Damnation Road by Ricardo Serrano

Death Proof. Dir. Quentin Tarantino.

This story is about a car chase that ends in a hit-and-run with reality-bending consequences. It deals with the trauma of an exorcism, A Dr. Manhattan-esque female superhero character, and a time travel of sorts. A couple of things converged here for me to come up with this story. I had recently watched Vanishing Point, was thinking about Bullitt, Death Proof and The Exorcist, and had just finished reading Morrison's Pax Americana. Having all of these things running around in my head made me want to come up with something new; something that played with different, yet seemingly incompatible, story elements. This is my attempt at that.


Note: This is still a work in progress.

Damnation Road

By: Ricardo A. Serrano Denis

Page 1 (every panel in this page is horizontal)

Panel 1: Close up of our main character, Russell, driving away in a brown Dodge Charger that has seen better days. We see cop cars behind him. They are chasing Russell down an undetermined American city in the 1970s (which looks like San Francisco if you want to channel Bullitt). The chase sees Russell and the cops racing past intersections in a frantic manner, cutting through traffic. Russell has both hands on the steering wheel.

Russell VO: When I was 7 years old my brother was said to be possessed.

The Exorcist. Dir. William Friedkin.

Panel 2: Front shot of the cop car. Through the windshield we see two cops with their hats and sunglasses on, playing to the 1970s cliché.

Russell VO: My dad got our church’s pastor to come in, bless the house, eat our food, see to Jake. He even got his own room, the pastor.

Panel 3: Top down view of the city. The streets are busy and Russell is driving down them, evading cars. The cops are doing the same. Russell is nearing an intersection. From the left side of that intersection we see another brown dodge Charger, identical to Russell’s also swerving so as to prevent collision. The second Charger’s left side (the driver’s side) is all bent, as if some force grabbed onto the driver’s door and ripped it out violently. Hence, there’s no door on the driver’s side. We can see the driver somewhat here. He looks just like Russell, a double. He’s even dressed in the same clothes as him. His face is bloodied (his nose is broken—this will be explained later on).

Russell VO: I was to stay with Jake. My bed was already there and no one thought it necessary to move it out of the room. Jake was tied down to his bed. I guess everyone thought I was safe enough.

Panel 4: Now we see the second brown Charger coming out of the intersection and nearly hitting Russell’s car. We can better appreciate the extent of the second Charger’s body damage here, but not fully. Inside this panel is a smaller panel of Russell turning the steering wheel violently.

Page 2

Panel 1: This shot sees Russell’s car still speeding down the road while the second Charger speeds against traffic, heading straight for the cop car. Inside this panel is a smaller of panel of the Russell looking through the rearview mirror in a state of both confusion and shock as to what just happened.

Russell VO: My brother didn’t survive the exorcism.

Panel 2: Small panel of an extreme close up of the cop in the driver’s seat in utter shock as he sees the second Charger coming straight for him.

Panel 3: Small panel of the cop’s foot slamming on the break.

Panel 4: This is a big crash scene. Given the cop slammed on the breaks, the cop car swerved to its side. The second brown Charger is hitting the cop car hard, stopping on the cop car’s driver’s side. The scene is a mess of flying glass and twisted metal. Now we can more fully appreciate the second Charger’s damage (from before the crash—see page 1, panel 3). The driver’s door is missing. Now we get a better look at the driver (not his face). He looks like Russell.

Russell VO: The pastor buried Jake himself. All I did was bring the shovel, as I was asked to.

Panel 5: We’re inside the cop car. The cop in the driver’s seat is knocked out. He has shards of glass stuck to his face. There’s blood coming from the wounds. The cop is knocked out. The other cop, the one on the passenger’s seat looks like he got the wind knocked out of him, but he’s conscious.

Russell VO: I always resort to this memory when explaining how I got to this, not being an upright citizen, running away from the authorities. There’s really not much one can turn to after a thing like that.

Second Charger’s Driver (off panel): Please…

Page 3

Single page shot: We’re still inside the cop car, but now we’re looking from the passenger’s side perspective into the driver’s side and into the car that crashed into it. We see a man that looks exactly like Russell half out of the car through the windshield area (which has no glass), extending his hand towards the cops inside the car as if asking for help. The second Russell is dressed exactly like the first Russell and is identical. His face is bloody and his left arm looks damaged (the one he’s extending). His wounds are all a result from the crash. We see the conscious cop looking towards the second Russell.

Russell VO: I guess I was damned from the start.

Second Russell: …help me.

Page 4

Panel 1: This is a shot of the first Charger taking a sharp left turn into another street. It all looks very chaotic. Other cars are swerving out of Russell’s way.

Panel 2: Close-up of Russell’s eyes. Now he looks alerted, as if he’s about to be in a crash of his own. He’s seeing something in front of him that doesn’t make sense.

Russell VO: I didn’t believe in it at the time, my brother’s possession. It was like I resisted thinking something like that could happen to him. Perhaps whatever was inside him knew I wasn’t convinced. I think that’s what made it worse.

Bullitt. Dir. Peter Yates.

Panel 3 (there’s a lot of description here, but it’s mostly for context): We’re looking towards the front of the car through the windshield. The camera is in the backseat. We see Russell leaning over, trying to get a closer look. In the distance (not too far) we can make out a very strange female figure in the middle of the road fighting a big alien monster. The monster is a combination of green, red, and purple. It has sharp fangs and four horizontal rugged gashes that serve as its eyes. There’s a red glow underneath the gashes which communicate they are, in fact, eyes. The female figure has long black hair, silver skin, and what looks like a black and blue suit on. It really is more like a bodysuit that covers everything except her face and her hair. Her hands and feet are black. They are covered by the bodysuit as well and they fade into the blue of the suit to give the impression she has both boots and gloves on. Both her eyes are black but their pupils are silvery. She’s tall yet thin. Her body does not look alien. She has a human body that says superhero (something like a female version of Dr. Manhattan). We’ll keep referring to her as the Female Superhero from now on. In fact, she looks like a very powerful superhero. She has her arms raised as if she’s about to force blast the alien monster. There are cars littered about, presumably from the fight. There’s a fair amount of destruction around them. It’s a classic superhero vs. big alien fight scene.

Russell VO: He would stand on his bed as if held up by something, moving like a puppet. He would do this for hours, his mouth hanging open while his body twisted in impossible ways.

Panel 4: Now we focus on the Female Superhero. She’s still in the middle of the street fighting the monster. The monster has thrown a punch and she seems to have stopped it with some kind of telekinetic force. The monster looks in pain.

Russell VO: And yet, I remember looking for strings thinking it was the pastor behind it all.

Page 5

Panel 1: This is a small panel of Russell slamming on the breaks, putting his whole body into it. He’s moving the steering wheel to his right (which means the car will shift towards the driver’s side).

Panel 2: Side-shot of the Female Superhero, looking calm, breaking the monster’s bones with telekinetic force. She’s giving the fight her full attention. This means she doesn’t see the Charger skidding towards her, driver’s side first (which we can see in the background). We can see the smoke coming out of the tires as they try to break so as not to hit her. The car is quite close now.

Russell VO: But then one day his bones started to break, all at once. No amount of strings could’ve done that. No amount of strength. I knew that whatever it was killing my brother…

Page 6

Panel 1: Close up of the Female Superhero looking over her shoulder at the Charger. She looks indifferent. She’s not alarmed or scared. She’s observing.

Russell VO: …it wasn’t human.
 

Dr. Manhattan by Paul Pope.

Panel 2: This is another huge crash scene. But this one’s weirder than the one before. The Charger is hitting the Female Superhero. She’s hit hard but she manages to grab hold of the car’s door, her body crashing against it, shattering its window. This creates an invisible shockwave of force (the scene looking all the more chaotic because of it). Glass is flying everywhere. We see Russell has a painful expression on his face. He’s gripping the steering wheel hard.

Panel 3: Side-shot of the Female Superhero flying backwards from the impact. She’s still gripping the Charger’s door with her hand. She ripped it off as she flew back.

Page 7

Panel 1: We see the Female Superhero’s body digging itself into the asphalt as she reels back from the impact. In her wake, the breaking of the street, reality is turning into smaller panels containing pieces of the scenery (the image is that of the broken asphalt actually producing the initial breaking of the panels). The shockwave that produced from the hit shifted reality, unglued it. Reality is breaking up into small panels because of it. The panels float upward as the break up. This will be standard motion of them. They float upwards, trailing away from each other, revealing a black space underneath them.

Panel 2: Front shot of Russell looking towards where the Female Superhero has finally landed. He’s wide-eyed and his mouth is hanging open. He’s horrified. Remember, the driver’s door is missing.

Russell: Oh fuck...

Panel 3: We see the Female Superhero trying to get up, almost on all fours (she will be on her knees in the next panel). The Charger’s door is lying next to her. We can see Russell looking towards her in the background. We can better appreciate the damage she has left in her wake. And we can see reality splintering into more panels. (This effect can also affect the comic’s panels as well. The panel’s edges, more specifically, can account for reality breaking up, getting lost in the black underneath them.)

Panel 4: We see the Female Superhero on her knees, still on the same part of the street where she finally landed, looking over her shoulder at reality breaking up into small panels. She looks worried.

Female Superhero: No…

Panel 5: This a first-person shot of the Female Superhero looking at her hands as they break up into smaller panels. There are drifting apart, revealing a dark space underneath them. The black in between panels can best be described as the panel’s gutter, if you will. The black is really just reality in its purest form, reality unveiled.

Female Superhero: What did you do?

Page 8

We3. By Grant Morrison and Frank Quitely.

Single-page shot: Now we see the Female Superhero fully fragmented. She’s screaming. Breaking up into small panels hurts. Everything around her is breaking up as well, revealing the black underneath. We see Russell in the background still looking at her. The breaking up of reality is progressing towards Russell.

Female Superhero (the speech bubble is also breaking up into smaller panels): AAAAHHHHH!!!

Page 9

Panel 1: Over the shoulder shot of Russell looking at the broken monster lying on the street. He’s breaking up now, fragmenting as well. The monster is already dead. The street is going through the motions as well.

Panel 2: Close-up of one of the Charger’s front tires fragmenting into panels.

Panel 3: Front shot of the car, focusing on the hood, as it also breaks up into panels. We see Russell inside the car taking everything in.

Panel 4: This is a fragmented first-person view of Russell’s hands, which are gripping the steering wheel. Everything is already broken up into panels. Everything is unstuck and the black in between the panels is absorbing everything up.

Russell (the speech is also fragmented): AAAAAAHHHHHH!!!

Panel 5: Black panel.

Page 10 (Series of horizontal panels)

Panel 1: Black panel.

Panel 2: This shot resembles panel 4 from the last page (first-person view of Russell gripping the steering wheel). But now we see, from inside the car, we’re in the middle of a cornfield. The image is split into an 8-panel grid. When taken in fully, it looks like Russell’s Charger is putting itself back together in the middle of a cornfield. We only see cornstalks and blue sky ahead.

Panel 3: Front shot of Russell inside the car. His head is slumped and he’s still grabbing the steering wheel. But he isn’t fully formed just yet. There are certain details missing. We see very small panels dropping into him, making him up (the top of his head, his forearms, small sections of his shoulders, the steering wheel, the driver’s seat).

Panel 4: We zoom in on the back of Russell’s head as a final, very small panel is falling in place, making him complete.

Panel 5: Russell wakes up with a start, as if given life all of a sudden. He’s wide awake. We see more cornstalks behind him. He’s surrounded by them.

Page 11

Panel 1: Russell looks around, taking in the cornfield.

Panel 2: Now we see Russell halfway out of the car (one leg out of the car, the other still in it). Remember, the driver’s door is missing. Russell is looking around, trying to figure out where he’s at. He’s surrounded by cornstalks.

Panel 3: Russell is now fully out of the car, standing in the middle of a cornfield. He’s confused, trying to figure out where he’s at, how he got there.

Panel 4: Shot of Russell walking into the cornstalks. But there’s nothing but more cornstalks in front of him.

Panel 5: Russell looks to his side trying to see if there’s an end to the field.

Panel 6: Shot of what Russell has in his line of sight: more cornstalks.

Page 12

Panel 1: Russell comes back to his car. He’s in front of it.

Panel 2: Russell is climbing the hood of the car.

Panel 3: Close-up of Russell looking forward, wide-eyed again. He’s seen something. He suddenly knows where he is. We only see blue sky in the background.

Russell: No…

Panel 4: Big panel of Russell standing on top of his car looking towards a big two-story wooden house with a decayed pickup truck parked in front of it. There’s a big crooked tree in front of the house, overlooking the porch, with a single tire swing hanging from it. The car is parked next to it. There’s grass coming out of the truck, from under the hood. The truck’s tires are all blown out. The house itself is in an advanced state of decay. Its front door is off its hinges, the windows are broken, and the wood is rotten. It looks grey, a dead house. This is Russell’s childhood home, a house that contains the history of an exorcism within it, a house touched by death.

Russell: …it can’t be.

Interstellar. Dir. Christopher Nolan.

Page 13

Panel 1: We see Russell coming out of the cornfield and into the house’s front yard (which is unkempt). The shot comes from the porch. This means we can see the broken down truck and part of the crooked tree in the scene.

Panel 2: This shot comes from inside the broken down truck. We see Russell standing closer to the house, looking at it, taking it in. Everything is busted inside the truck, rotted. The seats are all wasted, the dashboard is cracked, and the windows are dirty. We just barely see Russell.

Panel 3: We see Russell standing in the doorway, looking inside the house. The shot comes from the front lawn. Russell is giving his back to the camera.

Panel 4: Same shot as above but from inside the house. Russell is standing in the doorway. From inside we see a very badly decayed living room with dust and cobwebs everywhere (exaggeratedly so). The floors inside the house are wooden as well, and they also look very decayed. We see an old 1960s TV with a cracked screen, broken down furniture, and a big couch that is all torn up. This is a dead house. There are windows in the living room and sunlight is seeping through them, lighting the space up. We see a flight of stairs that lead to the second floor. Beside it is a table with picture frames on it. The shot can come from inside the living room.

Panel 5: Shot of Russell’s right foot just about to touch the floor inside.

Page 14

Panel 1: We see Russell’s step has broken the part of the floor he stepped on and his right leg has fallen through the hole. This is a 2D shot. We see Russell’s foot is dangling in outer space, the kind with stars and galaxiesll’s foot is dangling in a. In other words, outer space is below the house and it looks busy (nebulas, galaxies, stars, maybe a black hole). The living room and the front door entrance count for the top part of the panel.

Panel 2: Russell is lying on the floor, his leg out of the hole, looking at the damage he’s caused by stepping inside the house.

Panel 3: Russell looks down the hole and sees everything. This can be a top down shot of Russell looking down the hole.

Panel 4: We invert the shot so we see Russell looking in disbelief, space’s light shining on his face.

Panel 5: Close up of the edge of the hole in the floor. We see Russell’s hands on the edge and a new crack in the wood. This means the floor is breaking up. Light is coming from the crack.

SFX: CRACK

Page 15

Panel 1: We see the Female Superhero bursting out of the hole, breaking up more of the floor in the process. Russell’s falls back. The Female Superhero has her back to the camera. It looks violent show of force.

Russell: What the f--

Panel 2: Close-up of the Female Superhero’s eyes. They express a very intense sense of anger.

Female Superhero: Hello, Russell.

Panel 3: We see Russell struggling to get to the stairs. The Female Superhero is getting out of the hole. She’s floor is breaking up badly because of this. We can see bits of space in between the cracks.

Russell: Get away from me!

Female Superhero: Can’t say I’m surprised at your reaction.

Panel 3: We see Russell running up the stairs. The Female Superhero is now standing in a piece of the wooden floor that seems to floating above space. A lot of the floor has broken, revealing even more of what lies below it. She is looking towards Russell.

Female Superhero: Looks like running away comes naturally to you.

Panel 4: We’re in the second floor, a hallway with one door on its left side and two on its right. We see Russell looking to the door on the left.

Panel 5: We see Russell opening the door he was looking at as the Female Superhero gets to the top of the stairs. She looks calm, composed. She’s taking her time. Behind her we see the walls are cracking up as well, revealing more of the space underneath.

Female Superhero: Left door, Russell. And don’t forget to stand back.

Page 16

Panel 1: Russell is inside the room behind the door. He’s resting his head on the door he just shut. This can be side shot that shows a bit more of the room he’s in. It looks like a child’s room. There are two beds in the room. There are toys scattered around. This room does not look decayed. And yet, it feels like a sick place, devoid of childhood innocence. There is someone lying on the bed closest to him.

Panel 2: Same shot with Russell looking at the bed next him. He sees his brother lying in it, sleeping. He’s face up.

Russell: Jake?

Panel 3: The Female Superhero kicks in the door, sending Russell flying back with it. This can be another 2D shot. The door breaks apart given the force of the kick. The second bed is behind. Russell is flying straight to it. He will hit the wall though, landing on the bed (see next panel).

Panel 4: Russell has hit the wall behind him, landing him on the bed. He’s getting up while pushing what remains of the door off of him. His nose is broken and he’s bleeding quite profusely from it.

Female Superhero (off-panel): I did warn you…

Panel 5: Shot of Russell looking at the Female Superhero who is standing on the broken doorway.

Female Superhero: …didn’t I?


Page 17

Panel 1: The Female Superhero walks closer to Russell. Russell hugs the wall behind. He’s still in his bed.

Russell: You did this!? You brought me here!?

Female Superhero: Oh, this was all your doing. Just you.

Panel 2: Close-up of the Female Superhero’s hand grabbing Russell by the neck.

Female Superhero: And before you go thinking you’re dead or in a coma in a hospital somewhere, let me assure you...

Panel 3: Close-up of the Female Superhero looking Russell. She has raised him by the neck and brought him closer to her. They are looking at each other face to face.

Female Superhero: …you’re not dead, Russell. Far from it. In fact…

Panel 4: The Female Superhero is throwing Russell back on the bed, hard.

Female Superhero: …let me show you just how alive you truly are.

Panel 5: The Female Superhero is now moving to Jake’s bed. Russell is in his bed, terrified.

Russell: I don’t understand. What are you doing? How the fuck did I get here!?

Female Superhero: Do you not recognize this place? Is your memory that unreliable? You must have a long history of repression.

Page 18

Panel 1: The Female Superhero is standing in front of Jake’s bed. Her arm is raised towards him, making Jake levitate. She’s going to stand him up in his bed in this sequence. He will look like string-less puppet.

Female Superhero: This is the place you will come back to when explaining how it is you got lost in your ways. Your brother’s possession. You’ll blame this for everything.

Panel 2: Wider shot where we see the Female Superhero levitating Jake while Russell looks on in fear and confusion.

The Exorcist.

Female Superhero: Now pay attention, Russell. I want you to remember this.

Panel 3: Back-shot of the Female Superhero still levitating Jake. He’s upright at the moment. His body is limp.

Female Superhero: You’ll blame the pastor at first, the one who stayed in your house, ate at your dinner table, saw to your brother. You’ll see him as a manipulator, a puppeteer, if you will. The metaphor fits well enough. That is…

Panel 4: We see the Female Superhero arm is still extended, but her and is in a different pose, as if manipulating something. Jake is now being twisted in near impossible ways. The Female Superhero is stretching him to his limits. Jake is unconscious through all this.

Female Superhero: …until your brother started getting his bones broken. Too vulgar a display of power for a man in his position, don’t you agree? I hope you appreciate the complexity in all of this. Speaking about things in future tense comes with its challenges, especially when you want them to leave a scar. This next part's important. You get to decide now. Your brother’s bones, did they break one at a time or all at once?

Panel 5: Close-up of Jake’s eyes. They are closed.

Female Superhero (off-panel): Let’s wake him up for this.

Page 19

Panel 1: Same shot but with Jake’s eyes open. They express pain.

Jake: Russell, help me.

Panel 2: Side-shot of Russell screaming at the Female Superhero from his bed. The camera is opposite Russell. This means we can see the Female Superhero twisting Russell into different positions, torturing him.

Russell: Please! Don’t do this. Leave my brother alone!

Female Superhero: I’ll take your begging as a sign of indecision. And here I thought you were going to be capable of doing this. Here’s to your memory.

Jake: Stop! It hurts!

Panel 3: Big panel of the Female Superhero breaking all of Jake’s bones all at once. Jake’s body is a mess here. It’s not too gory, though. I think the scene works better if we keep bone protrusions to a minimum. If you have a better way of doing this, go for it. The Female Superhero is looking at Jake. Russell is the embodiment of being terrified here. He’s hugging the wall tightly.

Jake: AAAAHHHHH!!!!!!

Page 20

Panel 1: Russell is sitting in his bed. He looks numb. The Female superhero is walking towards him now. Jake is a mess of broken bones on his bed.

Russell: Oh god, no.

Panel 2: Side-shot of the Female Superhero meeting Russell face to face. She wants the point to come across strongly here. Russell, sitting down on his bed, is looking at her, meeting her gaze.

Female Superhero: Not God, Russell. Just something different. Although, it could be argued we’re both given to reacting quite strongly when displeased.

Russell: Displeased? I fucking displeased you!? All of this, because--

Female Superhero: --you interrupted me, Russell. Plain and simple. You intervened in my fight, in something that didn’t concern you. And then you insulted me by dragging me down into your memories…memories I have no interest in. There’s a consequence to that, regardless of your original intentions...not that they were very innocent. After all, you were being chased. Consider this my own version of public service.

Panel 3: Female Superhero is now standing upright. We take the whole room now (Jake broken on his bed, the Female Superhero taking in what she has just done, Russell on his bed). The room is breaking up, though. Space is finally consuming the house and everything in it. The Female Superhero is looking the cracks, at reality breaking up again.

Female Superhero: I’ve left enough blank spaces here for you to fill up. Whether your brother was tied down to the bed or not, if he was buried afterwards, etc. Those details are not for me to give. They are for you to remember, for you to own.

Page 21

Panel 1: The Female Superhero is walking away, towards the broken doorway. Beyond the doorway we see the walls are really breaking up, revealing the space beyond. But everything looks unstable in that space. Stars are exploding and planets are breaking apart.

Female Superhero: This isn't something you're allowed to forget. Not that you will. You see, that’s the thing with memories. They’re only truly reliable when it comes to pain.

Panel 2: The Female Superhero walks to the room’s broken doorway. She’s looking back, over her shoulder, towards Russell. Everything is mostly space now. We see the exploding stars, broken galaxies and broken planets to a much larger extent.

Female Superhero: Welcome to your damnation.

Page 22

Panel 1: We focus on Russell sitting on his bed as the room falls apart around him. He’s staring at the floor, numb.

Panel 2: Same shot of reality breaking up again. Everything is turning into smaller panels but not exaggeratedly so.

Panel 3: Same shot of reality really broken up. Everything is almost black now.

Panel 4: Black panel.

Page 23

Panel 1: Black panel.

Panel 2: We’re inside the Charger again and we’re looking at the road ahead. The Charger is going fast. We can see Russell’s hands on the steering wheel (implying this is a first person shot). In the distance we see the original Charger running away from the police. This panel’s image is divided up into an eight-panel grid. It resembles the panel structure of the cornfield shot (when reality makes itself up again after Russell hits the superhero).

Panel 3: Same shot but the image is now complete and we are much closer to the original Charger, very close to a crash.

Panel 4: We back come to the scene in the opening sequence where the two Russell’s avoid crashing into each other.

Death Proof.

Panel 5: Top down view of the second Russell speeding into the cop car that’s in front of him. The cop car is swerving to its side. We already know this results in a crash.

Page 24

Panel 1: We’re at the crash scene. We see the cops have cordoned the area and the paramedics have arrived. Everything looks very chaotic. Cops walking back and forth, other patrol cars, the ambulance, people looking in at the scene. In the midst of all this we see two paramedics are wheeling Russell into the ambulance. The one leading him into the ambulance is older.

Paramedic #1: Is he conscious?

Older Paramedic: Barely.

Panel 2: Shot of three police officers standing next to Russell’s Charger (the part that’s missing the driver’s door). We see a fourth police officer running up to them while yelling something.

Running Cop: Hey! Ms. Genesis is fighting an alien monster or something on 23rd street!

Cop #2: Holy shit! Let’s go. I’ve never been able to see her in action. Heard she really likes to fuck them up.

Panel 3: We’re inside the ambulance as one of the paramedics is closing the back doors. The older paramedic is sitting with Russell in the back.

Older Paramedic (the one that’s sitting with Russell): You screwed up bad, son. What possessed you to do such a thing?

Russell: I can’t...really remember much. <cough>. Just the crash.

Panel 4: We see the paramedic shining a light on Russell’s eyes. This can be a first-person perspective of Russell looking at the light the paramedic is shining down on him.

Older Paramedic: Yeah, that’ll stick with ya. Anything else? Keep talking to me.

Panel 5: The same shot but with an inverted perspective. Now we’re looking from the top down as the doctor is shining his light on Russell’s other eye.

Russell: My brother...

Older Paramedic: What about him?

Panel 6: Side-shot of the Older Paramedic checking Russell’s pulse. Russell is just looking up. He’s remembering.

Russell: When I was 7 years old...my brother was said to be possessed.