertips are just about
touching his elbow, and his hand is resting on top of her forearm. Again, the area
where they are touching is light/ sparkling like sunlight on a lake.

(4) Godric (telepathically): The... theyre calling for me...

(5) Ezme (telepathically): I know... I know they are... Thats what our friends in the
spirit world do when we die... They want to see you again...
They miss you...

(6) Godric (telepathically): Cant I go?

PANEL 7: Medum distance shot from below, looking up. Ezme and Godric are closer
now, holding each others forearms. Their tails are slowly swirling around each other
in a sort of yin-yang formation. Ezme is smiling empathetically at Godric, though he still
looks quite lost/ perplexed.

(7) Ezme (telepathically): You can go... if you want... of course you can... But I have
come here... to ask you... to ask you to return with me to the
physical world.

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PANEL 8: OS of Godric and Ezme looking down. Godric is looking down at a very
feint impression of the village of Wicaston. He and Ezme are high above it, Godric is
gripping Ezme now in fear almost like he has vertigo. But actually he is petrified of
something else. Godric is so scared in-fact, he is crying (at least he would be if souls
could shed tears). Ezme is holding Godric, assuredly, motherly. She looks at him,

(8) Godric (telepathically): But the pain! Theres so much pain down there! I... I dont
want to go back... It hurts too much!

(9) Ezme (telepathically): Oh, I know dear... I know all about it...

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PANEL 1: Medium distance shot. Ezme and Godric are hugging each other tightly now.
Their eyes are closed. Their tails are completely wrapping into each other (like two
shades of paint being swirled together). A bright golden, white light emanates from
them both. Ezme is healing Godrics battered soul.

PANEL 2: Interior; Ezmes cottage night. Medium distance, wide shot. Ike is sat
opposite the two bodies in the cottage. He is leaning forward, placing his cup of mead
on the small table next to his chair. A bright white light has begun to blaze and emanate
from both of the bodies. Ike is watching them in awe and anticipation.

PANEL 3: Medium distance shot from behind Ike. Ike is recoiling in his chair now,
shielding his eyes from the light. The light has become so bright, it is as if the sun is
burning inside the room.

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PANEL 4: Exterior; Ezmes cottage night. Medium distance shot. Beams of bright,
white light blaze through the windows of the cottage - temporarily lighting up the whole
area outside.

PANEL 5: Interior?; bright white, vast, plain, spirit world/ realm/ dimension night?
Medium distance shot. Ezme and Godric still holding each other tightly, and intimately
(their eyes tight shut). The healing-light effect is fading now.

PANEL 6: Medium close up. Godric and Ezme are looking at each other. They have
drifted apart a little, but still lightly hold each others hands. Ezme is gently touching
Godrics face with her free hand. His free hand is lightly touching her waist. Godric is
smiling warmly at Ezme. She is smiling gently back.

(1) Ezme (telepathically): You see... The pain doesnt last... We will all be healed...

PANEL 7: Medium close up looking up. Godric looks content like he has been
cleansed of his negativity. Ezme and Godric are looking at each other, ready to fly back
down to earth. Ezmes right hand is holding Godrics left hand. Godrics free hand is
out by his side relaxed. Ezme is gesturing down towards the earth with her free hand.
(Background) behind them, the light spiral/ wormhole has begun to close, as if it is
aware that Godric has already decided not to go into it.

(2) Ezme (telepathically): Come back with me now... you can still do so much... so
much good for the people there...

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PANEL 1: Medium distance, trailing shot. Hand in hand, Godric and Ezme fly directly
down towards the feint outline of Ezmes cottage, Wicaston village.

PANEL 2: Medium close up. Ike has tip toed over to where Ezme is sitting. She is still
unconscious. Ike looks very sad, thinking his mother is dead. He is leaning over,
staring at her face, with tears in his eyes. He is holding his cup of mead, about waist

PANEL 3: Wide shot. Suddenly, at exactly the same time, both Godric and Ezme have
opened their eyes and sucked in huge, life returning gulps of air. They are both sitting
up from their respective relaxed positions, as if they have just surfaced having been
underwater for a long time. Godric looks particularly shocked. The movement and
sound has scared Ike so that he has stumbled backwards, and begun to fall over. He
has also thrown his cup of mead from his hand, with the fright.

(1) Sound (Ezme): Huuuuurrgghh!!!

(2) Sound (Godric): Huuurrrgh!

PANEL 4: Close up. Ikes cup of mead smashes on the wall of the cottage.

PANEL 5: Close up. Ike is back on his feet. He is hugging his mother and she is
holding him affectionately. Tears stream down Ikes face. His eyes are closed, as are

(3) Ezme: Its alright... its alright dear...

PANEL 6: Close up. Ezme and Ike have broken apart for a moment to look at each
other. Ikes hands are still gripping Ezmes upper arms, and her hands cup his forearms.
They both have huge smiles on their faces.

(4) Ezme: I told you Id come back.

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PANEL 7: Medium close up. Ike is hugging his mother again, still beaming a huge
smile. (Background) Godric is sitting upright on the table, looking very uncomfortable
and confused, and touching the wound in his neck.

PANEL 8: Wide shot. Godric has climbed off the table and is currently crouched
slightly, gripping the table, trying to keep himself from falling over. Godric is grimacing,
clearly in a lot of physical pain. In the process of climbing off, he has also knocked over
the bowl of bloodied water (used to clean his wounds), which has smashed on the floor
near him. (Background) Ezme and Ike are suddenly watching Godric intently. Ike is
stood, Ezme is sitting up straight in her chair.

(5) Sound (smashing bowl): Pshhh!

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PANEL 1: Close up. Godric grabs the black-bladed knife from the table.

PANEL 2: OS of Godric. Godric seems to be in a fit of panic and confusion. He is

holding the knife up, in a threatening/ self protective way between himself and Ezme
and Ike. Godric still has his left hand on the table, steadying himself, as he shouts at
Ezme. Ezme and Ike are staring at Godric intently, with some disbelief at his current
course of action. Ike has one hand half held out in front of him, and his other hand
behind him, in a protective gesture towards Ezme. Ezme is still sat, though in a pretty
alert position now. Ike has positioned himself protectively between Godric and his

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(1) Godric: You! ... You! ...What are you!? ... What did you do to me!?

PANEL 3: Medium close up. Godric has moved away from the table now. He is
circling around Ike to get closer to the front door of the cottage. He looks both confused
and enraged. Ike is following Godrics movement, making sure he stays between the
crazed friar and his mother. Ezme, still sitting, continues to meet Godrics gaze, having
to peer around Ikes bulk slightly to do so.

(2) Godric: I should be dead! ... I was dead!

PANEL 4: OS of Ezme. Godric is fiddling with the front door. Jiggling the handle and
twisting the key. Ike is slowly advancing towards him to help with the door. Ezme is
beckoning for Ike to stay still.

(3) Ezme: Ike!

PANEL 5: Medium close up. Godric has turned around and in the same motion, is
swiping the knife through the air, where Ikes stomach recently was. Fortunately, Ike
has jumped out the way. Godric is yelling at him, panicking.

(4) Godric: Ah!

(5) Sound (knife/ air): Ssshew!

PANEL 6: Wide shot. Godric has managed to open the door. He is holding it open,
whilst brandishing the knife at Ezme and Ike, yelling at them.

(6) Godric: Stay away from me! ... Do you hear! ... Let me go, let me go from this...
this... this den of evil!

PANEL 7: OS of Ezme. Godric has hobbling out into the night. Just the back of his
torn robes, and his back heel remain in the panel. Ike is stood by the door, ready to
close it. Ezme is shouting after Godric, in a sudden fit of rage. She is slamming her fist
on the arm of the chair, and gesturing after Godric with her other hand. Ike is looking at
her ominously.

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(7) Ezme: Well bugger im! Bugger that ungrateful bastard! ... God almighty, the
lengths I went to - to save his stupid soul; and thats the thanks I get!

(8) Sound (fist/ chair arm): Bomp!

PANEL 8: Medium close up. Ike has just closed the door, and is smiling broadly at
Ezme. Ezme is resting her forehead on her left hand, her left elbow is propped on the
arm of her chair. She has calmed down a little now and is looking at her right hand wrist,
bandaged, but bleeding a little.

(9) Ezme: Close the door Ike, and get me a cup of mead.

(10) Sound (door): Clunk.

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Chapter 3


PANEL 1: Exterior; Manor house/ Stables morning (sunny). Wide shot. Lord Ulric is
walking out to the stables. He is pulling his leather gauntlets on as he walks briskly
with purpose. He is also looking around for his squire (Puck), calling for him. A few
soldiers are milling about doing various tasks: carrying wood/ sparring.

(1) Ulric: Puck! ... Puck, where are you? I need my horse!

PANEL 2: Trailing shot, from behind Puck. Puck has appeared hastily out of the
stables, without the horse. His hair is a mess, bits of straw are falling from his head and

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body. He looks ruffled. His shirt is hanging out, his boots are not tied. (Background)
Ulric looks a little puzzled regarding Pucks appearance.

(2) Puck: Yes sir! Right away sir!

PANEL 3: OS of Ulric/ wide shot. Ulric is stood waiting with his arms folded, watching
curiously at the events occurring before him. Puck is running off, back into the stables,
to get the horse. A pretty young maid is darting, from the other end of the stables. She
is busy buttoning up her dress, as she runs towards the back door of the manor house.

PANEL 4: Medium distance shot. Puck is jogging over to Ulric with his horse, Ulric is
reaching out take it from the squire. Ulric is smiling slightly, speaking to Puck.

(3) Ulric: Thank you squire Been a busy morning has it?

(4) Puck: Of course Sir Ulric, as always.

PANEL 5: Medium close up. Ulric has mounted his horse, he is patting the animal on
its neck, looking a little jovially at Puck. Puck is looking up at him, a bit confused, now
stood a short distance from the horse. Puck is using his hand as a sun-visor so he can
better see Ulric.

(5) Ulric: Just be careful eh lad. These mares usually end up being a lot more effort
than theyre worth.

(6) Puck: Sir?

PANEL 6: Medium close up. Ulric is kicking his horse into action, flicking his reigns,
looking very focussed. His horse is leaping into a gallop, looking pretty determined itself.
Puck is watching the symbiotic pair, still quite confused about what Ulric meant by his

(7) Ulric: Hah!

PANEL 7: Medium distance shot. Puck wanders into the space where Ulric and his
horse just were, he has a hand to his chin, clearly still confused. He is looking at the

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floor, kicking up a bit of dust from the path. (Background) Ulric has already galloped a
good hundred yards up the long path, which leads to the front gates of the manor house.

PANEL 8: Medium distance shot. Puck has walked a little further across the path, and
now stares at Ulric, who is just a tiny speck in the distance.

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PANEL 1: Exterior; Manor house/ Stables late morning/ noon (sunny). Wide shot.
Lady Glynnis is walking out to the stables now. (Background) Puck is shovelling hay
but Glynnis is completely ignoring him. She looks agitated, she is angrily searching for
Wyatt. Puck has stopped in his activity and is watching her curiously. A few soldiers
are milling about doing various tasks: carrying wood/ sparring.

(1) Glynnis: Wyatt!... Wyatt!

PANEL 2: Medium close up. Puck has walked over to Glynnis, to see if he can help
her out. He still has the fork in his hands. He looks at her quizzically, she is smiling at
him, and is lightly touching one of his arms with her hand.

(2) Puck: Can I help you my Lady?

(3) Glynnis: No thank you Puck, you carry on, youre busy.

PANEL 3: Medium close up. Puck holds the fork in just one hand now, he is pointing to
the armoury (off panel), with his other hand. He looks at Glynnis, with a little surprise.

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She is grabbing his arm with one of her hands, holding him back/ stopping him running
off. She still smiles gently, as if she is masking her agitation.

(4) Puck: Wyatts in the armoury Lady Glynnis, round there. Ill go and get him for you.

(5) Glynnis: No. Its alright, really. Ill go.

PANEL 4: Interior; armoury/ manor house late morning. Medium distance shot.
Wyatt has just been busy cleaning/ polishing Lord Ulrics armour/ weapons. However,
he is now stood just inside the armoury doorway, looking out at Glynnis; somewhat
frightened and perplexed, still holding the rag he was using to polish with. Glynnis is
still outside, and is storming over to Wyatt, very angrily. (Background) Puck can be
seen in the far distance, shovelling hay once again.

(6) Glynnis: WYATT!

(7) Wyatt: Yes my Lady?

PANEL 5: Exterior; armoury late morning. Close up. Wyatt and Glynnis are now
stood outside the armoury doorway, where she has clearly just dragged him. She has
grabbed his upper arm very tightly, and is yelling viciously into his face. Wyatt looks
somewhat terrified, but is doing his best to make eye contact with Glynnis. He no
longer holds the rag.

(8) Glynnis: Fetch my horse, NOW!

PANEL 6: Exterior; stables late morning. OS of Puck. Puck has stopped shovelling
again, for a moment, and is watching the commotion between Glynnis and Wyatt, most
concerned for his young friend. (Background) Glynnis is still stood just outside the
armoury. She has thrown Wyatt into the courtyard so he is now stumbling into a run
on his way to fetch Glynnis horse. Wyatt looks both shocked and confused, at the
Ladys sudden aggression towards him.

PANEL 7: Medium close up, up angle. Glynnis is on her horse, side-saddle. She is
glaring at Wyatt, still yelling scornfully at him. Wyatt is holding the horses bridle.
Sheepishly looking up at the lady.

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(9) Glynnis: Dont just stand there you imbecile, lead me to the gate!

(10) Wyatt: Yes my Lady.

PANEL 8: OS of Puck. Puck is gazing after Glynnis and Wyatt, wondering why she is
being so mean, wishing he could help his friend. He is still stopped working, holding his
fork horizontally. (Background) Wyatt is leading the horse at a brisk pace, along the
lengthy path out of the manor grounds. The gate, is so far away, it is currently out of
sight. Glynnis sits gracefully atop her steed, still not easing up on poor Wyatt.

(11) Glynnis: Faster boy, faster!

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PANEL 1: Exterior; manor house main gate. OS of Wyatt/ Medium distance, wide shot.
The gates are wide open, grass is overgrown around them, as if they are rarely, if ever
closed. Wyatt is sitting, exhausted and upset on the grass, just outside the gate. He is
staring at Ezmes cottage, in the far distance, perhaps pondering his former life, with his
father and grandmother.

PANEL 2: Medium distance shot. Wyatt is now resting his forehead on his arms, which
are folded, resting on his knees. He is clearly quite upset. (Background). Puck is
jogging up to Wyatt. He is holding a leather flask in his hand.

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PANEL3: Medium close up. Puck has reached Wyatt, but is still stood up. He is
touching Wyatt on the shoulder, whilst handing him the leather flask. Wyatt is still sat,
reaching out for the flask; looking up appreciatively at Puck.

(1) Puck: Hey Ive brought you some water.

(2) Wyatt: Thanks.

PANEL 4: Medium close up. Puck is now sitting down next to Wyatt, and stares out at
the village himself. Wyatt is supping down a big mouthful of water from the flask.

PANEL 5: Medium close up. Wyatt is offering the flask back to Puck, but Puck is
waving it away.

(3) Puck: Its alright, you can have all of it.

PANEL 6: OS shot, from behind the two boys. Wyatt is taking another swig of water.
They sit, observing the beautifully quaint little village in front of them.

(4) Puck: Lady Glynnis can be a right bitch cant she?

PANEL 7: Medium close up. Wyatt has burst out laughing, and is consequently
spraying water everywhere. Puck is smiling/ laughing at him.

PANEL 8: Medium close up. Puck is stood up, and is pulling Wyatt to his feet. Wyatt is
also in the process of hanging the flask around his neck/ body.

(5) Puck: Come on, we should get back. Dont want Sir Ulric to find us lounging about

PANEL 9: Long shot. Puck and Wyatt are jogging together down the long manor house

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PANEL 1: Exterior; village chapel, day. Medium distance shot. Will is in the
foreground, pulling up weeds from the chapel cemetery, and placing them in a
wheelbarrow. Glynnis is riding up to him, looking splendid on her horse. Glynnis is
shouting at Will, but he has not acknowledged her yet. A strange fog is beginning to
appear in the village now, and clouds are forming in the sky. Otherwise, it is still sunny.

(1) Glynnis: Excuse me! I say, excuse me man!

PANEL 2: Medium close up. Will has walked around to the gate of the cemetery, to
meet Glynnis, outside the stone wall. She has dismounted her horse, and is handing
him the reigns. She is turning her head away from him, looking for Godric, but also in
an aloof gesture of no eye contact. Will however is looking directly at Glynnis, he is not
intimidated by her. Will is also pointing around to the side of the church.

(2) Glynnis: Hitch my horse up would you, and where is the friar?

(3) Will: Hes round there Lady Glynnis, relaxing. Bit worse for wear he is today.

PANEL 3: OS of Will. Will is watching Glynnis as she is briskly walking along a path
towards the corner of the chapel. With one hand, he holds the horses bridle, with his
other hand he is stroking the horses neck. He is most notably spitting on the floor in
Glynnis wake. Clearly he is not a fan of the woman.

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PANEL 4: Medium close up. Godric is sat on a bench in a small courtyard of the
church, letting the sun beam down on him. His eyes are closed. He looks clean, like he
has washed, though he still wears his tattered robes, for lack of anything else to wear.
His neck wound is clearly visible and looks bad. He also has scratch marks on his face
and hands. He is holding a cup of ale, which obviously he is allowing himself to enjoy in
this recovery period. (Background) Glynnis is walking determinedly around the corner
of the church, now heading towards Godric.

PANEL 5: OS of Glynnis, down angle. Glynnis has arrived in front of Godric. She
stands, staring down at him in some shock. Godric is glancing up at her, possibly in
some sort of admiration for the woman. He looks casual, in a worn out sort of way.

(4) Glynnis: Good Lord! What happened to you?!

PANEL 6: Close up on Godric. He is taking a swig of his ale, to wet his throat before

PANEL 7: Medium close up. Side shot of Glynnis and Godric. She is in the process of
sitting down. Godric is looking at Glynnis, gesturing for her to sit next to him on the

(5) Godric: Sit down my Lady. Ill tell you all about it.

PANEL 8: Medium distance shot. Glynnis is sat on the bench next to Godric, listening
to him intently. Godric is animated, but serious, relaying last nights tale to her.

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PANEL 1: Exterior; Wicaston watermill day (sunny/ cloudy/ foggy). Establishing shot.
The mysterious fog is thickening now, but the weather is still mostly sunny and warm.
Ulric is talking to the local miller (Frank). They are stood next to the sluice gate, looking
at it and talking about it. The millwheel is spinning beautifully, despite the gate not
being raised. Ulric has his arms folded, the miller is gesturing to the sluice. Ulrics
horse is grazing peacefully on a small green near the mill.

(1) Frank: So the gates gone m lord. Rotted off, washed downstream.

(2) Ulric: Hmm I see. Well thats no good is it?

PANEL 2: Close up. Ulric is smiling slightly, patting the miller firmly on the shoulder.
The miller is looking at Ulric, smiling satisfactorily.

(3) Ulric: Ill tell you what Frank, Ill give Will a shout, He can bring some wood over
and help you fix it. How about that?

(4) Frank: Very good Sir, much obliged.

PANEL 3: Medium distance, tracking shot from behind Ulric. Ulric is leading his horse
along the road, just past the mill. He is walking down a slight incline, enjoying the stroll
in the beautiful sunshine, which is breaking through some clouds. (Background) In the
distance, heading up the hill, on the same road, towards Ulric, is Ezme. She is carrying
her medical bag. Notably, Ezme is wearing long sleeves - covering her wounds.

PANEL 4: OS of Ezme. The pair are in very close proximity now, just a metre or two
apart. Ulric has his arms open wide, and is grinning from ear to ear. Clearly he is very
happy to see Ezme. She has her arms open too, and is advancing towards Ulric,
likewise, happy to see him. Ezme does have her medical bag on her arm though, so
she is a bit limited in her movements. Ulric has dropped the reigns of his horse, and
stepped in front of it slightly, coming forward to embrace Ezme.

(5) Ulric: Ezme, my dear woman!

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(6) Ezme: Ulric, my liege.

PANEL 5: Close up. Ulric and Ezme embrace each other warmly. They hold each
other tight, and close their eyes, both smiling still. There is clearly a lot of love/
admiration between them. Though, it is seemingly plutonic.

PANEL 6: Close up. Ulric and Ezme have finished hugging but Ulric still, affectionately,
has hold of Ezmes wrists. Ezme is looking down, with a somewhat uncomfortable/
pained expression on her face. Ulric is looking at her, most concerned.

(7) Ulric: What an unexpected pleas Whats wrong?

(8) Ezme: My wrists. Theyre err Theyre very sore.

PANEL 7: Close up. Ulric has rolled back one of Ezmes sleeves, and is looking at her
bandaged forearm. A fair amount of blood has seeped and dried into the bandage. He
is looking at her with grave concern. She returns his gaze with sincerity.

(9) Ulric: Good God girl! What happened?

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PANEL1: Exterior; Wicaston chapel afternoon (cloudy/ foggy). Medium distance

shot/ establishing shot. Ulric has just arrived at the chapel, and is in the process of
dismounting from his horse. There is no one else in sight. He seems serious/

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PANEL 2: Interior; Wicaston chapel - afternoon. Medium close up, up angle. Ulric is
storming down the centre aisle of the chapel, purposefully. He is looking around for the
friar, he looks emotionally charged with anger.

(1) Ulric: Friar!

PANEL 3: Wide shot/ medium distance shot. Ulric has reached the vestibule at the
front of the church. He has spun around, so he now faces all the pews in the church.
However he is yelling mightily and furiously into the rafters. The shout booms out
around the church ceiling.

(2) Ulric: GODRIC!!!

(3) Sound (echo): GODRIC! GODRIC! GODRIC!

PANEL 4: Medium distance shot. Will has come through a side door, at the front of the
church. He is wiping sleep from his eyes. Ulric is looking at him intensely, but not

(4) Will: Bloody hell sir, you frightened the life out of me.

PANEL 5: Medium close up. Profile. Will has walked over to Ulric. They are
conversing now, in the vestibule in front of the stained glass windows. Ulric looks
intense still, Will is doing his best to answer Ulrics questions.

(5) Ulric: Will, where is the friar?

(6) Will: Hes not here sir.

(7) Ulric: Then where is he man?!

(8) Will: He didnt say where he was headed, just left with his shoulder bag and a big
walking stick. Said hed be back in time for service on Sunday.

PANEL 6: OS of Will. Ulric is looking at Will, with urgency - holding both his upper
arms now.

(9) Ulric: When did he leave?

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(10) Will: Before I went to sleep... Half an hour ago, at a guess. Couldnt say for sure

PANEL 7: Medium distance shot. Will hasnt moved from his spot. Ulric is pacing
around now, wracking his brains.

(11) Will: Whats this about m lord, can I do anything to help?

(12) Ulric: Sadly, no, I dont think you can.

PANEL 8: OS shot of Will. Will is watching Ulric walk back up the aisle, as he is
hurriedly leaving now. Ulric is glancing back, looking at Will, pointing through one of the
church walls (towards the mill).

(13) Ulric: Oh, on another subject entirely, get up to see Frank sometime will you, he
needs your help fixing the sluice gate at the mill.

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PANEL 1: Exterior; Wicaston Chapel afternoon (cloudy/ foggy). The fog has really
begun to build up now. Ulric is kicking his horse, galloping away from the chapel,
looking very aggressive/ determined, indeed.

(1) Ulric: Yah!

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PANEL 2: Exterior; main road, Wicaston. Long shot. Ulric is going at a heck of a pace,
galloping towards the edge of the village. He has nearly reached the forest, where the
main road out leads. The fog is now closing in all around him.

(2) Sound (hooves/ ground): Te-dun-de-dun-de-dun-de-dun

PANEL 3: Exterior; forest road (main road to town) afternoon (dense fog). The fog is
so thick on the forest road, Ulric can barely see his hand in front of him. His horse is
unwilling to move at any great pace, and is shying up, in defiance. Ulric is forced to give
up his pursuit. He is yelling loudly in frustration.

(3) Sound (horse): Eeeeigh!

(4) Ulric: Damn this fog! ... Damn it!

PANEL 4: Interior; solar/ manor house - Late afternoon. Medium distance shot/ OS of
Glynnis. Glynnis is sat by the fire concentrating on some needlework she is doing.
Ulric is just walking into the panel, heading towards his chair, on the opposite side of the

PANEL 5: OS of Glynnis. She is still doing her needlework, but has the beginnings of a
sly smile on her face, as she looks up and watches her husband momentarily. Glynnis
is possibly speculating as to the source of Ulrics frustration (namely Godric). Ulric
has slumped down heavily in his chair - like a sack of potatoes. Ulric rests his forehead
in his hand and sighs deeply.

(5) Ulric: Phooo

PANEL 6: Wide shot. One of the larger hunting dogs has walked up to Ulric to try and
make him feel better. He is stroking its head, with a pained smile on his face. Glynnis
is looking back at her work, still smiling - satisfactorily to herself.

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PAGE 65a

PANEL 1: (Single page splash) Exterior; Hilltop. OS of Godric. Godric is stood alone
on a dusty path on the crest of a rolling hill. He is staring appreciatively at the
landscape below. He stands leaning on his staff, with his bag on his shoulder.
Beautiful warm sunshine is beating down from a clear blue sky, though there is a light
wind on the hilltop. Below Godric, tree tops protrude from a forest covered in thick,
white mist. In the far distance, perhaps 5 miles away, the tops of Wicaston chapel and
Wicaston manor house can be seen protruding from the fog which enshrouds the

(1) Godric: Beautiful...

PANEL 2: Inset. Godric is strolling onwards, down the hill.

(2) Godric: Just... beautiful.

Single page splash

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PANEL 1: Exterior; monastery (this is the same monastery from page 5) day (Sunny).
Establishing shot.

PANEL 2: Interior; monastery day. Medium distance/ wide shot. Godric is sat at a
long wooden table, in the dining hall of the monastery. He is now wearing a brand new
clean set of robes (presumably) given to him by the monastery. He looks clean, the
scratches on his face are a little more healed. (Perhaps he has had a hair cut too).
Godric is eating a bowl of soup with a bread roll he is currently dipping the bread into
the soup. The soup is almost finished. His walking stick/ staff is propped up against the
wall, at the end of the table. The dining hall is loosely populated by other monks, along
with the odd traveller/ individual seeking retreat. Opposite Godric sits an older monk (in
his 60s). This is the abbot, (one of the men who took young Godric in at the start of the
book - though he wasnt the abbot then). No others are sat at their table. The abbot is
not eating, though he is pondering something as he watches Godric eat.

PANEL 3: Medium close up. Profile, of Godric and the abbot. Godric is eating his last
mouthful of bread, picking up his napkin, listening to the abbot attentively. The abbot is
speaking with much sincerity and contemplation.

(1) Abbot: You know, it is an unfortunate natural instinct - to fear, and indeed to want to
abolish the things which we do not understand... but this behaviour... It is
prejudiced... it is not measured, it is not objective, it is unholy.

PANEL 4: Close up on Godric. Godric looks a little agitated, as he finishes his mouthful
of bread, and wipes his mouth with a napkin.

PANEL 5: OS of abbot. Godric is appealing to the abbot, with a mix of frustration and

(2) Godric: But this... sorceress... She brought me back from the dead! She merged
with my soul!

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PANEL 6: OS of Godric. The abbot, again speaks with empathy and sincerity,
gesturing towards Godric now. The abbot is even smiling with some surprise/
admiration at the topic being discussed.

(3) Abbot: As youve said... and certainly, I do not know how such a feat is even
possible... but what a marvellous trick! I cannot count the occasions where
Ive wished I could have done the same.

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PANEL 1: Medium close up. Profile of Godric and the abbot. They are leaning in a
little now, to better hear each other. Godric doesnt look particularly happy with what
the abbot is saying. He would not dare get angry with his mentor, but is disagreeing
strongly with him. The abbot is looking at Godric quizzically.

(1) Abbot: The act you speak of sounds divine, not despicable - as you seem so keen
to suggest... Such benevolence is worthy of admiration... not damnation...
wouldnt you agree?

(2) Godric: This lady has argued with me, publicly, she challenged the words of the

PANEL 2: Close up on the Abbot. He is appealing to Godric again, sincerely.

(3) Abbot: And is it not wise, to ask questions?... A lack of challenge, in any field, be it
science, religion, art can lead only to ignorance and stagnation... God

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knows, Ive often questioned his teachings myself particularly the ancient
Hebrew texts. About which I assume it was she challenged you?

PANEL 3: OS of Abbot. Godric sits contemplating the words of the Abbot, but
ultimately feels frustrated with the mans resistance to his point of view.

PANEL 4: Medium distance, wide shot. Godric is standing up, with a struggle. The
Abbot has stood up and is quickly, concernedly walking around the table to help Godric.

PANEL 5: Medium close up. Godric has turned around, ready to leave the table. The
Abbot has reached him, and is handing Godric his walking stick.

(4) Godric: Thank you.

PANEL 6: Medium close up, trailing shot. Godric is leaning on his staff. The Abbot is
carrying Godrics empty plate and bowl and they are slowly walking from the dining hall

(5) Abbot: Do not let a persons lack of faith obscure your assessment of their
character. This is precisely what has lead to so many atrocities over the

PANEL 7: Medium distance/ long shot (looking at the backs of Godric and the Abbot).
The pair have walked further, towards the exit of the room. The Abbot has a firm hand
upon Godrics shoulder, and Godric seems to be looking at him a little sheepishly.

(6) Abbot: Remember misguided and evil are far from being the same thing.

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Chapter 4


PANEL 1: Exterior; Wicaston Chapel - morning (sunny). Establishing shot. Long shot,
top down, isometric. It is a beautiful sunny, Sunday morning. The villagers flock into
the chapel dressed in their Sunday best. The bells are ringing, a flock of pigeons is
circling the tower waiting for the dinging to stop. Trails of the villagers ebb out along
the different paths through the village.

(1) Sound (bells): Ding, ding, ding, ding

PANEL 2: Interior; Wicaston Chapel - morning. Wide shot, from the front, to the back
of the church. The church is full, as every villager is required to attend. Many
parishioners are sat down, but many are still in the process of finding places to sit
(There is some excitement, as the community of Wicaston has missed church service
for a few weeks/ months, due to their old vicar being cast out of the community). Ulric
sits with Glynnis and Hamlin - in special seating at the front of the church. Puck and
Wyatt sit directly behind them, on a pew. Ulric is looking around somewhat nervously
(for Ezme - but he cannot see her).

PANEL 3: Medium close up. Will is at the back of the church, holding the door ready
to close it. He is waving for the last of the villagers to come in.

PANEL 4: Medium close up. Will closes the doors at the back of the church, he winces
a little at the volume of the sound. He obviously closed the doors a little harder than he
intended to.

(2) Sound (doors): Fwoom!

PANEL 5: Medium distance shot. Will is in the process of sitting on a pew, at the back
of the church (as close to the doors as possible). He is sitting next to the Old Man (with
the damaged hand and gammy leg). Friar Godric has appeared from the wings
somewhere, and is beginning to walk up the centre aisle. He clutches a large bible,

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pressed to his chest, in his left hand. With his right hand, he rests on his large staff. All
eyes are watching him. Godric looks very serious indeed.

PANEL 6: Medium close up (from the side). Friar Godric is slowly making his way up
the aisle looking most determined. Everyone continues to watch Godric as he walks
past them. He is still something of an unknown entity to most of this community.

PANEL 7: Medium distance shot, from the front to the back of the church. Godric has
just walked past Ulric, and he is clearly a little uncomfortable. Godrics eyes are
flashing towards the lord of the manor, but he does not turn his head to acknowledge
Ulric directly. Ulric is watching Godric like an angry bear, looking like he wants to get up
and tear him apart. He is leaning forward in his chair, and clenching a big fist with his
left hand. Glynnis is looking rather concerned. She is grasping hard on her husbands
forearm, in a bid to calm him down/ protect Godric.

PANEL 8: Medium close up. Godric has reached the pulpit, propped his staff against
the wall, and is now opening the bible onto a lectern. He is clearing his throat also.

(3) Godric: hgh-hem.

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PANEL 1: Medium close up on Godric. Godric is looking out at the crowd, confidently,
addressing them with conviction.

(1) Godric: Now, may I begin by saying what an honour it is for me to be here today,
and what a pleasure it is to see so many of you turned out for the

PANEL 2: Medium close up on crowd. People are smiling and holding their hands to
their mouths, glancing in the direction of a person who is calling out. Much muffled
laughter rings around the room.

(2) Anonymous parishioner: Like we had a choice!

(3) Sound (laughter): Ha ha haaaa!

PANEL 3: Medium close up. Ulric sits with his arms folded, also glancing in the
direction of the anonymous commentator, he has raised a slight smile in the corner of
his mouth. Glynnis looks agitated and cross. Puck and Wyatt can be seen behind Ulric
stifling their laughter. Hamlin just looks bored.

PANEL 4: OS of Godric. Godric looks slightly agitated now, but ignores the comment
and continues.

(4) Godric: Well, indeed, I sincerely hope I can do you all a worthy service

PANEL 5: Wide shot of crowd. Another shout comes from a different part of the room.
This time people laugh even harder. Some are clutching their bellies now, they have let
go, no longer stifling their guffaws.

(5) Anonymous parishioner: You cant be worse than the last pratt we had!

(6) Sound (laughter): HAA HAAAAA! HA HA HAAAAAA!

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PANEL 6: Medium close up. Glynnis takes exception to this second comment. She is
angrily commanding Ulric now, her arms held out for emphasis. Ulric is looking at her
contemplatively. He still has his arms folded, and is raising an eyebrow.

(7) Glynnis: Say something!

PANEL 7: OS of Ulric. Ulric is stood up, gesturing for the congregation to calm down,
which they duly seem to be doing.

(8) Ulric: Now, now thats quite enough.

PANEL 8: Close up on Godric. Godric perseveres once again, with utmost sincerity.

(9) Godric: As the new, albeit temporary, chaplain, I thought it would be fitting today to
discuss well to set out what might constitute as ground rules. A
foundation upon which we can build And indeed, what better rules could
we start with than those devised by God himself

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PANEL 1: Godrics POV. Godric traces his finger down the open page of the bible and
finds his place to read from (Exodus 20: 3) He is looking out across the congregation,
who remain attentive and well behaved. (Background) Ulric stares at Godric with
distaste, his arms folded menacingly.

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(1) Godric: Exodus, chapter twenty, verse three Thou shalt have no other Gods
before me Thou shalt not make unto thee any graven image, or any
likeness of anything that is in heaven above, or that is in the earth beneath,
or that is in the water under the earth

PANEL 2: Medium close up. Will is speaking quietly to the Old Man at the back of the
church. They are both sat with their legs stretched out and arms folded looking rather
relaxed. The old man is pointing subtly at Wills crotch, but is making eye contact with
Will. Will looks a little taken aback.

(2) Old Man: So hows the old trouser lance?

(3) Will: How d you know about that!? Is nothing sacred in this place?

PANEL 3: Close up on Will and the Old Man. Old Man has a very cheeky smile/ look
about him. Will looks very excited also. Will is leaning in close, whispering in the old
mans ear. He is making a very prominent phallic gesture with his fist indicating that
everything in his trouser department is working very well indeed.

(4) Will: Well, honestly, after taking Ezmes medicine Ive never had a bonk like it,
my missus didnt know what hit her! Two hours we were at it, I kid you not!
Like a stallion I was!

PANEL 4: Medium close up. The two of them are settled back into relaxed postures;
arms folded, with little smirks on their faces.

(5) Old Man: God bless Ezme-the-Wise eh?

(6) Will: God bless Ezme-the-Wise.

PANEL 5: Medium close up. The door at the back of the church has swung open.
Ezme stands in the doorway, bright sunlight beams in illuminating her from behind
almost angelically. Ike is operating the door. Ezme stares straight ahead, deadly
serious (she is looking at Godric, though he is obviously off panel). Will and the Old
Man are just in shot, along with a few other parishioners. All of them are looking at
Ezme and Ike.

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(7) Sound (door): Creeeaaaarrr

PANEL 6: OS of Godric. He has stopped his sermon to observe Ezme. He looks

extremely agitated, as the heavy door booms shut echoing through the rafters.
Practically all of the congregation are looking back at Ezme and Ike, who have now
begun walking up the aisle.

(8) Sound (door/ echo): Bom! Bom! Bom!

PANEL 7: OS of Will and Old Man. They both still have their arms folded. They are
looking at Ezme and Ike, as the pair progress through the church.

(9) Will: Speak of the devil.

PANEL 8: Medium close up. Ezme and Ike are sitting down next to Wyatt. They all
look made up to see each other. Wyatt is reaching out, attempting to hug Ezme. She
has an arm around the boy, as she is stooping down to sit. Puck watches them, smiling
- happy for his young friend. (Foreground) Glynnis looks like she is about to explode,
but bites her tongue. Instead she turns her cruel gaze to Ulric who does his best to
ignore her.

(10) Wyatt: Grandma!

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PANEL 1: OS of Godric. Godric is yelling, in a sudden explosion of rage. His words

echo loudly around the ceiling. The congregation are looking at him in shock. Ezme is
staring right back at Godric, with extreme disdain. Ike and Ezme are properly sat now.
Both Ulric and Ike are looking at Godric like they want to tear him apart. Glynnis, is the
only person in the church who now wears a very subtle and sly smirk.

(1) Godric: Are you finished!

(2) Sound (echo): Finished! Finished! Finished!

PANEL 2: OS of Ezme. All are facing Godric now in complete silence. Ezme is staring
furiously at Godric, she has an arm around Wyatt, her other hand is holding Wyatts
hand. Godric stares, and speaks, most belittlingly at Ezme. Ezme is fuming inside but,
for Ulrics sake, and for the company of Wyatt, she does not leave the service. Ike
follows her lead, and is sitting back.

(3) Godric: Now I will continue with the Lords great commandments - which clearly
some of you need reminding of!

PANEL 3: Long shot on Godric from the middle of the congregation. Godric has
returned his attention to the whole parish now, not just Ezme. He is now very
aggressive and loud in his delivery if he wasnt a fire and brimstone type of preacher
before, he is now. Nobody is daring to heckle Godric anymore.

(4) Godric: Honour thy father and thy mother: that thy days may be long upon the land
which the Lord thy God giveth thee

PANEL 4: Close up on Godric. He continues with his commanding rhetoric. He has a

hand raised, pointing in the air, for conviction.

(5) Godric: Thou shalt not kill!

PANEL 5: Close up on Ezme. Ezme is snapping back at Godric now, he has clearly
just struck a nerve in her.

(6) Ezme: That rules you out then!

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PANEL 6: Wide shot. Ezme is standing up and gesturing in emphasis now. Everyone
is turned to look at her. Godric looks exposed, infuriated and shocked.

(7) Ezme: I found him, poor little wolf-cub you butchered! Thats why the pack
attacked you! I should have let them finish you off!

PANEL 7: Medium distance shot on Ezme. Ezme, breathing heavily, and having said
her piece, sits down. There are murmurs and mumbling about the church in the wake of
the accusation. Ulric is subtly glancing back in her direction. Glynnis looks angrily
towards Ulric again. Hamlin actually looks quite amused by it all. Wyatt, Puck, and Ike,
all regard Ezme with supportive glances/ empathy.

PANEL 8: Close up on Ezme. She rubs her forehead and temple, with the fingers and
thumb of her right hand - hanging her head momentarily.

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PANEL 1: OS of Godric. Godric is fuming with Ezme, but continues to address the
congregation (even more aggressively now his head looks like it might pop).

(1) Godric: Thou shalt not commit adultery! Thou shalt not steal!

PANEL 2: OS of Ezme. She is stood up again, screaming at Godric. Her fists are
clenched at her sides, in agitation. Godric stands, silenced again, staring at Ezme

(2) Ezme: Give me back my knife then THIEF!

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PANEL 3: Medium close up. Ulric is turned around in his seat, pleading with Ezme
he is concerned about her more than anything. She is still stood, but is looking at Ulric.

(3) Ulric: Ezme, please Stop this.

PANEL 4: OS of Ulric. Ezme does not heed Ulrics warning. Instead she has stood up,
and promptly walked into the vestibule (or is it the nave? or Chancel?). Ezme is
pointing at Godric but addressing the whole congregation.

(4) Ezme: This friar is a hypocrite! He preaches to you now about the importance of
following Gods rules, yet he does not abide by them himself!

PANEL 5: OS of Godric. Godric is yelling at the crowd, trying to drown out Ezmes
presence with his booming voice. Though, Ezme just yells right back at him.

(5) Godric: Thou shalt not bear false witness against thy neighbour!

(6) Ezme: Thats rich coming from you!

PANEL 6: OS of Ezme. Ezme is turned to the parishioners now. Her left hand is
gesturing towards her heart, and she is pointing her other hand accusatorily towards
Godric again. She is yelling.

(7) Ezme: He accused me of being a witch!

PANEL 7: Close up on Millie and Frieda. The two women are sat together in the
congregation, staring curiously at what is happening at the front of the church. Notably
Millies rash has cleared up a lot.

(8) Millie: I thought she was a witch.

(9) Frieda: So did I.

PANEL 8: Close up, profile. Godric has stepped down from his pulpit, to square up to
Ezme directly. He does not have his walking stick. Godric is right up in Ezmes face,
yelling viciously Pointing right at her face/ head.

(10) Godric: You ARE a witch! And you WILL suffer like one, crone!

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PANEL 1: Medium distance shot from behind Ezme. Ezme has slapped Godric hard
across the face, at the accusation and insult. Godric is recoiling, wincing with the shock
and pain.

(1) Sound (hand/ face): Smack!

PANEL 2: Medium distance shot - profile. Godric is holding his face, righting himself,
panting, looking very angry indeed. Ezme stands staunchly, staring at Godric, bravely
awaiting his response. (Background) The nearby members of the congregation are in
view, looking absolutely shocked.

PANEL 3: Medium distance shot from behind Godric. Godric has viciously
backhanded Ezme, as hard as he can, across the face. His blow is so fierce that it has
taken Ezme off her feet, and she is currently spinning/ falling to the floor.

(2) Sound (knuckle/ cheekbone): Cunk!

PANEL 4: Medium close up on Wyatt. The boy is standing up in shock and concern for
his grandmother. He is yelling, reaching forward, scrambling from his seat, past his
father, to get to her.

(3) Wyatt: Grandma!

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PANEL 5: Medium close up. Ulric is leaning forward, attempting to stand up, wanting
to go and do something about the situation. At the same time, he is looking back at
Glynnis, who is digging her nails into his forearm, holding him back, in desperate

(4) Glynnis: Leave it!

PANEL 6: Medium close up. Wyatt is on his knees, helping Ezme to sit up. He has
tears in his eyes, and looks at her deeply concerned. Ezme is helping herself to sit up,
resting on her hand. A large area of her face has already gone bright red, where Godric
struck her.

(5) Wyatt: Grandma

(6) Ezme: Im okay love... Im okay.

PANEL 7: OS of Ezme, up angle. Ezme is still sitting, and is holding her bruised
cheekbone. She has turned to watch Wyatt, very bravely (for a 10 year old) squaring up
to Godric. Wyatt cant contain himself, he is standing, yelling at Godric, with absolute
ferocity. Godric is looking down at Wyatt, only a few feet away from him, in disbelief at
the youngsters bravado.

(7) Wyatt: You bastard! You hit my Grandma!

PANEL 8: Medium close up. Wyatt is booting Godric in the balls as hard as he can,
which is enough to knock all of the wind out of Godrics body. Godrics pain is obviously
compounded by the fact that his scrotum is far from healed, after the wolf attack just a
day or two earlier. Godrics face is a picture of agony.

(8) Sound (foot/ nuts): Foom!

(9) Godric: Ooofff!

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PANEL 1: Medium distance shot, profile. Godric is on his knees, trying to deal with the
pain. His head is hanging down, looking at his knees/ crotch. His left hand is covering
his manhood. His right hand is held out slightly, as if warning Wyatt to stay away from
him. Wyatt is stood just a few feet back from Godric, bravely keeping a protective
barrier between him and Ezme. (The scene mirrors that of when Ezme slapped Godric
earlier). (Background) The crowd are now cheering, obviously pretty impressed with
how Wyatt has stood up to Godric.

(1) Sound (crowd cheering): Wheyheeeeyyy!!!

PANEL 2: POV of Wyatt. Still catching his breath, just about recovering, Godric is now
looking directly into Wyatts eyes. He looks angry, aggressive, animalistic. Wyatt is
staring back bravely.

PANEL 3: Medium Close up. Godric has lurched forwards and punched Wyatt very
hard in side of the head. The blow has sent the boy flying and knocked him out cold.

(2) Sound (fist/ face): Bosh!

PANEL 4: POV/ OS of congregation. The crowd are jeering loudly at Godric, en masse.
He is stood up (getting to his feet), looking back at them scornfully. (Background) Wyatt
lays unconscious, splayed out, on the floor.

(3) Sound (congregation shouting): Heeeyyyy!!!

(4) Sound (congregation shouting): Boooooo!!!

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PANEL 5: Medium close up. Suddenly. Ike flies in from off-panel and slams into Godric
tackling him, taking him off his feet. Godric is in shock and pain, Ikes force is like a
freight train.

(5) Sound (shoulder/ chest): Poom!

PANEL 6: OS of Ike, down angle. Ike has slammed Godric heavily to the floor, and is
now pinning him down, straddling his chest, strangling him. Godric has turned red, and
looks scared, he is trying to reach up to stop Ike, but Ike is too strong for Godric.

(6) Anonymous parishioner (off panel): Go on Ike!

PANEL 7: Close up on Godric. Godric has now turned purple, and is desperately
struggling to get Ikes huge hands off his neck.

(7) Anonymous parishioner (off panel): Kill the bugger!

PANEL 8: Extreme close up. Godric is blue now, his eyes are disappearing into the top
of his head, he is about to die.

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PANEL 1: Medium close up. Ulric has grabbed Ike around the chest. He is dragging
Ike, off Godric, having to use all his might. Ike is on his feet now, though still crouched.
Ike has one hand, pulling at Ulrics forearm, and his other hand is reaching down,
stretching to get at Godric still. Godric is passed out briefly.

PANEL 2: Wide shot (from crowd, looking forward). Many of the congregation are now
stood up and several people have moved into the aisles for a better look at the action.
Godric is coughing and spluttering, pushing himself up off the floor, once again. Ike has
gone over to check on Ezme and Wyatt. Ezme is currently helping Wyatt to sit up and
recover, just like he did for her earlier. Ulric is standing in between Godric and Ezmes
family, with his arms outstretched, to ensure no further violence will take place. He
looks most concerned.

PANEL 3: OS of Godric. Godric has stood up now, he is gesturing towards Ezme,

Wyatt and Ike, but addressing the parishioners. Ulric is a short distance away, still
acting as a barrier, watching Godric like a hawk. The parishioners look angry, confused,
and generally unsure of what to do. Some are stood, some are in the aisles, some sit.

(1) Godric: This! ... This family are heretics! ...

PANEL 4: Close up on Godric. He is yelling, laying it on as thick as possible.

(2) Godric: Enemies of God!

PANEL 5: OS of Ulric. Ulric clearly wants to shut Godric up himself now, but Glynnis
has advanced to a position opposite him. Shielding Godric from her husband. She has
one hand pressed on Ulrics chest, and has raised the finger on her other hand, in a
gesture of defiance towards him. She is looking at him very sternly, urging him not to
interfere with the friar. Ulric stands fast, agitated, but heedful of his wifes warning.
Godric continues with his mad shouting, pointing in the direction of Ezme et al. as he

(3) Godric: As of now, they are all outlaws!

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PANEL 6: OS of Ezme, Ike and Wyatt. They are all stood up now. Keeping their
distance from Godric, watching Ulric, intensely. Ulric has turned to face them, and
glances at the three with concern and empathy. He is gesturing, very subtly - with his
hand, for them to leave. They are stood all together, very concerned about where this is
heading. Glynnis is stood behind Ulric, out to his side. She stares at them momentarily
too, though hers is a look of hatred and conceit.

(4) Ulric (mouthing the words): Go!

PANEL 7: Medium close up. Glynnis has turned her attention to Godric, so currently
has her back to Ulric, Ezme, Ike and Wyatt. Ulric is looking towards Ezme (off-panel)
mouthing words again. He is holding his arms out, in a protective gesture, to shield
their escape from Godric (and Glynnis). His expression is of urgency and grave

(5) Ulric (mouthing the words): GO, NOW!

PANEL 8: OS of Godric. Godric is spouting rhetoric at his parishioners, so taken in

with his own words, that he has failed to notice Ezme, Ike, and Wyatt sneaking off,
down a side aisle of the church. Most of the congregation can see what is going on, but
they remain silent, protective of their beloved Ezme, and her family. All eyes are on
Godric in fact, aprt from Hamlin, who watches Ezme, Ike and Wyatt departing, but is in a
dilemma as to what to do. (He wants to call them out, but he doesnt want to risk
antagonising his father).

(6) Godric: Anyone who assists them, anyone who stands in the way of the church, will
also suffer the heretics fate!

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PANEL 1: OS of Godric. Finally, Godric has noticed the three heretics just as they are
opening the back door of the church (where they came in earlier). He is pointing and
yelling at them in shock. Everyone else is looking where he is pointing, but none do as
he commands. Are there some soldiers on guard duty in the church?

(1) Godric: Stop them! Do not let those sinners leave!

PANEL 2: Close up on Godric, Profile. Godric has turned to face Ulric, he looks
angered and perplexed. (Background) Ulric is booming out in opposition to Godric. He
looks angered too, and is clearly at the end of his tether with this mad monk. Glynnis
has moved away from Ulric, closer to Godric now, but she has turned to look at her
husband a little shocked with him.

(2) Ulric: Do not stop them! They are free in this village. Let them go!

PANEL 3: Medium close up, profile of Ulric and Godric towards the pulpit. Ulric and
Godric have stepped close to each other. There is perhaps a one foot gap between
them. Ulric towers above the friar. They are practically snarling at each other, but both
are reluctant to strike given the situation and their social status. Plus Godric is a bit
scared of Ulric.

(3) Godric: Do not think yourself exempt from the Lords judgement Sir!

PANEL 4: POV of Ulric. Ulric has taken a pace back. Godric stares right at Ulric,
moodily, but somewhat smugly now. Glynnis is stood a little way behind Godric, to the
right of him (left as Ulric faces her). She is infuriated, and almost resembles a devil on
Godrics shoulder. There is a statue of an angel, in a strangely similar position behind
Godrics other shoulder, completing the metaphor. Glynnis is flushed with a mixture of
embarrassment and rage.

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(4) Glynnis: Ulric, you fool!

PANEL 5: OS of crowd. Glynnis and Godric are regarding Ulric with further contempt/
frustration. Somewhat cleverly, Ulric has backed away from Godric, and decided to
address the crowd. His arms are in the air, reverently ushering the parishioners to
leave (he is keenly aware, the exiting crowd will help mask Ezme, Ike and Wyatts
escape and indeed cause a hindrance to Godric, who may choose to pursue them
still). Ulric looks agitated nonetheless. (Foreground) The congregation are all up, and
have started leaving the chapel now.

(5) Ulric: Well what are you waiting for? The shows over! Go home!

PANEL 6: Wide shot. Most of the villagers are all up and shuffling out of the church
now. Ulric is following them out. He is looking back at Godric, a little triumphantly, but
also threateningly. Godric stares at Ulric with venom. Glynnis has fetched Godrics
stick for him, and is handing it to him. She is ignoring her husband, concentrating on
motivating Godric to get after his prey.

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PANEL 1: Exterior; Wicaston village. Medium distance shot, ground level, slight up
angle - afternoon. Looking at Ezme (middle), Wyatt (left), and Ike (right). Dark clouds
are creeping in over the village. Ike, Ezme and Wyatt are hurrying back towards their
cottage they walk very briskly. Ezme is the largest, most prominent person in the
picture. She looks very determined, marching hurriedly towards her home. Wyatt is
trotting to keep up with her, Ike is lagging a little way back. Ike is looking back towards

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the chapel. Wyatt, is looking at Ezme, most concerned. Ezme and Wyatt both have
nice bruises on their faces now. (Background) Villagers are pouring slowly from the
church. Ezme and her family have already managed to put a fair bit of distance
between themselves and the church however they are nearly home.

(1) Ezme: Come on, we have to hurry. That stupid friar isnt going to let this lie Lady
Glynnis neither for that matter.

PANEL 2: Interior, Ezmes cottage. Wide angle. Ike, Wyatt and Ezme each have a
bag and are busy gathering their belongings. They all wear cloaks, and look ready for a
long walk.

(2) Ezme: Meal ale

PANEL 3: Medium close up on Ezme. Ezme is shoving things into her bag, speaking,
hastily, matter-of-factly to her offspring.

(3) Ezme: Clothes, blankets, and flint for a fire thats enough. Anything else we need,
well have to find in the forest ... Are we ready?

PANEL 4: Medium close up. Ike and Wyatt have thrown their bags onto their shoulders,
and stand to attention, with their capes tied up, all ready to go. They both smile thinly/

PANEL 5: Medium close up. Ezme is peeking out, around the front door, carefully
checking the coast is clear.

PANEL 6: Exterior; Ezmes cottage, outside the front door looking towards the forest.
Wide angle. The three are exiting the cottage. Ezme is a little way up the path towards
the forest,and is beckoning for Ike and Wyatt to catch up to her. Wyatt is catching up to
Ezme, Ike is closing the front door.

(4) Ezme: Okay... were okay, lets go.

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PANEL 7: Medium distance shot. Ezme looks solemn and apprehensive. She is
followed by Wyatt, who is followed by Ike, as they venture in to the ever foreboding
mouth of the forest. (Background) Beyond the forest entrance, the quaint village of
Wicaston, is now looking very grim, under a dark overcast sky.

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PANEL 1: Exterior; Ezmes Cottage afternoon (overcast, grim). Wide shot, looking
towards the village. Thick, black clouds have formed in the village sky now, and rain
looks imminent. Godric has made his way up to Ezmes house (using his walking stick
for support) and is approaching the front door. (Background) Most of the villagers have
dispersed now, just one or two groups are scattered about the village in the far distance,
socialising/ gossiping.

PANEL 2: Medium close up. Godric is banging hard on the door with the butt of his fist.
He is yelling.

(1) Godric: Come out pagans! No sense delaying the inevitable!

(2) Sound (Fist/ door): Bom! Bom! Bom!

PANEL 3: Wide shot (facing the forest). Godric has stepped back from the cottage,
and, having heard no response from inside, is peering towards a window to the right of
the door. (Background) The path into the forest/ forest entrance, loom suspiciously.

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PANEL 4: Interior; Ezmes cottage. Medium close up. Godric is peering in through a
window, most suspiciously. Obviously, he sees that no one is at home.

PANEL 5: Exterior; Ezmes cottage. Wide angle. Godric has walked a way out onto
the grazing field in front of the house. He is looking towards the forest, towards the
cottage, and a little skyward also. He is bellowing, suspiciously half searching for his
victims still.

(3) Godric: Enemies of God! You cannot hide from your fate! ... Return home by
tomorrow and I will pray that the lord shows mercy on your wicked souls!

PANEL 6: Medium close up. Godric has shifted position like he is pottering around
the field as he continues with his loathsome rhetoric.

(4) Godric: If I do not find you at home tomorrow ... then ... then I will not pray for you!
And your souls will receive no mercy! ... No mercy on your ... on your
wicked souls

PANEL 7: Medium close up. Godric is no longer speaking, he stands, resting on his
staff. Godric is realising that he is probably just talking to himself, so the emotion and
momentum has fizzled out of his rant. (Foreground) A small gust of wind blows a leaf or
two across the scene.

PANEL 8: Exterior; forest. OS of Ezme, Ike and Wyatt. They are a good hundred
yards into the forest now. They are staring back down the dark forest path at the tiny
shadowy, and far distant, figure of Godric as he walks away back towards the chapel.

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