BPG Original Linear Issue #2

PAGE ONE (five panels)

 

Panel 1. The panel is black.

 

1 KYLE (narration box)                     I DIDN'T KNOW WHERE I WAS.  I COULDN'T REMEMBER WHAT HAPPENED.

 

Panel 2. The scene is of a hospital room from the point of view of someone laying in a hospital bed.  The vision is blurred slightly though.

 

1 KYLE (narration box)                     THEN THINGS STARTED TO COME BACK TO ME.  MEMORIES.

 

Panel 3. The panel has a blue color mask/tint.  KYLE is falling down the stone stairs in the park from the previous issue.  He is rolling down the stairs.  His bike is bouncing behind him.

 

1 KYLE (narration box)                     THEN SENSATIONS STARTED TO COME BACK TO ME.  MOSTLY PAIN.

 

Panel 4. The panel is tinted blue again.  KYLE is at the bottom of the stairs.  The view is a close up on his upper body.  He is bleeding from the nose and from a cut on his forhead.  His arm is bent in an unnatural, more than likely broken, way.

 

1 KYLE (narration box)                     THAT'S WHEN I STARTED TO CRY.

 

Panel 5. The panel is tinted blue again.  It is the same angle as the previous panel.  The bike has landed on KYLE.  He is knocked unconscious by this. 

 

1 KYLE (narration box)                     THAT'S WHEN I REALIZED THAT I WASN'T DEAD.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE TWO (one panel)

 

Panel 1. KYLE is laying in a hospital bed.  He has a bandage on his forehead, a black eye, and his arm is in a cast.  A tear is falling from his eye, but his face has a blank stare on it.

 

1 KYLE (narration box)                     THAT'S WHEN I STARTED WISHING I HAD DIED.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE THREE (five panels)

 

Panel 1.  The angle is from the left side of KYLE.  KYLE'S head is turned to the side.  His mother(KAREN) is sitting in a chair with her face in her hands.

 

1 KYLE: MOM.

 

Panel 2. Close up on KAREN'S face.  Her make-up is streaming down her face from tears.  She looks slightly surprised.  No Dialogue.

 

Panel 3. KAREN has her hand on the back of KYLE'S head.  New tears are coming from her eyes.

 

1 KAREN:                                          HONEY, OH MY GOD.  WE THOUGHT YOU MIGHT NOT WAKE UP.  YOU HAD QUITE AN ACCIDENT.

 

Panel 4. Close-up on KYLE.  He is looking forward.  He looks frustrated.

 

1 KYLE:                                             IT WASN'T A ACCIDENT. 

 

Panel 5.  KAREN is standing over KYLE'S bed now.  She looks angry.  Her fists are balled up.

 

1 KAREN:                                          THOSE LITTLE BASTARDS ARE GOIN' TO JUVIE THIS TIME.  I PROMISE, HONEY.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE FOUR (Five panels)

 

Panel 1. A police officer is standing in front of KYLE'S hospital bed writing notes on a pad.

 

1 KYLE (narration box)                     I TOLD THEM WHAT HAPPENED.  I KNEW THIS WASN'T GOING TO ACCOMPLISH ANYTHING AT THE TIME. 

 

Panel 2.  IRENE and KEVIN are sitting on the other side of the room now.  The police officer is slightly in frame.

 

1 KYLE (narration box)                     NICK'S FATHER WAS GOING TO COVER FOR HIM.  EVEN FOR A THIRTEEN YEAR OLD THERE WERE THINGS I KNEW THAT COULD PROVE MY STORY.

 

Panel 3.  The police officer was leaving the room.  The angle is from above the room.

 

1 KYLE (narration box)                     I COULDN' T REMEMBER IF I SAW ANYONE DRIVING AROUND OR WALKING BY.  HOW COULD THERE NOT BE?  WAS I THAT UNLUCKY?

 

Panel 4.  The officer is walking back in.

 

1 KYLE (narration box)                     WHEN THE COP RETURNED AN HOUR LATER AND SAID THAT NICK AND THE OTHERS WERE PLAYING BASEBALL AT HIS FATHER'S HOUSE AT THAT TIME.  I WISH I COULD SAY I WAS SURPRISED.

 

Panel 5. The angle is from the front of the bed.  KYLE, KAREN, IRENE, and KEVIN are all in the frame.  KAREN, IRENE, and KEVIN are looking at the ground.  KYLE is looking directly into frame.

 

1 KYLE (narration box)                     DISAPPOINTED, BUT NOT SURPRISED.

 

 

 

 

 

 

PAGE FIVE (six panels)

 

Panel 1. IRENE is sitting on the floor looking up at KYLE.

 

1 IRENE:                                            ‘ONE OF THE BOYS BROKE HIS ARM, SLIDING HOME AND IS HERE IN THE HOSPITAL', WHAT AN ASSH*LE.

 

2 KEVIN (off panel) Irene.

 

Panel 2. KYLE and IRENE are looking at KEVIN, who is sitting in a chair.

 

1 IRENE:                                            HE TOLD KYLE THAT THE BUMP ON THE HEAD MUST HAVE CONFUSED HIM.  CONDESCENDING DOUCHE-BAG.

 

2 KEVIN:                                           LOOKS LIKE YOUR HONORS ENGLISH ISN'T A WASTE AT LEAST.

 

Panel 3. Close-up on KYLE.

 

1 KYLE:                                             JOSH IS HERE IN THE HOSPITAL.  I'M GLAD HE GOT WHAT HE DESERVED FOR CHASING ME.

 

Panel 4. Close up on KAREN.

 

1 KAREN:                                          DON'T THINK LIKE THAT, HONEY.  WHAT YOU DID WAS SELF DEFENSE.

 

Panel 5. The angle is above everyone in the room.

 

1 KAREN:                                          REVENGE HURTS YOU AS MUCH AS IT HURTS THEM.  YOU AREN'T LIKE THEM.  DON'T LET THOSE BASTARDS CHANGE THAT.

 

Panel 6.  Close-up on KYLE.

(Continued)

1 KYLE (narration box)                     MOM. 

(new box)                                            SHE ALWAYS KNEW HOW TO MAKE ME FEEL SPECIAL.  SHE ALWAYS MADE ME FEEL BETTER.

 

 

 

 

PAGE SIX (five panels)

 

Panel 1. A dark figure is walking down the hall.  His arm is in a sling and he is in a patient's gown.

 

1 KYLE (narration box)                     THAT NIGHT I HAD TWO VISITORS.

 

Panel 2. JOSH is standing in the doorway looking at KYLE.  No dialogue.

 

Panel 3. KYLE'S eyes drift open.

 

1 KYLE:                                             THE HELL?

 

Panel 4. A close-up on Josh's face.  His eyes are full of scorn and hate.

 

1 JOSH:                                              YOUR MOM STEPPED OUT.  I WAITED FOR A HOUR FOR THE BITCH TO LEAVE.

 

Panel 5. KYLE is sitting up.  He looks slightly scared, but trying to be brave.

 

1 KYLE:                                             WHY ARE YOU HERE?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE SEVEN (eight panels)

 

Panel 1. JOSH from the waist up is shown.  His arm is in a sling.

 

1 JOSH:                                              NICK'S DAD.  HE SAID THAT YOU'RE OFF LIMITS.  THAT WE GOTTA LEAVE YOU ALONE.

 

Panel 2. Close-up on JOSH from the right side of his face.  He's looking down slightly.

 

1 JOSH:                                              I'M NOT.  I'M NOT DROPPING THIS.  I'LL GET YOU BACK FOR THIS.  I SWEAR.  I CAN'T PLAY THE REST OF THE FOOTBALL SEASON 'CAUSE OF THIS.

 

Panel 3. Close-up on KYLE.

 

1 KYLE:                                             CRY ABOUT IT THEN.

 

Panel 4. Full body shot of Josh stepping forward.

 

1 JOSH:                                                          WHAT THE F*CK DID YOU SAY TO ME?

 

Panel 5. The shot is of JOSH from behind.  A hand is laid on his shoulder.  No dialogue.

 

Panel 6. JOSH is looking over his shoulder right at AL.  AL is smiling.

 

1 AL:                                                   HE SAID CRY ABOUT IT.

 

Panel 7.  The shot is of AL and JOSH from the side.  AL is punching JOSH in the stomach. No dialogue.

 

Panel 8. AL throws JOSH to the side.  JOSH is falling with one foot barely on the ground.

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE EIGHT (five panels)

 

Panel 1. JOSH is scambling away with AL watching from the background (with JOSH in the foreground).

 

1 KYLE (narration box)                     JOSH DIDN'T SAY ANYTHING.  HE JUST RAN BACK TO HIS ROOM.  I SAW HOW MUCH OF A COWARD HE WAS.  IF THE DECK WAS STACKED IN HIS FAVOR. IF HE WAS STRONGER.  HE FELT LIKE A GOD.

 

Panel 2. AL is sitting down in KYLE's room.

 

1 AL:                                                   SORRY I'M LATE, IT’S LIKE TEN OR SOMETHING.  SORRY, MY DAD SAID I HAD TO GO TO SOME FAMILY FUNCTION FOR HIS COMPANY.  IT WAS LIKE TWO HOURS AWAY.  I DIDN'T EVEN KNOW ABOUT THIS UNTIL I WAS THERE. 

 

2 KYLE:                                             IT'S FINE.

 

3 AL:                                                   MY DAD SAW YOUR MOM IN THE HALL AROUND THE CORNER.  THEY'RE TALKING ABOUT SOMETHING.

 

 

Panel 3.  Close-up on KYLE laying back in his bed closing his eyes.

 

1 KYLE:                                             THANKS FOR THAT. 

 

2 AL:                                                   HE HAS A BUSTED ARM. I FEEL A LITTLE BAD. IMAGINE THAT.

 

1 KYLE:                                             HE DOESN'T DESERVE OUR PITY. 

 

Panel 4. Close-up on AL.

 

1 AL:                                                   HE'S NOT GONNA TOUCH YOU.  I WON'T LET HIM OR ANY OF 'EM.  I SWEAR.  NOT AFTER THIS.

 

Panel 5.  Far away shot from above of both AL and KYLE.

 

1 KYLE (narration box)                     I BELIEVED HIM.  I STILL BELIEVE HE MEANT WHAT HE SAID, BUT NEITHER OF US COULD HAVE KNOWN WHAT CAME NEXT.

 

 

PAGE NINE (six panels)

 

Panel 1. NICK is standing in his living room.  Its large and there is a fireplace behind him.  The room has a warm feeling to it in terms of coloring.  NICK'S Father MAYOR RUDOLPH VYLE is in the room pacing in circles. No dialogue.

 

Panel 2.  Close up on NICK.  His nose is bleeding and he's crying.  He is still standing at attention like a soldier.

 

1 RUDOLPH:                                     THIS COULD HAVE BEEN A GREAT EMBARRASSMENT TO ME, BOY.  I'M THINKING ABOUT A RUN AT GOVENOR IN SIX OR SO YEARS.  THIS COULD HAVE DONE ME IN.

 

2 NICK:                                              I'M SORR...

 

Panel 3. RUDOLPH'S hand is swiping across NICK'S face.  No dialogue.

 

Panel 4. Far away shot.  NICK is on his hands and knees.

 

RUDOLPH:                                        GO TO YOUR ROOM YOU F*CKING DISAPPOINTMENT.

 

Panel 5. NICK walks to the right of the panel and RUDOLPH walks to the left.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE TEN (eight panels)

 

Panel 1.

RUDOLPH walks into an office like room where another man is sitting.  The man is JOSH'S father DR. GEORGE CONRIGHT.

 

1 DR. CONRIGHT:                           NOW THAT YOU'RE FINISHED WITH YOUR SON.

 

2 RUDOLPH:                                     DISAPPROVAL?

 

1 CONRIGHT:                                   NONE OF MY BUSINESS EITHER WAY.

 

Panel 2. Close-up on CONRIGHT lighting up a cigar.

 

1 CONRIGHT:                                   SO, WHY DID YOU CALL ME HERE?  TO SEE IF I'M GOING TO KEEP UP MY SIDE OF THE STORY?

 

1 RUDOLPH:                                     NO.  I'M SURE OF YOUR LOYALTY ON THAT PART.  I NEED SOMETHING ELSE FROM YOU.

 

Panel 3. Close-up on RUDOLPH with a glass of scotch held up to his face.

 

1 RUDOLPH:                                     SOMETHING FAR MORE SERIOUS.  YOU HEARD OF MY THOUGHTS ON RUNNING FOR GOVENOR.  THE GOP EXPECTS ME TO HAVE NO SNAGS IN MY MARCH TO THE GOVENORSHIP.

 

Panel 4.  Side shot of RUDOLPH standing and CONRIGHT sitting.

 

1 RUDOLPH:                                     IN FACT I'M GOING TO SECURE MY IMAGE AS A LOW CRIME, SMALL TOWN MAYOR.  I NEED TO KNOW YOU'RE GAME FOR WHATEVER I NEED YOU FOR.  YOUR SON BREAKING HIS ARM IS OF NO CONSEQUENCE IN YOUR LOYALTY SO I'M ASSUMING YOU WILL GO FURTHER.

 

Panel 5.  Close-up on CONRIGHT.  He looks worried at this point.

 

1 CONRIGHT:                                   HOW MUCH FURTHER?

(more)

2 RUDOLPH:                                     I'VE MADE A DEAL WITH A GROUP THAT WILL IN TURN DO FAVORS FOR ME.  A GROUP THAT ISN'T QUITE MAINSTREAM AND WHO’S ASSOCIATION WITH ME WILL BE KEPT QUITE SECRET.

 

 

Panel 6.  Same as before.

 

1 CONRIGHT:                                   ARE YOU TALKING ABOUT THE SPADES?  I... THEY’RE LIKE THE MAFIA.  MOST PEOPLE THINK THEY DON'T EVEN EXIST.

 

2 RUDOLPH:                                     WHICH IS WHY THIS WILL WORK.  WHICH IS WHY I CAN USE THEM.  OF COURSE IF THINGS GO WRONG WITH OUR DEALINGS, I NEED THE CORONER OF OUR TOWN TO SPIN WHATEVER STORY I SEE FIT.

 

Panel 7. Above shot of both men.  CONRIGHT has gotten up and is pacing.

 

1 CONRIGHT:                                   THIS IS BIGGER THAN... I'M SHOCKED... I...

 

2 RUDOLPH:                                                 STOP IT. GROW THE F*CK UP.

 

Panel 8.  Side shot of CONRIGHT.  A revolver is pointed at his forehead.  The barrel is touching his face.  No Dialogue.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE ELEVEN (four panels)

 

Panel 1. The shot is from behind CONRIGHT for you can see the calm and cool expression on RUDOLPH'S face.

 

1 RUDOLPH:                                     I NEED TO KNOW THAT DR. GEORGE CONRIGHT IS GAME.  IF NOT, MY NEW FRIENDS CAN MAKE YOU DISAPPEAR.

 

Panel 2. Close up on RUDOLPH.

 

1 RUDOLPH:                                     DO YOU WANT TO DISAPPEAR?

 

Panel 3. Close up on CONRIGHT.  He looks like his will is broken and is ashamed of what he is saying.  His eyes are pointing down.

 

1 CONRIGHT:                                   NO.

 

Panel 4. RUDOLPH is putting the gun on the table.  CONRIGHT is sitting back down.  RUDOLPH is smiling.

 

1 RUDOLPH:                                     I KNEW I COULD COUNT ON YOU. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE TWELVE (four panels)

 

Panel 1. Dilbane Middle School from a long shot.  There are students walking up the steps into the school.

 

1 KYLE(narration box)                      TWO MONTHS LATER.  I REALLY DIDN'T SEE IT COMING. 

 

Panel 2. KYLE is walking through the school hallway.  The panel is a close shot.  He is looking behind him over his shoulder.  His injuries are healed.  He has a scar on his forehead above his eyebrow.  A group of five figures are standing next to the lockers, but are out of focus.

 

1 KYLE(narration box)                      HOW COULD I THOUGH?  I ASK MYSELF THAT NOW.  COULD HAVE I PREDICTED HOW EVERYTHING WENT DOWN?

 

Panel 3. Nick, Josh, and their three friends that chased KYLE down in the previous issue are standing by the lockers.  These are the figures in the background in the previous panel.  The view is from within the middle of the group, so not all five need to be in panel.  NICK is holding something, but it's obscured by one of his friends' shoulder.

NO DIALOGUE.

 

Panel 4. Close shot on Nick's eyes.  His expression is hateful. 

 

1 NICK:                                              LET'S F*CKING DO THIS.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE THIRTEEN (two panels)

 

Panel 1. KYLE is in a gym locker room.  He is in a workout outfit consisting of a tank top and shorts.  DMS is displayed on the front.  He is tying his shoes on a stone bench that is placed right next to the lockers (the 'bench' is part of the concrete floor that is raised to locker height).  NO DIALOGUE.

 

Panel 2. The shot is pulled back to show that NICK is standing in the entrance way in normal clothes.  A couple puddles of water can be seen on the floor (presumably where the students didn't dry off enough after showering).  KYLE is still tying his shoes and doesn't see NICK.

 

1 KYLE(narration box)                      WHY AM I EVEN THINKING ABOUT THIS AGAIN?  I HAVEN'T THOUGHT ABOUT THIS IN SO LONG.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE FOURTEEN (four panels)

 

Panel 1. The shot is from behind.  KYLE is looking up and sees NICK, JOSH, and the other three of the gang. 

 

1 KYLE (narration box)                     WHY DIDN'T I FEEL HOW WRONG THIS WAS?  THAT NICK'S DAD TOLD THEM TO STAY AWAY FROM ME.  I SHOULD HAVE KNOWN SOMETHING CHANGED.

 

Panel 2. Close up on KYLE.  He looks scared.  He looks like he's trying to be brave.

 

1 KYLE:                                             WHAT IS THIS? 

 

Panel 3.  KYLE is getting up to leave.  The shot is from above.  He is about five feet from the group. NO DIALOGUE.

 

Panel 4. Side shot of KYLE and NICK.  NICK has a long kitchen knife (think Michael Myers) pointed at KYLE. NICK had gloves on.  KYLE looks confused. 

 

1 KYLE:                                             NICK... WHAT ARE YOU DOING?

 

PAGE FIFTEEN (six panels)

 

Panel 1. NICK and co. have KYLE cornered against the lockers/bench.  The shot is from behind NICK.

 

1 NICK:                                              WHO DID YOU TELL?

 

2 KYLE:                                             ABOUT... ABOUT WHAT?  I DON'T...

 

Panel 2. Middle shot of Nick, his knife is visible.

 

1 NICK:                                              ABOUT THE DRUGS.  WHO DID YOU TELL?  MY DAD FINDS OUT AND I'LL STAB YOU.

 

2 KYLE:                                             NICK.

 

Panel 3. Extreme close up on KYLE.  His eyes are glossy. 

 

1 KYLE:                                             I DON'T KNOW ANYTHING.  I DON'T KNOW WHAT YOU'RE TALKING ABOUT.  I SWEAR.  I SWEAR ON MY MOM.  I DON'T KNOW.  I DON'T.

 

 

 

 

 

Panel 4.  The shot is of NICK from the front.  JOSH'S hand is on his shoulder.  NICK'S face looks repentant.  NO DIALOGUE.

 

Panel 5.  NICK is jerking forward to look threatening.  His foot is in a puddle of water. He is slipping forward.

 

1 NICK:                                              WELL IF YOU EVER DID TELL ANY... SHIT!

 

Panel 6. The shot is from the side.  NICK and KYLE'S faces are an inch from each other.  KYLE has a shocked look on his face.  NICK looks confused.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE SIXTEEN (four panels)

 

Panel 1. The shot shows NICK from the front.  He has fallen back and his on his butt.  He looks terrified.  The three friends are exiting behind JOSH and NICK.

 

1 NICK:                                              I... I DIDN'T... I SLIPPED... I...

 

Panel 2. The shot is of KYLE from the front.  He is sitting on the ground.  He has the knife in his chest around where his sternum is.  Blood is spreading across his gym shirt.  Blood coming out of his nose.  Tears are coming out of both eyes.

 

1 NICK (off panel):                                        OH MY GOD.

 

Panel 3.  The shot is from behind KYLE.  NICK and JOSH are running out the door.

 

1 KYLE (narration box)                     I THOUGHT SOMEONE WOULD COME IN TO HELP ME.  NO ONE HELPS ME.  THEY LEFT ME.  THEY LEFT ME TO DIE.

 

Panel 4. KYLE has fallen on his side.  Close up on his face on the floor.  He looks droggy, like his consciousness if fading gradually as he bleeds to death.

 

1 KYLE (narration box)                     EVERYTHING GETS SO BLURRY AT THIS POINT.  MY SIGHT.  MY HEARING. 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE SEVENTEEN (four panels)

 

Panel 1. KYLE is grabbing the knife in his chest while sitting up.

 

1 KYLE (narration box)                     I REMEMBER I WASN'T GOING TO DIE.  NOT YET.

 

Panel 2. The knife is out of KYLE'S chest blood is in the air.  The affect is supposed to convey the knife being pulled out.  Only KYLE’S hands are shown, but not the rest of his body.

 

1 KYLE (narration box)                     NOT WITHOUT SEEING HER.

 

Panel 3. Kyle is leaning against the wall and exiting the locker room tracking blood behind him.

 

1 KYLE (narration box)                     IRENE.

 

Panel 4.  KYLE is leaning and tracking blood down the hallway to two double doors that lead to the gym. NO DIALOGUE.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

PAGE EIGHTEEN (six panels)

 

Panel 1. IRENE has a basketball in her hands.  There are other girls playing in the background.  A teacher is standing behind her also.  She is just staring into the panel.  NO DIALOGUE.

 

Panel 2.  The shot is from behind her legs.  The basketball is on the ground (as if she dropped it).  KYLE is in the doorway.

 

1 IRENE:                                            WHAT... NO.

 

Panel 3. KYLE is on the floor.  IRENE is bending down over him.

 

1 IRENE:                                            WHAT HAPPENED?  NO, NO, NO.  PLEASE... KYLE!

 

Panel 4. IRENE is looking behind at the teacher and students.  They look like they are frozen. 

 

1 IRENE:                                            SOMEONE, ONE... ALL OF YOU... GET A F*CKING AMBULANCE YOU FUCKING MORONS! NOW!

 

Panel 5. IRENE is holding KYLE'S head up.  She is crying. 

 

1 KYLE (narration box)                     I HAD TROUBLE TALKING.  I COULDN'T HEAR VERY WELL.  I WAS GOING TO DIE AND I KNEW IT. 

 

2 IRENE:                                            NO, COME ON. DON'T GO.  I CAN'T LOSE YOU LIKE THIS.  PLEASE, I CAN'T LIVE.  YOU CAN'T LEAVE US.

 

Panel 6. Close up on KYLE.

 

KYLE:                                                I... NEEDED TO SEE YOU.  I WANTED TO BE WITH YOU WHEN THE END CAME.

 

 

 

 

 

 

 

 

 

 

PAGE NINTEEN (two panels)

 

Panel 1. KYLE'S eyes are closed.  He's gone.  IRENE is hugging and crying over his dead body. NO DIALOGUE.

 

Panel 2. The gym floor is gone and there is nothing but KYLE and IRENE with black background. 

 

KYLE (narration box)                        MY NAME IS KYLE RICHARD.  THIS IS HOW I DIED.