Panel 1:
It is the evening. In M's bedroom, M is kissing the top of Marsden’s head in shadow and in silhouette.
Panel 2:
The kiss breaks. In silhouette, the curves of M's lips and the round dome of Marsden's head.
M: I love you so much.
Panel 3:
M climbs into bed and pushes all her bedsheets against the wall.
Panel 4:
M is laying on her back in bed without any covers on. With wide eyes, she is staring up at the ceiling.
Panel 5:
M’s eyes start dropping, growing heavy from the oncoming slumber.
Panel 6:
With weary eyes, M turns her head to look at her bedside clock. In the background is Marsden’s crib.
Panel 7:
M’s bedside digital clock reads “11:37”
M: Goodnight, baby.
Scene change
Panel 8:
In Buri’s car, the digital clock reads “11:37”
Casus (OP): Goodnight, Buri.
Panel 9:
Buri is watching Casus, through the passenger window of his car, walk towards the front entrance of an apartment building.
Panel 10:
Buri drives off.
Panel 11:
During his drive home, Buri rubs his tired eyes.
Panel 12:
Buri arrives in a driveway of a suburban home.
Panel 13:
Buri walks out onto the front lawn of a house. The house is mid-sized, with two floors. Despite looking like a typical suburban home, the grass and flowers in the front yard are un-kept. The wild state of the yard is an indicator of the situation inside the house.
Panel 14:
Buri walks to the front door. In the mailbox is an overflowing amount of mail.
Panel 15:
Buri grabs a fistful of the mail, some of it falling to the floor.
Panel 16:
Buri unlocks the door and walks in.
Panel 17:
Buri turns on the light. The house is homey, giving an immediate sense that a family lives there (e.g. family pictures lining the hall, flowers in vases, women’s shoes, etc.). However, the untidiness of the quarters gives an unsettling feeling that the initial feeling of homeliness may have been incorrect (e.g. there is a layer of dust over the pictures, the flowers are old and withered, the women’s shoes are merely part of the clutter on the floor). In the background, the sounds of a TV permeate through the house.
TV: ffzz-Mayor-ffzz-about-ffzz-crime-ffzz-lowering-ffzz-more-ffzz-questions-ffzz-corporate-ffzz-corruption-ffzz …
Panel 18:
Buri takes off his shoes.
TV: ffzz-priority-ffzz-agenda-ffzz-recession-ffzz-economy-ffzz-on-ffzz-growth-ffzz …
Panel 19:
Buri walks towards the living room. The TV gets a little bit louder.
TV: ffzz … adamant about this … ffzz … job creation is key … ffzz … unemployment and poverty … ffzz … prevent rather than fight crime … ffzz …
Panel 20:
Buri walks into the living room, turning on its lights. He throws the mail onto the table. Already on the table there is a pile of mail and papers, as well as plates and bowls. The true extent of the messiness of Buri’s home is revealed (i.e. "very"). It is obvious that he has not cleaned up in a long time, or he has done very little.
TV: In related news, a recent poll has shown that more people are turning to community and religious groups for support and strength due to the economic downturn. Some religious representatives have claimed that this is a good thing, that the recession is helping individuals and families regain a healthy sense of spiritualism.
Panel 21:
Buri walks to the fridge and opens it, scanning its contents (or lack thereof).
TV: But some sociologists have expressed concern about these statistics, claiming that one unforeseen by-product of the economic crisis, combined with the ever-present concerns of terrorism, may be a growth in some of the more extreme religious groups.
Panel 22:
Buri closes the fridge in exasperation.
TV: One sociologist had this to say: “There is a growing sense of fear and desperation among those hurt most by the current state of the world …”
Panel 23:
Buri walks over to a liquor cabinet.
TV: “… And for these people, these emotions are fueling a sort of mob mentality. They’re starting to look for something or even someone to blame. …”
Panel 24:
Buri takes a glass and a bottle of whiskey out of the room.
TV: “… Maybe even with violent and destructive results. …”
Panel 25:
Buri starts walking upstairs. Along the wall are frames of family photos. Despite their jovial expressions, the faces in the photos are covered in a light dust, indicating the passage of time since those happy moments.
Panel 26:
Buri walks by a bedroom, with the door opened ajar. Inside are posters of musicians hung from the walls, trinkets and cds on a cabinet top, and other various signs of a teenager’s living environment.
Panel 27:
Flicking the lights on, Buri enters the master bedroom. The degree of messiness in the living room is echoed in this room as well. However, due to the smaller size of the room, the state of the room looks even more chaotic and unruly. Clothing is strung about the bed frame and littering the floors. There are glasses and take-out boxes placed on top of the TV.
Panel 28:
Buri enters the master suite washroom and turns on the light. The washroom, like much of the rest of the house, is similarly in a disorderly state. Most notably, there are liquor bottles and glasses all over the washroom counter. In the mirror reflection, Buri looks incredibly worn down, as if entering his home has pulled him into a dark and depressive place.
Panel 29:
Buri puts down the bottle of whiskey and the glass.
Panel 30:
Buri starts taking off his clothes.
Panel 31:
Buri stands in the washroom with only his boxer shorts on and the bandages wrapped around his torso from earlier on in the day. His body shape shows signs of being once muscular and strong. Now, the muscles sag, as if they are too tired to stand firm. Once again, there are noticeable scars in various places on his body.
Panel 32:
Buri pours some whisky into his glass.
Panel 33:
Buri holds the glass out in front of his face in a reflective pause. It almost seems as if Buri is giving cheers to his own reflection, only he has an empty expression.
Panel 34:
Buri downs the entire glass.
Panel 35:
Buri leaves the glass on the washroom counter and looks at himself in the mirror one more time.
Panel 36:
Turning off the light, Buri walks out of the washroom.
Panel 37:
Pushing a pile of clothes out of the way, Buri curls into bed.
Panel 38:
In bed, Buri looks to his bedside table. On it are a family photo and an analog clock.
Panel 39:
Buri takes a long look at the photo. In it is a younger version of himself holding a small girl.
Panel 40:
Buri’s bedside analogue clock reads “1:04”.
Buri (OP): Not today, baby … but soon.
Scene Change
Panel 41:
A Rolex watch face reads “1:04”.
Sturn (OP): Not now baby. Maybe later.
Panel 42:
Sturn is sitting at a table at the back of an old restaurant. On the table is a bottle of vodka and a plate of food. He is leaning back in his chair, with one of his arms around a woman with provocative clothes and heavy makeup. The woman is playing with Sturn’s hair, to Sturn's pleasure.
Sturn: Mmm ... but I do like it when you do that.
Panel 43:
Suddenly, Sturn's expression changes from playful to angry. In her chair, the woman leans away from Sturn, surprised at his sudden change in mood as someone is approaching the table.
Sturn: Where the fuck have you been?!
Panel 44:
Bell and a group of other men walk into the empty restaurant. Bell has bandages over his nose, while some of the men have bandages around their hands. Bell cocks his head to the men.
Bell: Get yourselves something to drink.
Panel 45:
Bell starts walking towards Sturn’s table, and it is apparent that he is walking with a limp. Sturn’s lady friend wisely excuses herself from the table.
Sturn: What the fuck happened to you? I let you go play “Cowboys and Indians” for the afternoon, and you come back, looking like you got the shit kicked out of you by a senior.
Panel 46:
Bell sits down at the table, looking dejected but also with a sinister sense of restraint.
Sturn: Let me guess, Buri and his new partner got the drop on you.
Panel 47:
Bell pours himself a glass of vodka. He stares at Sturn with coal-fire eyes. Sturn returns the look with an unflinching predatory smile.
Sturn: Yunno, you should really stop trying to live up to that nickname of yours, “Dumbbell”.
Panel 48:
Bell downs the liquor without removing his eye contact from Sturn.
Bell: And you should really watch your mouth. You might enjoy your sweet talking, Sturn, but I can guarantee you I will enjoy breaking that noisy hole of yours even more. And the next time I see that old fuck, Buri, I'm going to bury him into the sidewalk myself. So you don't need to worry about you getting your faggot hands dirty.
Panel 49:
Bell pulls Sturn’s plate of food over to his side, and starts eating. Sturn lets out a chuckle to depressurize the situation.
Sturn: Alright, buddy. Calm down. Take a bite to eat. Did you at least learn what the old fossil was doing, tailing us like that?
Panel 50:
Bell looks up in between bites to speak.
Bell: Yeah. He said he was looking for the Malady killer.
Panel 51:
Sturn stares down at Bell, who at this point, is ravenous with the plate of food. Sturn looks at his partner, reflecting on what he has just heard.
Panel 52:
Bell looks up at Sturn, realizing the presence of silence in the air.
Bell: What. You think this is a problem? I thought the R&G folks handle this kinda stuff. I thought that’s the whole reason why they’re around, so that no one can tie clients like us to any of the whack-jobs, and vice-versa.
Panel 53:
Sturn grabs the bottle of vodka and pours himself another glass. Bell keeps his eyes on Sturn in anticipation for an answer.
Sturn: No you’re right. Ever since R&G came onto the scene, the big fishes in this town have had less to worry about, now that someone was more than happy to do the dirty work for them. It’s just that …
Panel 54:
Sturn takes a sip from his glass, still looking contemplative.
Sturn: It’s just that before this Malady guy made a name for himself, no one could tell one contract killer from another. I’m just amazed how far a little name like that can take you.
Panel 55:
Bell stares at Sturn, while putting a fork full of food into his mouth.
Bell: Yeah … but if you had a name like that, and the cops were already lookin’ …
Panel 56:
On Bell’s wrist, his digital watch reads “1:33”.
Bell (OP): … you had better worry about who else is interested in finding you.
Scene Change
Panel 57:
On a man’s wrist, a digital watch reads “1:33”.
Man with the watch (OP): You better be worried, Ronny. Cos’ if you can’t help us find who we’re looking for …
Panel 58:
The man with the watch turns out to be Reid. He is pushing another man ("Ronny") against the side of a building, with a knife drawn near to his face. Reid is looking frustrated and determined, while Ronny is staring at Reid with pleading eyes. Around the two men are several other members of Brass’ (now Reid’s) gang.
Reid: … there’s no reason why we shouldn’t just cut you open like the other snitches we’ve talked to tonight.
Panel 59:
Ronny waves his hands out to the sides, like a helpless bird trying to fly away.
Ronny: Please, I don’t know anything about the contract killings. No one really does. It all went underground awhile back ... like with some kinda organization.
Panel 60:
Reid presses the blade up against the man’s neck. Reid spits venom into the Ronny’s face as he speaks.
Reid: What do you mean it all went underground?! Rats like you obviously knew about the contract on Brass! Otherwise, we wouldn’t have known about it! If it wasn't for you, Whiskers, we wouldn't have been holed up in that motel for a week trying to protect him!
Panel 61:
Ronny tries to stretch his neck away from the blade, but to no avail.
Ronny ("Whiskers"): I dunno! I dunno! Usually no one knows anything about the heavy hitters, or who hires them. But this Malady guy ... there’s something different about him. Maybe he didn't mind that you guys knew that someone was coming for Brass.
Panel 62:
Reid looks puzzled, as if he was discovering something not quite yet identifiable.
Reid: You little weasel! Before Brass even gurgled out that name in blood, no one knew who the hit was coming from! How do you even know that this Malady is a part of this underground cult of whack-jobs?
Panel 63:
Ronny looks at Reid like a rat caught in a trap as Reid presses the knife against Ronny’s throat. Blood starts seeping out.
Ronny (Whiskers): R&G! R&G! That’s the organization’s name. That’s all I know! I swear to God!
Panel 64:
Reid pushes the knife slightly deeper into Roddy's neck.
Reid: R&G? I’m going to need more than just two letters, Ronny boy.
Panel 65:
Ronny brings his hand over Reid's wrist, hoping to have the strength to prevent Reid from slitting his throat.
Ronny (Whiskers): I swear to God that’s all I know! That’s all everyone knows! All the other informers who knew more, and were stupid enough to share it, have already been buried by them. You remember that kid, Krause? They say he opened his mouth about the R&G folks, and he was found a couple of days later in an alley with both his arms torn the fuck off. I'm not talking cut off with a saw or some shit. I'm talking mother-fuckin torn off! No one's been dumb enough to even want to hear anything about R&G since!
Panel 66:
Reid backs off from Ronny and puts away his knife. Ronny bends over and puts his hand around his neck, checking to see how much blood there is.
Ronny (Whiskers): You guys wanna find out who put the contract on Brass? You try talking to someone at R&G. But take it from me boys, no one finds these people if they don’t want to be found. But if you’re busy looking for them, like you guys seem to be …
Panel 67:
Ronny’s digital sport watch reads “2:18”.
Ronny (Whiskers) (OP): … they definitely won’t have much trouble finding you.
Scene Change
Panel 68:
M is still in bed in her room. The room is dark, but the familiar shapes (bedside table, clock, crib, desk, etc.) can be seen in silhouette. For the first time in the story, the panel is seen from M’s first-person perspective, as if she is opening her eyes. Off to the side, the clock reads “3:51”.
Scene Change
Panel 69:
It is daytime. A watch on the wrist of an adult reads “4:25”.
Voice (OP): I found you Daddy! I found you!
Panel 70:
Using both hands, the little girl pulls at an adult’s right hand.
Adult (OP): That you did, my little darlin’.
Panel 71:
The little girl pulls the adult out from behind a window curtain. Standing there with his hand being held is a younger version of Buri.
Little Girl: Go hide again Daddy.
Panel 72:
The cartoon watch on the little girl reads “4:28”.
Little Girl (OP): I like playing this game with you.
Scene Change
Panel 73:
From M’s perspective, M's eyes open up again. She scans her room, the rough shapes of her room are silhouetted. Off to the side, the clock reads “5:49”.
Scene Change
Panel 74:
The time on a pager reads “6:16”.
Teenage Girl (OP): Will you put that damn thing down? I’m not playing a game here, Dad!
Panel 75:
An older version of Buri is standing in the kitchen. He’s putting on a jacket, seemingly getting ready to leave the house. The teenage girl is standing there, exasperated that her father is too busy to listen to her.
Buri: I know this isn’t a game. But I can’t just stay here when I have a job to do. There are people out there waiting for me.
Panel 76:
Buri is walking towards the front door of the house. The teenage girl is standing at the other end of the hallway,
Teenage Girl: But I'm waiting for you …
Panel 77:
On the far wall behind the Teenage Girl is a clock hanging off the wall that reads “6:19”.
Teenage Girl (OP): … right here
Scene Change
Panel 78:
Once again, from M’s perspective, the rough shapes of her room are silhouetted. It is apparent that M wakes up frequently during the course of the night, to check if everything is ok. Off to the side, the clock reads “6:49”.
Scene Change
Panel 79:
The wrist watch of a woman reads “6:53”.
Woman (OP): Right here! He’s right here!
Panel 80:
The woman is a paramedic, kneeling down, attending to a man laying on a street. Other paramedics are running towards the two.
Woman: We have multiple gunshot wounds to the chest and abdomen. The victim’s lost a lot of blood, so we’re goin’ to have to make this quick!
Panel 81:
The man is an even older version of Buri (near his current age). He looks up at the woman.
Buri: Please ... where’s my daughter?
Scene Change
Panel 82:
The entire panel is black.
Voice (not a VO or OP but is being spoken within in the panel but from an unknown source): Where’s my baby?
M (VO): No.
Panel 83:
Once again, from M’s perspective, M opens her eyes. This time, however, it is no longer her current bedroom. Instead, in the darkness, objects that are commonly found in a children’s room are silhouetted. Light from the hallway seeps from under the door. The time on the bedside clock reads "7:06".
Voice (coming from behind the door): Where’s my sweet little girl?
M (VO): No, it can’t be.
Panel 84:
Still from M’s perspective, M turns her head to the door as it opens, revealing the silhouette of a big man. His shadow gives him a beastly form.
Big Man: There she is.
M (VO): No, this shouldn't be happening.
Panel 85:
The shadow of the big man approaches M who is stuck in bed. The large dark form looms like a monster.
Big Man: Daddy’s been up all night, waiting to be with you. And now, Daddy's tired of waiting.
M (VO): Noooo!
Panel 86:
M’s body shoots up from her bed. She is covered in sweat and her eyes are wide and intense. She is in shock from her visions.
Panel 87:
M reaches under her pillow and grabs a handgun.
Panel 88:
M sweeps the room with wild aim. Despite the darkness, there is no sign of an intruder.
Panel 89:
With one hand still holding the handgun, M buries her head in her hands and starts to cry.
M: No father ... Not now ... Not this soon …
April 11, 2009
February 8, 2009
Issue 4 - All the Kings' Men
Panel 1: Detective Buri is sitting on a gurney in a hospital without a shirt on, with Detective Casus and a female doctor standing in front of him. The doctor, who is in her 50’s, is tending to Buri while Casus is standing off to the side. Buri has his back facing the viewer, revealing many scars, including knife wounds, bullet holes, etc.
Doctor: Breathe in, Detective.
Panel 2: Buri looks at the Doctor. The doctor is a woman who has retained her beauty well. Despite the onset of wrinkles and grey hair, the doctor has retained a subtle and mature elegance that few women possess.
Buri: I’m fine, Margaret.
Panel 3: Margaret (the "Doctor") begins wrapping some bandages around Buri’s upper abdomen. Buri winces in pain from the doctor’s actions.
Margaret: No, you’re not. Some of your ribs are bruised. In fact, with your age, you’re lucky they’re not broken.
Buri: Well, you should see the other guy …
Panel 4: Margaret finishes bandaging Buri, as Casus steps in, seeing this as an opportunity to voice his concerns over the events that transpired in the afternoon.
Casus: Exactly what was that all about back there?
Panel 5: Buri starts buttoning up his shirt. Margaret turns to Casus to do the explaining.
Margaret: You must be new to the force. Otherwise you would have heard about your partner’s penchant for finding trouble. Lucky for me, Detective Buri has kept me busy with all the injuries he’s had in the years I’ve known him … Although, it’s been a long three years since the last time I had to patch him up.
Panel 6: Buri finishes buttoning up his shirt. He stands up, eager to leave. Margaret and Casus shake hands.
Buri: Right. Dr. Fisher, this is my new partner, Detective Casus. Detective Casus, this is my old friend, Dr. Fisher.
Dr. (Margaret) Fisher: Nice to meet you, Detective.
Casus: Doctor.
Panel 7: Buri grabs his belongings (jacket, gun and holster, etc.) from the corner of the room. Dr. Fisher, standing next to Casus, turns her head, her eyes following Buri, as if trying to slow his escape with her gaze.
Dr. Fisher: One thing you should probably know about your partner, Detective Casus, is that while he may be an old soul, he can be as misbehaved as a newborn. That’s if he’s not busy wallowing in some misdirected sense of guilt and self-loathing. … I don’t suppose I need to tell you to take it easy. Or to tell you to stop punishing yourself.
Panel 8: Buri starts walking out of the examination room, with Casus once again in tow.
Buri: Not when I always have you here to put me back together again.
Panel 9: The two detectives are walking down the hall in the hospital. Behind them is Dr. Fisher, standing with her clipboard, watching in frustration.
Dr. Fisher: Yunno, Warren, the last time I saw you here, you told me that if you ever recovered, you would retire.
Panel 10: The two detectives reach the elevator doors. Buri turns his head to respond.
Buri: Margaret, I only said that because, the last time you saw me here, I thought I was going to die.
Panel 11: The elevator door opens. The two detectives enter.
Buri: Lucky for me, you were there to save my life.
Panel 12: Dr. Fisher stands there, still amongst the constant movement of the hospital. She stands there, wading in the vacuum left by the two detectives.
Dr. Fisher: Yeah, lucky for you …
Panel 13: Buri and Casus are in the elevator riding down to their car. Buri looks irritated because of his time in the hospital and is anxious to resume their investigation. Casus is merely trying to understand what has been transpiring with his partner. There is a growing feeling from Casus that he is in over his head.
Casus: What’s going on, Buri?
Panel 14: The two continue riding the elevator. The tension between the two builds.
Buri: What do you mean?
Panel 15: The two continue riding the elevator. Casus looks at Buri in a restrained sense of exasperation, while Buri keeps his stare forward at the elevator doors.
Casus: What I mean is, a couple of hours ago, I left you for five minutes to talk to a supposed informant, only to find you seconds away from being curb-stomped by a dozen men. … And then I meet your old doctor friend back there, who I learn has been worried about your self-destructive behaviour for years now. … And all this gets me thinking that maybe my first assignment given to me by Captain Malone has less to do with a homicide by a contract-killer, and more to do with keeping an eye on the department’s own Dirty Harry so that he doesn’t kill himself before he retires. That’s what I mean.
Panel 16: The elevator door opens, releasing the tension built up between the two detectives. Casus looks out of breath, and scared that he has said too much. Buri keeps silent, but is obviously bothered by Casus’ words.
Panel 17: Buri walks out of the elevator, his hand fishing in his pocket for the keys to the car. Casus follows behind, eager to have Buri’s words cover up his own rant just seconds before.
Buri: What do you want to hear, Detective? You want me to make a promise that I’ll act like a boy-scout when dealing with this city’s trash? You want me to tell you that I’m going to leave my personal problems at home and out of this investigation? You want me to inform you that I’m done grieving over the loss of my daughter?!
Panel 18: Buri arrives at the driver side door of the car. Casus is standing at the passenger side. Buri gives his partner a long look.
Buri: ‘Cause if that’s what you want to hear, you go ahead and join my last partner and get reassigned.
Panel 19: The two detectives get into the car.
Casus: Look, Buri. All I’m saying is that I’m new to this. To all of this. I never expected to have to rescue my partner like some modern day cowboy in the first week of being a detective. Everything’s just a shock to me. It’s like I’m in some goddamn comic book.
Panel 20: Buri puts the key into the ignition, staring out straight into the parking lot. Casus looks over to Buri.
Buri: Our world is is what it is. There’s a little bit of good, quite a lot of bad, and a whole bunch of ugly. And take it from me, kid, most of what we deal with is the ugly. But once in a while, if you’re lucky enough, you’ll get a chance to take care of some of the bad.
Panel 21: Buri reaches into his pocket for his cell phone. Casus keeps his eye on his partner, trying to digest his previous words.
Panel 22: Buri takes out his cell phone and reads the text message.
Buri: Looks like that autopsy just finished.
Panel 23: Buri starts driving. Casus is still staring at his partner.
Casus: What happened to your daughter?
Panel 24: Buri drives the car out of the parking lot. Casus watching his partner for a response.
Buri: You save my life again, and maybe then I’ll tell you that story.
Panel 25: The car enters traffic and heads back towards downtown, swallowed by a sea of car lights. Off in the distance are the usual advertisements. One is for a Cola drink. Another is for some pop music star. Another is for a jeans company. Another is for a real-estate project called, “New Haven Homes”.
Buri: Which reminds me, Detective, who taught you to how to shoot your gun like that?
Scene Change
Panel 26: A group of men are sitting around a table at the back of a dirty bar. Some are drinking beers. Others are smoking. All of them are staring at a man who looks guilt-stricken and miserable. (This group of men is Brass’ men, all of whom were at the motel the night he was killed.)
Casus (VO): Oh, just something I picked up long ago from dealing with some of that ugly you were talking about.
Panel 27: A man sitting to the left pulls his cigarette out from his mouth and snarls at the man in the centre.
Man (left): So run this by us again, Jimbo, ‘cause by now, you’ve had plenty of time to clear your head from that nap of yours. You were standing outside Brass’ window, keeping a lookout like you were supposed to, and then what happened?
Panel 28: Jimbo (the man in the centre) looks up at the group, completely dejected.
Jimbo: Look, I already told you guys. I don’t remember. I was standing guard there, like I have been all week … and then …
Panel 29: A man sitting to the right of Jimbo speaks up.
Man (right): And then you fell asleep.
Panel 30: Rubbing the back of his neck with one hand, Jimbo turns his head to the second man, pleading for sympathy.
Jimbo: No, I … I couldn’t have fallen asleep. I wasn’t even tired. I just don’t remember. Something must have happened. This Malady guy … he musta did something to me.
Panel 31: A man from the other end of the table jabs in with a joke. Some of the men laugh. Some retain their serious faces.
Man (end): Like what, sing you a lullaby?
Panel 32: One of the men who has remained serious all along speaks up. The rest of the group listens up. Jimbo stares at him, in fear. It is apparent that this man has some authority in the group.
Man (serious): Shut up, all of you. It doesn’t matter. Brass is dead. He’s dead because someone put the hit on him and we weren’t able to prevent it.
Panel 33: The serious man stands up and looks down at Jimbo. Jimbo meets his stare.
Man (serious): Jimbo, look. I know you, me and Brass have been there for each other since the start. But this … this isn’t something me and the boys can just forget. You need to figure your shit out and get your act together ‘cause I'm running this show now, and I’m not going to end up being a humpty dumpty for some up-and-comer. I need to know you’ll be my man.
Panel 34: The serious man starts walking out of the bar. The group of men get up and follow him. One of the men asks a question.
Man (question): Where are we headed, Reid?
Reid (the serious man): Like I said, someone put the hit on Brass. So we find out who. And we start by finding someone who knows who.
Panel 35: All the men walk away from the table, with Reid leading the charge, leaving Jimbo to sit alone at the table, his head is his arms.
Reid: We start by finding this Malady.
Scene Change
Panel 36: A taxi has stopped a block away from M’s apartment. It is the evening, so the streets are emptier. There is, however, some night life lingering about. M is stepping out of the taxi, but because the view is from across the street, it is difficult to see exactly what is going on inside the taxi.
Taxi driver: Oh ma’am, before I forget, this package is for you.
M: Thanks.
Panel 37: The taxi drives away, as M starts walking down the street. Still attached to her is Marsden. In each of her hands are several grocery bags full of items. She carries all of it with ease. M speaks softly to her child.
M: What a day, huh, baby? What a busy busy day.
Panel 38: M continues walking, ignoring the homeless people on the street asking for change.
M: And look what the taxi driver gave back to Mommy. Now Mommy can buy you some toys and clothes.
Panel 39: M reaches the corner of her building. She pauses at the garbage dumpster in the alley.
M: I know Mommy’s been so busy with work. But you should be proud of Mommy. Mommy's tying up loose ends. Mommy's piecing her life back together again.
Panel 40: M looks into the dumpster.
M: And Mommy hopes that one day, you'll understand.
Panel 41: M puts down her bags.
M: She hopes one day, when you’re all grown up, she can tell you everything.
Panel 42: M grabs the bags of trash left on the street and throws them into the dumpster.
M: And that you’ll realize just how much she loves you.
Panel 43: M picks up her own bags.
M: Just how much she cares for you.
Panel 44: M walks into her building.
M: Just how much she is willing to do for you.
Scene Change
Panel 45: The two detectives are at the morgue. The two are standing next to a body draped in a white sheet. A doctor is standing at the end of the table.
Doctor: Thanks for showing up on such short notice. Usually, we don’t do these so late in the day, but this one seemed pretty straight forward, so I figured I should just give you boys a call.
Panel 46: Buri looks at the doctor, while Casus is mesmerized by the corpse.
Buri: So what do we got, Doc?
Panel 47: The doctor lifts the drape and points to Brass’ neck.
Doctor: Well, here’s the thing. One would think that with a throat slit this badly, he would have died from exsanguination.
Panel 48: Buri looks at the doctor in confusion. Casus is still mesmerized by the sight.
Buri: I may have visited you in this morgue more times that I can remember, Doc, but your big words still don't mean much.
Panel 49: Without raising his head, the doctor turns his eyes up towards Buri.Doctor: Exsanguination means, "death from a loss of blood".
Panel 50: Buri looks back down. The doctor uses his finger to illustrate his point.
Buri: But that’s not how he died.
Doctor: No, unfortunately for him, that’s not how he went. Despite the relatively clean severing of his anterior jugular vein and the right carotid artery, you’ll notice here that his trachea has undergone much more severe trauma.
Panel 51: Buri once again gives the doctor a confused stare.
Buri: Meaning …
Panel 52: The doctor looks at the two detectives in an almost proud fashion.
Doctor: Meaning that while this side of his throat was initially cleanly cut, the remaining half was torn out. This man died from asphyxiating on his own blood. That is, he choked to death on his own blood.
Panel 53: Casus immediately turns around with a hand on his mouth. Buri keeps his eye on the doctor.
Buri: What could have done that to his throat? A special kind of knife?
Panel 54: Brass’ corpse lies there on the table, his throat peeling apart like a rotten fruit.
Doctor: Oh, you see, that’s the thing. This doesn’t take any special knife or anything like that. Quite the contrary. It would have been a relatively old knife. One that was sharp enough to cut into the skin and muscle but too dull to go all the way through.
Scene Change
Panel 55: M is in her apartment. She puts Marsden into his crib.
Doctor (VO): The question you have to ask yourselves Detectives, is why would someone use a dull old knife?
Panel 56: M starts putting her groceries away.
Doctor (VO): I mean, your suspect is supposedly a contract-killer right?
Panel 57: M is putting something into the fridge. Behind her, on the kitchen table, is a big empty envelope with the words “R&G – File Y #216”. Next to the envelope is a stack of dollar-bills, with a sheet of paper wrapped around it, saying, “For successfully completing your contract.”
Doctor (VO): Why would he use a potentially ineffective blade?
Panel 58: On the other end of the kitchen table (near the door of M’s room) is an open file. On the inside page of the file, the words read, “R&G – File X #216”. Inside the folder is a sheet, with the words, “Your requested target has been successfully removed. Your payment has been delivered. Thank you for your business.” At the bottom of the page, is a signature of two names, one starting with “R” and the other with “G”.
Buri (VO): From what I've learned from all my years on the force, I can think of one reason, Doc.
Panel 59: From the kitchen, the panel looks into M’s room. It is relatively dark. Only the shapes of Marsden’s crib, M’s bedroom mirror, and M’s old box on her desk are visible.
Buri (VO): Because, for the killer, this particular knife is sentimental.
Panel 60: M’s old box is open on her desk. In the dark, the rough shape of an old knife is silhouetted against the light coming from the window.
Buri (VO): Because the hit wasn’t just another contract. For the killer, it was something personal.
Doctor: Breathe in, Detective.
Panel 2: Buri looks at the Doctor. The doctor is a woman who has retained her beauty well. Despite the onset of wrinkles and grey hair, the doctor has retained a subtle and mature elegance that few women possess.
Buri: I’m fine, Margaret.
Panel 3: Margaret (the "Doctor") begins wrapping some bandages around Buri’s upper abdomen. Buri winces in pain from the doctor’s actions.
Margaret: No, you’re not. Some of your ribs are bruised. In fact, with your age, you’re lucky they’re not broken.
Buri: Well, you should see the other guy …
Panel 4: Margaret finishes bandaging Buri, as Casus steps in, seeing this as an opportunity to voice his concerns over the events that transpired in the afternoon.
Casus: Exactly what was that all about back there?
Panel 5: Buri starts buttoning up his shirt. Margaret turns to Casus to do the explaining.
Margaret: You must be new to the force. Otherwise you would have heard about your partner’s penchant for finding trouble. Lucky for me, Detective Buri has kept me busy with all the injuries he’s had in the years I’ve known him … Although, it’s been a long three years since the last time I had to patch him up.
Panel 6: Buri finishes buttoning up his shirt. He stands up, eager to leave. Margaret and Casus shake hands.
Buri: Right. Dr. Fisher, this is my new partner, Detective Casus. Detective Casus, this is my old friend, Dr. Fisher.
Dr. (Margaret) Fisher: Nice to meet you, Detective.
Casus: Doctor.
Panel 7: Buri grabs his belongings (jacket, gun and holster, etc.) from the corner of the room. Dr. Fisher, standing next to Casus, turns her head, her eyes following Buri, as if trying to slow his escape with her gaze.
Dr. Fisher: One thing you should probably know about your partner, Detective Casus, is that while he may be an old soul, he can be as misbehaved as a newborn. That’s if he’s not busy wallowing in some misdirected sense of guilt and self-loathing. … I don’t suppose I need to tell you to take it easy. Or to tell you to stop punishing yourself.
Panel 8: Buri starts walking out of the examination room, with Casus once again in tow.
Buri: Not when I always have you here to put me back together again.
Panel 9: The two detectives are walking down the hall in the hospital. Behind them is Dr. Fisher, standing with her clipboard, watching in frustration.
Dr. Fisher: Yunno, Warren, the last time I saw you here, you told me that if you ever recovered, you would retire.
Panel 10: The two detectives reach the elevator doors. Buri turns his head to respond.
Buri: Margaret, I only said that because, the last time you saw me here, I thought I was going to die.
Panel 11: The elevator door opens. The two detectives enter.
Buri: Lucky for me, you were there to save my life.
Panel 12: Dr. Fisher stands there, still amongst the constant movement of the hospital. She stands there, wading in the vacuum left by the two detectives.
Dr. Fisher: Yeah, lucky for you …
Panel 13: Buri and Casus are in the elevator riding down to their car. Buri looks irritated because of his time in the hospital and is anxious to resume their investigation. Casus is merely trying to understand what has been transpiring with his partner. There is a growing feeling from Casus that he is in over his head.
Casus: What’s going on, Buri?
Panel 14: The two continue riding the elevator. The tension between the two builds.
Buri: What do you mean?
Panel 15: The two continue riding the elevator. Casus looks at Buri in a restrained sense of exasperation, while Buri keeps his stare forward at the elevator doors.
Casus: What I mean is, a couple of hours ago, I left you for five minutes to talk to a supposed informant, only to find you seconds away from being curb-stomped by a dozen men. … And then I meet your old doctor friend back there, who I learn has been worried about your self-destructive behaviour for years now. … And all this gets me thinking that maybe my first assignment given to me by Captain Malone has less to do with a homicide by a contract-killer, and more to do with keeping an eye on the department’s own Dirty Harry so that he doesn’t kill himself before he retires. That’s what I mean.
Panel 16: The elevator door opens, releasing the tension built up between the two detectives. Casus looks out of breath, and scared that he has said too much. Buri keeps silent, but is obviously bothered by Casus’ words.
Panel 17: Buri walks out of the elevator, his hand fishing in his pocket for the keys to the car. Casus follows behind, eager to have Buri’s words cover up his own rant just seconds before.
Buri: What do you want to hear, Detective? You want me to make a promise that I’ll act like a boy-scout when dealing with this city’s trash? You want me to tell you that I’m going to leave my personal problems at home and out of this investigation? You want me to inform you that I’m done grieving over the loss of my daughter?!
Panel 18: Buri arrives at the driver side door of the car. Casus is standing at the passenger side. Buri gives his partner a long look.
Buri: ‘Cause if that’s what you want to hear, you go ahead and join my last partner and get reassigned.
Panel 19: The two detectives get into the car.
Casus: Look, Buri. All I’m saying is that I’m new to this. To all of this. I never expected to have to rescue my partner like some modern day cowboy in the first week of being a detective. Everything’s just a shock to me. It’s like I’m in some goddamn comic book.
Panel 20: Buri puts the key into the ignition, staring out straight into the parking lot. Casus looks over to Buri.
Buri: Our world is is what it is. There’s a little bit of good, quite a lot of bad, and a whole bunch of ugly. And take it from me, kid, most of what we deal with is the ugly. But once in a while, if you’re lucky enough, you’ll get a chance to take care of some of the bad.
Panel 21: Buri reaches into his pocket for his cell phone. Casus keeps his eye on his partner, trying to digest his previous words.
Panel 22: Buri takes out his cell phone and reads the text message.
Buri: Looks like that autopsy just finished.
Panel 23: Buri starts driving. Casus is still staring at his partner.
Casus: What happened to your daughter?
Panel 24: Buri drives the car out of the parking lot. Casus watching his partner for a response.
Buri: You save my life again, and maybe then I’ll tell you that story.
Panel 25: The car enters traffic and heads back towards downtown, swallowed by a sea of car lights. Off in the distance are the usual advertisements. One is for a Cola drink. Another is for some pop music star. Another is for a jeans company. Another is for a real-estate project called, “New Haven Homes”.
Buri: Which reminds me, Detective, who taught you to how to shoot your gun like that?
Scene Change
Panel 26: A group of men are sitting around a table at the back of a dirty bar. Some are drinking beers. Others are smoking. All of them are staring at a man who looks guilt-stricken and miserable. (This group of men is Brass’ men, all of whom were at the motel the night he was killed.)
Casus (VO): Oh, just something I picked up long ago from dealing with some of that ugly you were talking about.
Panel 27: A man sitting to the left pulls his cigarette out from his mouth and snarls at the man in the centre.
Man (left): So run this by us again, Jimbo, ‘cause by now, you’ve had plenty of time to clear your head from that nap of yours. You were standing outside Brass’ window, keeping a lookout like you were supposed to, and then what happened?
Panel 28: Jimbo (the man in the centre) looks up at the group, completely dejected.
Jimbo: Look, I already told you guys. I don’t remember. I was standing guard there, like I have been all week … and then …
Panel 29: A man sitting to the right of Jimbo speaks up.
Man (right): And then you fell asleep.
Panel 30: Rubbing the back of his neck with one hand, Jimbo turns his head to the second man, pleading for sympathy.
Jimbo: No, I … I couldn’t have fallen asleep. I wasn’t even tired. I just don’t remember. Something must have happened. This Malady guy … he musta did something to me.
Panel 31: A man from the other end of the table jabs in with a joke. Some of the men laugh. Some retain their serious faces.
Man (end): Like what, sing you a lullaby?
Panel 32: One of the men who has remained serious all along speaks up. The rest of the group listens up. Jimbo stares at him, in fear. It is apparent that this man has some authority in the group.
Man (serious): Shut up, all of you. It doesn’t matter. Brass is dead. He’s dead because someone put the hit on him and we weren’t able to prevent it.
Panel 33: The serious man stands up and looks down at Jimbo. Jimbo meets his stare.
Man (serious): Jimbo, look. I know you, me and Brass have been there for each other since the start. But this … this isn’t something me and the boys can just forget. You need to figure your shit out and get your act together ‘cause I'm running this show now, and I’m not going to end up being a humpty dumpty for some up-and-comer. I need to know you’ll be my man.
Panel 34: The serious man starts walking out of the bar. The group of men get up and follow him. One of the men asks a question.
Man (question): Where are we headed, Reid?
Reid (the serious man): Like I said, someone put the hit on Brass. So we find out who. And we start by finding someone who knows who.
Panel 35: All the men walk away from the table, with Reid leading the charge, leaving Jimbo to sit alone at the table, his head is his arms.
Reid: We start by finding this Malady.
Scene Change
Panel 36: A taxi has stopped a block away from M’s apartment. It is the evening, so the streets are emptier. There is, however, some night life lingering about. M is stepping out of the taxi, but because the view is from across the street, it is difficult to see exactly what is going on inside the taxi.
Taxi driver: Oh ma’am, before I forget, this package is for you.
M: Thanks.
Panel 37: The taxi drives away, as M starts walking down the street. Still attached to her is Marsden. In each of her hands are several grocery bags full of items. She carries all of it with ease. M speaks softly to her child.
M: What a day, huh, baby? What a busy busy day.
Panel 38: M continues walking, ignoring the homeless people on the street asking for change.
M: And look what the taxi driver gave back to Mommy. Now Mommy can buy you some toys and clothes.
Panel 39: M reaches the corner of her building. She pauses at the garbage dumpster in the alley.
M: I know Mommy’s been so busy with work. But you should be proud of Mommy. Mommy's tying up loose ends. Mommy's piecing her life back together again.
Panel 40: M looks into the dumpster.
M: And Mommy hopes that one day, you'll understand.
Panel 41: M puts down her bags.
M: She hopes one day, when you’re all grown up, she can tell you everything.
Panel 42: M grabs the bags of trash left on the street and throws them into the dumpster.
M: And that you’ll realize just how much she loves you.
Panel 43: M picks up her own bags.
M: Just how much she cares for you.
Panel 44: M walks into her building.
M: Just how much she is willing to do for you.
Scene Change
Panel 45: The two detectives are at the morgue. The two are standing next to a body draped in a white sheet. A doctor is standing at the end of the table.
Doctor: Thanks for showing up on such short notice. Usually, we don’t do these so late in the day, but this one seemed pretty straight forward, so I figured I should just give you boys a call.
Panel 46: Buri looks at the doctor, while Casus is mesmerized by the corpse.
Buri: So what do we got, Doc?
Panel 47: The doctor lifts the drape and points to Brass’ neck.
Doctor: Well, here’s the thing. One would think that with a throat slit this badly, he would have died from exsanguination.
Panel 48: Buri looks at the doctor in confusion. Casus is still mesmerized by the sight.
Buri: I may have visited you in this morgue more times that I can remember, Doc, but your big words still don't mean much.
Panel 49: Without raising his head, the doctor turns his eyes up towards Buri.Doctor: Exsanguination means, "death from a loss of blood".
Panel 50: Buri looks back down. The doctor uses his finger to illustrate his point.
Buri: But that’s not how he died.
Doctor: No, unfortunately for him, that’s not how he went. Despite the relatively clean severing of his anterior jugular vein and the right carotid artery, you’ll notice here that his trachea has undergone much more severe trauma.
Panel 51: Buri once again gives the doctor a confused stare.
Buri: Meaning …
Panel 52: The doctor looks at the two detectives in an almost proud fashion.
Doctor: Meaning that while this side of his throat was initially cleanly cut, the remaining half was torn out. This man died from asphyxiating on his own blood. That is, he choked to death on his own blood.
Panel 53: Casus immediately turns around with a hand on his mouth. Buri keeps his eye on the doctor.
Buri: What could have done that to his throat? A special kind of knife?
Panel 54: Brass’ corpse lies there on the table, his throat peeling apart like a rotten fruit.
Doctor: Oh, you see, that’s the thing. This doesn’t take any special knife or anything like that. Quite the contrary. It would have been a relatively old knife. One that was sharp enough to cut into the skin and muscle but too dull to go all the way through.
Scene Change
Panel 55: M is in her apartment. She puts Marsden into his crib.
Doctor (VO): The question you have to ask yourselves Detectives, is why would someone use a dull old knife?
Panel 56: M starts putting her groceries away.
Doctor (VO): I mean, your suspect is supposedly a contract-killer right?
Panel 57: M is putting something into the fridge. Behind her, on the kitchen table, is a big empty envelope with the words “R&G – File Y #216”. Next to the envelope is a stack of dollar-bills, with a sheet of paper wrapped around it, saying, “For successfully completing your contract.”
Doctor (VO): Why would he use a potentially ineffective blade?
Panel 58: On the other end of the kitchen table (near the door of M’s room) is an open file. On the inside page of the file, the words read, “R&G – File X #216”. Inside the folder is a sheet, with the words, “Your requested target has been successfully removed. Your payment has been delivered. Thank you for your business.” At the bottom of the page, is a signature of two names, one starting with “R” and the other with “G”.
Buri (VO): From what I've learned from all my years on the force, I can think of one reason, Doc.
Panel 59: From the kitchen, the panel looks into M’s room. It is relatively dark. Only the shapes of Marsden’s crib, M’s bedroom mirror, and M’s old box on her desk are visible.
Buri (VO): Because, for the killer, this particular knife is sentimental.
Panel 60: M’s old box is open on her desk. In the dark, the rough shape of an old knife is silhouetted against the light coming from the window.
Buri (VO): Because the hit wasn’t just another contract. For the killer, it was something personal.
January 30, 2009
Issue 3 - Old Flames
Panel 1: Bell is standing at a corner of a street. A car, with Sturn inside, has just driven off.
Panel 2: Bell reaches into his pocket.
Panel 3: Bell brings out a box of cigarettes.
Panel 4: Bell lights a cigarette.
Panel 5: Bell takes a long drag.
Panel 6: The detectives’ car has stopped half a block from Bell. Casus is reaching for the door handle when Buri grabs Casus’ arm and looks at him with a scalding seriousness.
Buri: No. You’re staying in the car.
Panel 7: Casus reacts in a shocked disappointment.
Casus: What? No, you nee …
Panel 8: Buri pulls Casus closer.
Buri: No, what I need is for you to take the car and meet me in the back alley of this street in five minutes.
Panel 9: Casus is speechless.
Buri: I need you to trust me, Detective.
Panel 10: Casus nods his head, unsure of himself.
Casus: Yeah, alright.
Panel 11: Buri steps out of the car as Casus climbs into the driver’s seat.
Panel 12: Casus drives off, as Buri walks onto the street. Bell is standing before him, smoking his cigarette in a silent menace.
Bell: Detective Buri. Long time no see.
Panel 13: Buri continues walking towards Bell. With his cigarette hand, Bell scratches his forehead. His eyes squint in an effort to revive a memory.
Bell: When was that last time again? Oh yah, it was back a couple a' years. You were layin' on the street, bleedin' to death. At least, that's what I remember.
Panel 14: Buri arrives within a few feet of Bell. Buri stares at him with a deceptive calmness, like a blank stare from a wolf right before erupting into a blood-lust frenzy.
Panel 15: Bell is unphased by Buri’s restrained snarl, and instead blows smoke into Buri’s face. In the background, several black cars have parked nearby. Buri doesn’t seem to notice.
Panel 16: Buri lets the smoke dissipate around him, his facial expression showing no signs of annoyance. From the black cars in the background, half a dozen of men have stepped out, their out-of-focus dark forms give off a growing sense of danger.
Buri: Well, why don’t we do a little bit of catching up then.
Panel 17: In a surprisingly quick manner, Buri head butts Bell’s face, causing blood to erupt out of his nose and down his face. The men from the cars, now more in focus, are startled into a trot towards Buri and Bell.
Bell: Arghh!!!
Panel 18: As Bell’s head snaps backwards from the force, Buri grabs Bell’s shirt collar with one hand and pulls Bell back to his growling face, only to have the other hand press the nuzzle of a gun up against Bell’s chin. The men from the cars are now almost fully in focus, with their hands either reaching for their guns or already having them drawn.
Buri: In private, of course.
Scene Change
Panel 19: A diner restaurant with a big neon sign saying, “Aunt Judy’s” sits at the corner of a busy intersection. A taxi is driving off.
Unknown (VO): Good ol’ golly-gracious, it’s so good to see you two darlins’ again!
Panel 20: M and her child have just walked in the door. M still looks awkwardly feminine. An overweight waitress has her hands up in the air in jubilation at her new guests. She has a head full of grey hair, which is pulled into a bun at the top of her round head. She is visibly old but her excited physical mannerisms prove that she remains young at heart.
Waitress: If I had known you were coming, Laura, I woulda told Frankie to prepare you your favourite meal!
Panel 21: The waitress, holding a menu and a child-seat, leads M and her child down the diner floor. Other patrons are sitting and eating, minding their own business. Despite this fact, M is visibly analyzing the various faces in the restaurant, as if to ensure that the locale is safe for her and her child. With safety being M’s primary concern, M responds in a comparably less excited manner than the waitress.
M: No, that won’t be necessary, Judy. But thanks.
Panel 22: Judy (the "Waitress") brings M to a booth, leaving the menu on the table. M starts taking off her harness, sitting her child on the table.
Judy: Oh, any time, my dear. Any time. How’s little Mars- … Oh, deary me, I’m so sorry. I’ve seem to have forgotten your little angel’s name. It’s these grey hairs showing their true colours, I’m afraid.
Panel 23: M unpacks her things, putting her file folder onto the table and preparing to sit down. Judy beams a bright smile at the child and the child responds in a beautiful laughter only innocence can bring.
M: Marsden. My little angel is Marsden.
Panel 24: Sitting down, M holds Marsden up in the air as Judy places the child seat underneath.
Judy: Oh, of course! Silly ol’ Aunt Judy. Are you still busy doing that freelance work? What was it again?
Panel 25: M pulls Marsden closer to her while looking up at Judy. Marsden is distracted by the various utensils and cups on the table.
M: Personal physical trainer.
Panel 26: Judy grabs the menu off the table and offers it to M.
Judy: Yes, yes, that’s right. Well, both Frankie and I think you’re nothing short of a miracle, my dear. We’re constantly amazed at how you manage to be a successful working woman and still find time to be such a wonderful single mother. One of these “Twenty-First-Century Women” is what you are!
M: Oh no, Judy. If you only knew my personal struggles, you wouldn't say that. And with work, it turns out there’s only one thing in this world that I’m good at.
Panel 27: While the panel shows M grabbing the menu, the centre of the panel is focused on the objects on the table, especially the file with the words “R&G”, printed in a red ink, visible.
M (OP): And I was just ... lucky ... enough to find out what that was.
Scene Change
Panel 28: Perched from atop the nearest building, the view below shows Buri holding Bell by the collar and dragging him deeper into the alley. With one hand, Buri is throwing away a firearm from Bell’s body. On the street, Bell’s men are gathering, about to funnel into the alley with the two.
Bell: You’re fuckin’ dead, old man! This time, I’m gonna make sure a bullet finds its way into your head!
Panel 29: Buri yanks Bell in front of his face, gun still pressed up against his head. Buri speaks with a spitting venom.
Buri: I’m only going say this once. Tell me what you know about the Malady killer.
Panel 30: Bell looks in shock and confusion, not sure if he should reveal the fact that Mr. Babow recently ordered Sturn and himself to hire Malady for a kill. Bell’s lack of a “poker face” is all Buri needs to realize that he does know something.
Bell: What?
Panel 31: Buri grabs Bell’s hair with his pistol hand and slams the side of the face against the building, more blood shooting out of Bell’s broken nose.
Bell: Argh!!!
Panel 32: Buri grabs the back of Bell’s jacket, and turns him to face his group of men, who are approaching down the alley with guns drawn. Buri presses his gun against Bell’s right shoulder.
Buri: You have three seconds before I blow open your shoulder. Then for the next six weeks, you’ll only have your left hand to hold your limp dick with.
Panel 33: Bell turns his head slightly, but keeps his eyes on his men. He smiles confidently at the turning tide.
Bell: Go fuck yourself, pops.
Panel 34: Buri aims his gun towards Bell’s foot and fires.
Buri: Wrong answer.
Bell: Ahhh!!! Fuuuck!!!
Panel 35: Buri presses his gun back to Bell’s shoulder, as Bell’s men creep closer. Buri whispers into Bell’s ear.
Buri: Last chance, lefty.
Panel 36: With Buri’s head so close to his, Bell takes the opportunity to head butt Buri away. Buri fires off a shot, but it only glances Bell’s shoulder.
Buri: Argh!
Panel 37: Taking advantage of Buri’s imbalance, Bell knocks Buri’s gun out of his hand.
Bell: You old fuck! You shot me in the fuckin' foot!
Panel 38: Bell slams a fist across Buri’s face.
Bell: You some kinda Bronson, huh?! You got a death-wish?! Well, I'm your fuckin' man!
Panel 39: Bell knees Buri in the mid-section, blood falling from his face onto the dirty alley floor. The men behind them are gathering, some putting away their guns now that Buri is unarmed and outnumbered, some still having their pistols aimed just in case.
Bell: And this is exactly what I've been sayin' to my buddy, Sturn. Why pay this cold-blooded Malady whack-job to have all this fun, when I'm more than happy to put you down in front of that new partner of yours.
Panel 40: Bell slams Buri against the opposite wall of the alley, one hand on his throat, the other in a clenched fist, primed to be thrown against Buri’s face.
Bell: You hear what I'm sayin', gramps? Wait, where is that kid of yours?
Panel 41: As if on cue, a car crashes its way through the alley perpendicular to the one where the mob scene is taking place. In the driver seat is Casus, his facial expression in shock.
Bell: Oh shit!
Panel 42: Casus, in an amazingly quick fashion, draws his gun, and fires a couple of rounds, knocking the guns out of the men holding weapons.
Casus: Buri!
Panel 43: Buri pushes himself off from the wall, and throws Bell into his group of men, knocking them over each other.
Bell: Shoot the fuckers!!!
Panel 44: Buri gets into the rear-passenger door, as some of Bell’s men fire shots at the car. Casus starts driving away.
Casus: Ooohh shit!
Panel 45: The car is roaring down the alley while Bell’s men try to chase them, firing one or two shots but missing the car.
Panel 46: Casus drives back into the main street traffic, and looks back at his partner in the back seat. Buri is laying on his back with his face bloodied and his clothing wet and dirty. But a smile creeps out between the blood, a sparkle of youth reemerging from the old soul.
Casus: Are you crazy?! What the hell was that?!
Buri: Hehe … that was me ... catching up with an old friend.
Scene Change
Panel 47: Sturn is walking into a big open office, being led by a secretary. The office looks quite post-modern, empty like a padded cell except with walls that give off a soft-metallic look. The greyness of the room is kept in check by the roaring light coming in from the large windows. In the middle of the room is a big desk with a man sitting at it.
Man: Mr. Trochym, welcome. Where is your associate, Mr. Kaufmann?
Panel 48: Sturn is shaking hands with the man. The secretary stands off to the side. The big windows show the skyline of the city, with the afternoon sun seemingly lighting the world ablaze.
Sturn: Some unforeseen personal business, I’m afraid. Mr. Kaufmann nevertheless sends his regrets, Mr. Chande.
Panel 49: The secretary starts walking back to the door as both men sit down.
Mr. Chande: That’s fine. Now, what is it that I can help you with, Mr. Trochym? You should know I very rarely make appointments with such short notice, even for business interests as ... respected as the one you represent yourself. But somehow you had convinced my secretary that it was critical that I see you as soon as possible. She practically had to bend over backwards to slot you in.
Panel 50: Sturn sits calmly with his hands resting together on his lap. He turns his head, as if trying to look back at the secretary. A smile begins to creep upon his face.
Sturn: Really?
Panel 51: Sturn returns his attention to Mr. Chande, with his smile intact.
Sturn: In that case, I’ll cut to the chase. As you know, I represent Mr. Claude Akhoul Babow, renowned in this city for his business in importing ... goods. Despite this success, Mr. Babow is interested in trying new things, or loftier projects one might say. Such as in your current development project, “The Ark Towers”.
Panel 52: Mr. Chande stares back in confusion and suspicion. His features slowly form a more aggressive-defensive appearance.
Mr. Chande: I’m afraid the directors of the Chande Corporation have already chosen a buyer for that project. My apologies if you have wasted your time in seeing me today.
Panel 53: Sturn looks down at his sleeve and adjusts it, seemingly inattentive to Mr. Chande’s rejection.
Sturn: No, you haven’t wasted my time at all. I believe it’s Mr. Karn O'Donnell, last of the O'Donnell family, who is the current buyer, is it not? I’ve heard that billionaire philanthropist is intending to turn your beautiful buildings into some form of social housing in hopes of lifting those poor unfortunate souls living in the East side out of poverty.
Panel 54: Mr. Chande leans forward, clearly agitated by his guest.
Mr. Chande: You’ve heard correctly, Mr. Trochym. And speaking as the President of Chande Corp., I can pretty much guarantee you that Mr. O'Donnell will remain the holder of The Ark Towers project.
Panel 55: With one hand fixing his sleeve, Sturn turns his eyes to Mr. Chande, waiting for his determination to break.
Panel 56: With no response from Mr. Chande, Sturn drops his arm, in a mock surrender.
Sturn: Well, it looks like I won’t be able to change your mind. That’s too bad.
Panel 57: Mr. Chande gets up from his chair, and extends his hand out for a handshake, in relief that the tension has broken, and in anxiousness to get his guest to leave the office.
Mr. Chande: Yes, well, please, convey my regrets to Mr. Babow. Chande Corp. would be very interested in working with him on future projects. But unfortunately, The Ark is already in the hands of Mr. O'Donnell.
Panel 58: Sturn shakes Mr. Chande’s hand. But his predatory smile returns, locking Mr. Chande in a very uncomfortable position.
Sturn: I understand. You’re hands are tied, after all.
Panel 59: Mr. Chande fakes a smile as he realizes that Sturn is not letting go of his hand.
Sturn: As the President, your influence over the wishes of the Board is limited. Especially considering that you have directors on the Board who avidly support Mr. O'Donnell’s vision. Like, for example, Mr. Richard K. Turner. An outsider, such as myself, must be realistic to this situation.
Panel 60: Sturn releases Mr. Chande’s hand. Mr. Chande tries not to show his relief.
Sturn: The both of us must simply resign ourselves to imagine how things could have been different if Mr. O'Donnell did not have such support.
Panel 61: Sturn turns around and starts to leave, while Mr. Chande is rubbing his hand, at shock with the suggested images planted in his head. The glow of the city still looks like the world is on fire.
Sturn: Well, thank you Mr. Chande, for the stimulating conversation and the enchanting view.
Panel 62: Sturn turns his head back to Mr. Chande, carrying his smile like a spear.
Sturn: Please feel free to give me a call …
Scene Change
Panel 63: M and Marsden are at the diner. Aunt Judy is pouring coffee at the other end of the room. Baby Marsden is busy putting pieces of food into his/her mouth. M has her food on the table, but she’s busy reading the contents of her R&G file. On the back of the file, a small piece of paper is paper-clipped on, reading the numbers "623".
Sturn (VO): … if anyone manages to change your mind.
Panel 2: Bell reaches into his pocket.
Panel 3: Bell brings out a box of cigarettes.
Panel 4: Bell lights a cigarette.
Panel 5: Bell takes a long drag.
Panel 6: The detectives’ car has stopped half a block from Bell. Casus is reaching for the door handle when Buri grabs Casus’ arm and looks at him with a scalding seriousness.
Buri: No. You’re staying in the car.
Panel 7: Casus reacts in a shocked disappointment.
Casus: What? No, you nee …
Panel 8: Buri pulls Casus closer.
Buri: No, what I need is for you to take the car and meet me in the back alley of this street in five minutes.
Panel 9: Casus is speechless.
Buri: I need you to trust me, Detective.
Panel 10: Casus nods his head, unsure of himself.
Casus: Yeah, alright.
Panel 11: Buri steps out of the car as Casus climbs into the driver’s seat.
Panel 12: Casus drives off, as Buri walks onto the street. Bell is standing before him, smoking his cigarette in a silent menace.
Bell: Detective Buri. Long time no see.
Panel 13: Buri continues walking towards Bell. With his cigarette hand, Bell scratches his forehead. His eyes squint in an effort to revive a memory.
Bell: When was that last time again? Oh yah, it was back a couple a' years. You were layin' on the street, bleedin' to death. At least, that's what I remember.
Panel 14: Buri arrives within a few feet of Bell. Buri stares at him with a deceptive calmness, like a blank stare from a wolf right before erupting into a blood-lust frenzy.
Panel 15: Bell is unphased by Buri’s restrained snarl, and instead blows smoke into Buri’s face. In the background, several black cars have parked nearby. Buri doesn’t seem to notice.
Panel 16: Buri lets the smoke dissipate around him, his facial expression showing no signs of annoyance. From the black cars in the background, half a dozen of men have stepped out, their out-of-focus dark forms give off a growing sense of danger.
Buri: Well, why don’t we do a little bit of catching up then.
Panel 17: In a surprisingly quick manner, Buri head butts Bell’s face, causing blood to erupt out of his nose and down his face. The men from the cars, now more in focus, are startled into a trot towards Buri and Bell.
Bell: Arghh!!!
Panel 18: As Bell’s head snaps backwards from the force, Buri grabs Bell’s shirt collar with one hand and pulls Bell back to his growling face, only to have the other hand press the nuzzle of a gun up against Bell’s chin. The men from the cars are now almost fully in focus, with their hands either reaching for their guns or already having them drawn.
Buri: In private, of course.
Scene Change
Panel 19: A diner restaurant with a big neon sign saying, “Aunt Judy’s” sits at the corner of a busy intersection. A taxi is driving off.
Unknown (VO): Good ol’ golly-gracious, it’s so good to see you two darlins’ again!
Panel 20: M and her child have just walked in the door. M still looks awkwardly feminine. An overweight waitress has her hands up in the air in jubilation at her new guests. She has a head full of grey hair, which is pulled into a bun at the top of her round head. She is visibly old but her excited physical mannerisms prove that she remains young at heart.
Waitress: If I had known you were coming, Laura, I woulda told Frankie to prepare you your favourite meal!
Panel 21: The waitress, holding a menu and a child-seat, leads M and her child down the diner floor. Other patrons are sitting and eating, minding their own business. Despite this fact, M is visibly analyzing the various faces in the restaurant, as if to ensure that the locale is safe for her and her child. With safety being M’s primary concern, M responds in a comparably less excited manner than the waitress.
M: No, that won’t be necessary, Judy. But thanks.
Panel 22: Judy (the "Waitress") brings M to a booth, leaving the menu on the table. M starts taking off her harness, sitting her child on the table.
Judy: Oh, any time, my dear. Any time. How’s little Mars- … Oh, deary me, I’m so sorry. I’ve seem to have forgotten your little angel’s name. It’s these grey hairs showing their true colours, I’m afraid.
Panel 23: M unpacks her things, putting her file folder onto the table and preparing to sit down. Judy beams a bright smile at the child and the child responds in a beautiful laughter only innocence can bring.
M: Marsden. My little angel is Marsden.
Panel 24: Sitting down, M holds Marsden up in the air as Judy places the child seat underneath.
Judy: Oh, of course! Silly ol’ Aunt Judy. Are you still busy doing that freelance work? What was it again?
Panel 25: M pulls Marsden closer to her while looking up at Judy. Marsden is distracted by the various utensils and cups on the table.
M: Personal physical trainer.
Panel 26: Judy grabs the menu off the table and offers it to M.
Judy: Yes, yes, that’s right. Well, both Frankie and I think you’re nothing short of a miracle, my dear. We’re constantly amazed at how you manage to be a successful working woman and still find time to be such a wonderful single mother. One of these “Twenty-First-Century Women” is what you are!
M: Oh no, Judy. If you only knew my personal struggles, you wouldn't say that. And with work, it turns out there’s only one thing in this world that I’m good at.
Panel 27: While the panel shows M grabbing the menu, the centre of the panel is focused on the objects on the table, especially the file with the words “R&G”, printed in a red ink, visible.
M (OP): And I was just ... lucky ... enough to find out what that was.
Scene Change
Panel 28: Perched from atop the nearest building, the view below shows Buri holding Bell by the collar and dragging him deeper into the alley. With one hand, Buri is throwing away a firearm from Bell’s body. On the street, Bell’s men are gathering, about to funnel into the alley with the two.
Bell: You’re fuckin’ dead, old man! This time, I’m gonna make sure a bullet finds its way into your head!
Panel 29: Buri yanks Bell in front of his face, gun still pressed up against his head. Buri speaks with a spitting venom.
Buri: I’m only going say this once. Tell me what you know about the Malady killer.
Panel 30: Bell looks in shock and confusion, not sure if he should reveal the fact that Mr. Babow recently ordered Sturn and himself to hire Malady for a kill. Bell’s lack of a “poker face” is all Buri needs to realize that he does know something.
Bell: What?
Panel 31: Buri grabs Bell’s hair with his pistol hand and slams the side of the face against the building, more blood shooting out of Bell’s broken nose.
Bell: Argh!!!
Panel 32: Buri grabs the back of Bell’s jacket, and turns him to face his group of men, who are approaching down the alley with guns drawn. Buri presses his gun against Bell’s right shoulder.
Buri: You have three seconds before I blow open your shoulder. Then for the next six weeks, you’ll only have your left hand to hold your limp dick with.
Panel 33: Bell turns his head slightly, but keeps his eyes on his men. He smiles confidently at the turning tide.
Bell: Go fuck yourself, pops.
Panel 34: Buri aims his gun towards Bell’s foot and fires.
Buri: Wrong answer.
Bell: Ahhh!!! Fuuuck!!!
Panel 35: Buri presses his gun back to Bell’s shoulder, as Bell’s men creep closer. Buri whispers into Bell’s ear.
Buri: Last chance, lefty.
Panel 36: With Buri’s head so close to his, Bell takes the opportunity to head butt Buri away. Buri fires off a shot, but it only glances Bell’s shoulder.
Buri: Argh!
Panel 37: Taking advantage of Buri’s imbalance, Bell knocks Buri’s gun out of his hand.
Bell: You old fuck! You shot me in the fuckin' foot!
Panel 38: Bell slams a fist across Buri’s face.
Bell: You some kinda Bronson, huh?! You got a death-wish?! Well, I'm your fuckin' man!
Panel 39: Bell knees Buri in the mid-section, blood falling from his face onto the dirty alley floor. The men behind them are gathering, some putting away their guns now that Buri is unarmed and outnumbered, some still having their pistols aimed just in case.
Bell: And this is exactly what I've been sayin' to my buddy, Sturn. Why pay this cold-blooded Malady whack-job to have all this fun, when I'm more than happy to put you down in front of that new partner of yours.
Panel 40: Bell slams Buri against the opposite wall of the alley, one hand on his throat, the other in a clenched fist, primed to be thrown against Buri’s face.
Bell: You hear what I'm sayin', gramps? Wait, where is that kid of yours?
Panel 41: As if on cue, a car crashes its way through the alley perpendicular to the one where the mob scene is taking place. In the driver seat is Casus, his facial expression in shock.
Bell: Oh shit!
Panel 42: Casus, in an amazingly quick fashion, draws his gun, and fires a couple of rounds, knocking the guns out of the men holding weapons.
Casus: Buri!
Panel 43: Buri pushes himself off from the wall, and throws Bell into his group of men, knocking them over each other.
Bell: Shoot the fuckers!!!
Panel 44: Buri gets into the rear-passenger door, as some of Bell’s men fire shots at the car. Casus starts driving away.
Casus: Ooohh shit!
Panel 45: The car is roaring down the alley while Bell’s men try to chase them, firing one or two shots but missing the car.
Panel 46: Casus drives back into the main street traffic, and looks back at his partner in the back seat. Buri is laying on his back with his face bloodied and his clothing wet and dirty. But a smile creeps out between the blood, a sparkle of youth reemerging from the old soul.
Casus: Are you crazy?! What the hell was that?!
Buri: Hehe … that was me ... catching up with an old friend.
Scene Change
Panel 47: Sturn is walking into a big open office, being led by a secretary. The office looks quite post-modern, empty like a padded cell except with walls that give off a soft-metallic look. The greyness of the room is kept in check by the roaring light coming in from the large windows. In the middle of the room is a big desk with a man sitting at it.
Man: Mr. Trochym, welcome. Where is your associate, Mr. Kaufmann?
Panel 48: Sturn is shaking hands with the man. The secretary stands off to the side. The big windows show the skyline of the city, with the afternoon sun seemingly lighting the world ablaze.
Sturn: Some unforeseen personal business, I’m afraid. Mr. Kaufmann nevertheless sends his regrets, Mr. Chande.
Panel 49: The secretary starts walking back to the door as both men sit down.
Mr. Chande: That’s fine. Now, what is it that I can help you with, Mr. Trochym? You should know I very rarely make appointments with such short notice, even for business interests as ... respected as the one you represent yourself. But somehow you had convinced my secretary that it was critical that I see you as soon as possible. She practically had to bend over backwards to slot you in.
Panel 50: Sturn sits calmly with his hands resting together on his lap. He turns his head, as if trying to look back at the secretary. A smile begins to creep upon his face.
Sturn: Really?
Panel 51: Sturn returns his attention to Mr. Chande, with his smile intact.
Sturn: In that case, I’ll cut to the chase. As you know, I represent Mr. Claude Akhoul Babow, renowned in this city for his business in importing ... goods. Despite this success, Mr. Babow is interested in trying new things, or loftier projects one might say. Such as in your current development project, “The Ark Towers”.
Panel 52: Mr. Chande stares back in confusion and suspicion. His features slowly form a more aggressive-defensive appearance.
Mr. Chande: I’m afraid the directors of the Chande Corporation have already chosen a buyer for that project. My apologies if you have wasted your time in seeing me today.
Panel 53: Sturn looks down at his sleeve and adjusts it, seemingly inattentive to Mr. Chande’s rejection.
Sturn: No, you haven’t wasted my time at all. I believe it’s Mr. Karn O'Donnell, last of the O'Donnell family, who is the current buyer, is it not? I’ve heard that billionaire philanthropist is intending to turn your beautiful buildings into some form of social housing in hopes of lifting those poor unfortunate souls living in the East side out of poverty.
Panel 54: Mr. Chande leans forward, clearly agitated by his guest.
Mr. Chande: You’ve heard correctly, Mr. Trochym. And speaking as the President of Chande Corp., I can pretty much guarantee you that Mr. O'Donnell will remain the holder of The Ark Towers project.
Panel 55: With one hand fixing his sleeve, Sturn turns his eyes to Mr. Chande, waiting for his determination to break.
Panel 56: With no response from Mr. Chande, Sturn drops his arm, in a mock surrender.
Sturn: Well, it looks like I won’t be able to change your mind. That’s too bad.
Panel 57: Mr. Chande gets up from his chair, and extends his hand out for a handshake, in relief that the tension has broken, and in anxiousness to get his guest to leave the office.
Mr. Chande: Yes, well, please, convey my regrets to Mr. Babow. Chande Corp. would be very interested in working with him on future projects. But unfortunately, The Ark is already in the hands of Mr. O'Donnell.
Panel 58: Sturn shakes Mr. Chande’s hand. But his predatory smile returns, locking Mr. Chande in a very uncomfortable position.
Sturn: I understand. You’re hands are tied, after all.
Panel 59: Mr. Chande fakes a smile as he realizes that Sturn is not letting go of his hand.
Sturn: As the President, your influence over the wishes of the Board is limited. Especially considering that you have directors on the Board who avidly support Mr. O'Donnell’s vision. Like, for example, Mr. Richard K. Turner. An outsider, such as myself, must be realistic to this situation.
Panel 60: Sturn releases Mr. Chande’s hand. Mr. Chande tries not to show his relief.
Sturn: The both of us must simply resign ourselves to imagine how things could have been different if Mr. O'Donnell did not have such support.
Panel 61: Sturn turns around and starts to leave, while Mr. Chande is rubbing his hand, at shock with the suggested images planted in his head. The glow of the city still looks like the world is on fire.
Sturn: Well, thank you Mr. Chande, for the stimulating conversation and the enchanting view.
Panel 62: Sturn turns his head back to Mr. Chande, carrying his smile like a spear.
Sturn: Please feel free to give me a call …
Scene Change
Panel 63: M and Marsden are at the diner. Aunt Judy is pouring coffee at the other end of the room. Baby Marsden is busy putting pieces of food into his/her mouth. M has her food on the table, but she’s busy reading the contents of her R&G file. On the back of the file, a small piece of paper is paper-clipped on, reading the numbers "623".
Sturn (VO): … if anyone manages to change your mind.
January 18, 2009
Issue 2 - Rabbit Hole
NOTE: The first and the last parts of the issue uses a layout that rotates between two different scenes. One scene follows M, while the other follows the Detectives. The dialogue may not seem to flow, but I think this is because the panels are described by words, as opposed to images. I’m hoping with drawn panels, the lines of dialogue will come off more naturally. You may need to read the panel descriptions and dialogue separately (or just read them together, but several times) in order to get the sense of flow better. Or, it might be the case that my approach doesn’t work and I need to change it.
Scene - M
Panel 1: The old box sitting on M’s desk is open.
Panel 2: Looking down into the box, there is, among other things, an old pistol, a rusty knife, and a piece of jewelry at the bottom.
Casus (VO): You ever wake up, falling?
Scene Change - The Detectives
Panel 3: Detectives Buri and Casus are leaving the police headquarters, walking towards their car. The rookie, Casus, looks like he’s trying to make conversation with his more experienced partner, Buri. That, or something is bothering Casus, and he’s trying to exorcise it out.
Casus: I mean, wake up to the feeling of falling.
Scene Change - M
Panel 4: A hand reaches into the box and takes out the piece of jewelry, revealing it to be a necklace. The pendant on the necklace is not particularly pretty or fancy. Quite the opposite, there is a very simple, almost earthly elemental motif about its design.
Panel 5: The hand wraps the necklace around a neck, and puts it on.
Panel 6: Centering on the necklace, the panel zooms out slightly, revealing the lower portion of M’s face, her shoulders (covered by clothing), and the top of the child’s tilted head as he/she (the gender of the child is not apparent) is looking up at the necklace.
Casus (VO): Sometimes, during the day, I can still feel it. Like it’s tucked away in some corner of my chest.
Scene Change - The Detectives
Panel 7: The two detectives get into their car. Buri treats this venture as just another part of his job - routine and without meaning. Casus, on the other hand, has a youthful exuberance and nervousness to him, like he’s job shadowing and he’s excited yet cautious about everything he is experiencing. However, he still carries a concentrated look on his face, as if in an effort to share the wisdom of his youth and innocence.
Casus: Sometimes, you just realize how fast the world is coming at you, yunno?
Scene Change - M
Panel 8: The panel zooms out further, revealing M sitting with her child in her lap. M is wearing a summer dress. Her child is also clothed, ready to go outside. Sitting in her lap, the child is mesmerized by the pendant and is raising his/her hand, hoping to grasp it.
Panel 9: The panel zooms out completely, showing that the previous images were in fact the reflection from M’s bedroom desk mirror. On the desk is a long-haired wig on a mannequin’s head, assorted weapons, as well as the old box. M is sitting there, staring at herself blankly, while the child manages to get a hold of the pendant. In his/her hand, the child stares at the pendant intently.
Casus (VO): And you feel it. You feel the fall.
Scene Change - The Detectives
Panel 10: Buri is driving, with a concentrated look, while Casus is staring out his window, looking beyond what his eyes are sharing with him.
Casus: And you realize, you can’t stop.
Scene Change - M
Panel 11: M puts the long-haired wig over her short hair, completing her “transformation”.
Casus (VO): Sometimes, I think that’s why I’m doing this, why I’m carrying this badge and gun. It’s because I’m trying to slow the world down.
Panel 12: M walks out of her room, with her child in her arms.
Casus (VO): To stop the fall.
Panel 13: M grabs a harness off the kitchen table, and straps her child around her body, with the child facing outwards.
Casus (VO): Maybe for someone else.
Panel 14: M is closing the door behind her, leaving her apartment. M’s appearance gives her a more feminine look. Yet, the appearance feels forced, like she is wearing a second skin, a disguise.
Casus (VO): Maybe for myself.
Scene Change - The Detectives
Panel 15: Casus is still staring out his window, deep in thought. Buri is still driving, looking like he’s heard this monologue many times before.
Buri: Yunno what I think, kid?
Panel 16: Buri continues to stare forward. His deep frown, numerous wrinkles, short but unkept beard, and imperfect skin gives him the look of a battered old soul. While possessing some regal elements of a Nordic king, one cannot help but perceive Buri as a fitting poster-child for a depressed man in the post-modern era.
Buri: I think you should forget about the falling.
Panel 17: Buri turns his head to his partner with a very serious look.
Buri: And start worrying about the folks we’re about to meet.
Panel 18: The detectives’ car merges into the city traffic. In the distance before them is the more dark and ominous part of town, where their investigation is taking them.
Buri (OP): Cos’ trust me, kid …
Scene Change - M
Panel 19: M steps out of her apartment building and into the sun. While her child is strapped to her, she is nevertheless embracing the child. Her environment engulfs her in its vibrancy. The neighbouring buildings stand like mountains, the street is spurring with human activity, and the cars are herding down the road.
Buri (VO): It’s the ones who are done falling, who are already on the ground, the ones who are trying to crawl their way back up.
Panel 20: M is walking down the street, and towards the sunrise, blending in with her surroundings. And yet, there is a defensive aura about her, like she is traversing through dangerous territory. Her arms around her child signify this.
Buri (VO): They’re the ones you should worry about.
End of scene layering / cycle
Scene Change
Panel 21: At another part of the city, Stern is standing at a street corner. Dumb walks toward him. A taxi has just driven away.
Dumb: So? How did it go?
Panel 22: Stern hails down a black car. Dumb is standing next to him.
Stern: Fine. These taxi drivers never know what’s goin’ on. They just act as runners who get a bonus for keeping their mouths shut.
Panel 23: A car stops before them. Dumb sits in the passenger seat, while Stern takes the back seat.
Dumb: Well, I’ve always had a bad feeling about these R&G folks. Ever since they showed up in town, they’ve made it too easy for guys like us, yunno? I kinda miss the old world, when everything was in-house.
Panel 24: Stern hands an address over to the driver.
Stern: Me too, Bell ("Dumb"). But those wild wild west days are over. We’re playing a new game now. Yunno, handshakes and suits. Papers and lawyers. Stock options and pensions.
Panel 25: Sitting in the passenger seat, Bell, like a pre-occupied child, is picking at the side-door upholstery.
Bell: Or bullshit meetings, like the one we have now.
Panel 26: Stern stares out of his window at the high-rises in the distance. It’s obvious he’s dreaming of big things.
Stern: Well, Bell ol’ buddy, this Malady killer ain’t going sign us over this big development contract all by himself. Mr. Chande has first gotta be introduced to our boss’ interest in the matter.
Panel 27: Bell looks over his shoulder to his partner discontently.
Bell: Don’t patronize me, Sturn ("Stern"). All’s I’m saying is that I miss the old days, back when my hands did all the necessary introducin’.
Panel 28: Sturn buttons up his sleeve collar and brushes back his hair.
Sturn: I hear ya, Bell. Don’t get me wrong, I miss the action myself. But honestly, from one wolf to another, I could certainly get used to all this sheep’s clothing.
Scene Change
Panel 29: M is walking down the street with her child strapped to her. With one hand, M takes out a cell phone and starts dialing a number.
Panel 30: M brings her cellphone to her ear.
Panel 31: M speaks into her cellphone, while looking down at a piece of paper in her other hand. Around her are signs of poverty, broken homes, and social outcasts. Behind the decaying shells of society are the forces of greed, festering and leaching off the poor souls who inhabit the area as their home.
M: I’m calling for a pickup. Number is 216.
Panel 32: M walks beyond her street, and across the intersection is a public park. She puts the piece of paper back into her pocket.
M: I’ll be at the south-east corner of Koime Park.
Panel 33: M hangs up her phone, holds her child, and crosses the street.
Panel 34: M enters the park. The park is extremely old. It was once lush and full of beauty. While it retains some skeleton of that aesthetic, most of its fleshful elegance has been stripped away by decades of neglect and human wear-and-tear. In the end, it looks like more of an inhabited cemetery than an empty park. Strangely enough, the child has an instant positive reaction to seeing the park. M speaks to her child.
M: You miss the park, don’t you? Well, Mommy’s sorry she hasn’t been able to take you out in a while. She’s just been busy with work, that’s all.
Panel 35: The two continue walking down the path. Around her are fallen statues and homeless people resting against them. A homeless man has his outstretched hand, hoping for some charity. M ignores him.
M: So how about I make it up to you, Sweety, and take you to see Aunt Judy’s? Would you like that?
Panel 36: The child looks up at M and giggles and smiles.
Panel 37: The two continue on a path through the park. The sun is rising in the sky. Beyond the park, the city skyscrapers stand tall, casting shadows on the landscape below.
M: Alright then. Aunt Judy’s it is, then.
Panel 38: M walks out the other end of the park, with a taxi cab waiting at the corner of an intersection.
Panel 39: M steps into the cab.
Panel 40: M puts a seatbelt around herself, with her child in her arms. M speaks in a cold, straight-to-the-point tone.
M: Pickup for Number 216.
Panel 41: Mechanically, the taxi driver turns to the passenger seat, rummages through a folder, and pulls out an envelope. M is baby-talking and playing with her child, who is visibly excited by his/her new surroundings.
Panel 42: The taxi driver turns back towards M and hands her the envelope.
Taxi Driver: You need me to take you somewhere?
Panel 43: M looks down at the envelope, with the words R&G spelled in big letters on the front.
M: Yeah. Take us to Aunt Judy’s.
Start of scene layering / cycle
Scene - The Detectives
Panel 44: The two detectives are still driving in their car. Buri is at the wheel while Casus is looking over notes in his file. Buri recognizes a car ahead of them.
Buri: Put those papers away and look sharp, Detective. I think we just caught our first gazelle.
Scene - The Henchmen
Panel 45: The driver in Sturn and Bell’s car looks into his rear-view mirror, noticing a car is following them.
Driver: Boys, looks like we got someone on our tail.
Scene - The Detectives
Panel 46: Detective Casus is looking intently towards the car ahead of them, while awkwardly scrambling to put his file away. Buri’s face, on the other hand, turns more predatory.
Casus: Who is it?
Scene - The Henchmen
Panel 47: Bell looks to his side view mirror, and sees the detectives trailing behind them.
Bell: It’s that depressed old fuck, Buri. And it looks like he’s got a partner now too.
Scene - The Detectives
Panel 48: Detective Buri turns the wheel, changing lanes so that he can get closer to the other car. Casus is beginning to look scared.
Buri: Looks like two of Mr. Babow’s street associates, Sturn and Bell. Don’t worry, junior. We’re just going to have a talk with them.
Scene - The Henchmen
Panel 49: Sturn opens up his cellphone, and starts typing a message.
Sturn: And here you thought today was going to be a bore. Well, since you've been all nostalgic on me, why don't you go enjoy a trip down memory lane with some of the boys ...
Panel 50: Sturn’s black car continues to drive towards the big downtown towers, with the detectives in tow. Trailing behind, however, are several other black cars, making a formation around them.
Sturn: ... and remind that fossil what happened the last time he had a boy wonder.
Scene - M
Panel 1: The old box sitting on M’s desk is open.
Panel 2: Looking down into the box, there is, among other things, an old pistol, a rusty knife, and a piece of jewelry at the bottom.
Casus (VO): You ever wake up, falling?
Scene Change - The Detectives
Panel 3: Detectives Buri and Casus are leaving the police headquarters, walking towards their car. The rookie, Casus, looks like he’s trying to make conversation with his more experienced partner, Buri. That, or something is bothering Casus, and he’s trying to exorcise it out.
Casus: I mean, wake up to the feeling of falling.
Scene Change - M
Panel 4: A hand reaches into the box and takes out the piece of jewelry, revealing it to be a necklace. The pendant on the necklace is not particularly pretty or fancy. Quite the opposite, there is a very simple, almost earthly elemental motif about its design.
Panel 5: The hand wraps the necklace around a neck, and puts it on.
Panel 6: Centering on the necklace, the panel zooms out slightly, revealing the lower portion of M’s face, her shoulders (covered by clothing), and the top of the child’s tilted head as he/she (the gender of the child is not apparent) is looking up at the necklace.
Casus (VO): Sometimes, during the day, I can still feel it. Like it’s tucked away in some corner of my chest.
Scene Change - The Detectives
Panel 7: The two detectives get into their car. Buri treats this venture as just another part of his job - routine and without meaning. Casus, on the other hand, has a youthful exuberance and nervousness to him, like he’s job shadowing and he’s excited yet cautious about everything he is experiencing. However, he still carries a concentrated look on his face, as if in an effort to share the wisdom of his youth and innocence.
Casus: Sometimes, you just realize how fast the world is coming at you, yunno?
Scene Change - M
Panel 8: The panel zooms out further, revealing M sitting with her child in her lap. M is wearing a summer dress. Her child is also clothed, ready to go outside. Sitting in her lap, the child is mesmerized by the pendant and is raising his/her hand, hoping to grasp it.
Panel 9: The panel zooms out completely, showing that the previous images were in fact the reflection from M’s bedroom desk mirror. On the desk is a long-haired wig on a mannequin’s head, assorted weapons, as well as the old box. M is sitting there, staring at herself blankly, while the child manages to get a hold of the pendant. In his/her hand, the child stares at the pendant intently.
Casus (VO): And you feel it. You feel the fall.
Scene Change - The Detectives
Panel 10: Buri is driving, with a concentrated look, while Casus is staring out his window, looking beyond what his eyes are sharing with him.
Casus: And you realize, you can’t stop.
Scene Change - M
Panel 11: M puts the long-haired wig over her short hair, completing her “transformation”.
Casus (VO): Sometimes, I think that’s why I’m doing this, why I’m carrying this badge and gun. It’s because I’m trying to slow the world down.
Panel 12: M walks out of her room, with her child in her arms.
Casus (VO): To stop the fall.
Panel 13: M grabs a harness off the kitchen table, and straps her child around her body, with the child facing outwards.
Casus (VO): Maybe for someone else.
Panel 14: M is closing the door behind her, leaving her apartment. M’s appearance gives her a more feminine look. Yet, the appearance feels forced, like she is wearing a second skin, a disguise.
Casus (VO): Maybe for myself.
Scene Change - The Detectives
Panel 15: Casus is still staring out his window, deep in thought. Buri is still driving, looking like he’s heard this monologue many times before.
Buri: Yunno what I think, kid?
Panel 16: Buri continues to stare forward. His deep frown, numerous wrinkles, short but unkept beard, and imperfect skin gives him the look of a battered old soul. While possessing some regal elements of a Nordic king, one cannot help but perceive Buri as a fitting poster-child for a depressed man in the post-modern era.
Buri: I think you should forget about the falling.
Panel 17: Buri turns his head to his partner with a very serious look.
Buri: And start worrying about the folks we’re about to meet.
Panel 18: The detectives’ car merges into the city traffic. In the distance before them is the more dark and ominous part of town, where their investigation is taking them.
Buri (OP): Cos’ trust me, kid …
Scene Change - M
Panel 19: M steps out of her apartment building and into the sun. While her child is strapped to her, she is nevertheless embracing the child. Her environment engulfs her in its vibrancy. The neighbouring buildings stand like mountains, the street is spurring with human activity, and the cars are herding down the road.
Buri (VO): It’s the ones who are done falling, who are already on the ground, the ones who are trying to crawl their way back up.
Panel 20: M is walking down the street, and towards the sunrise, blending in with her surroundings. And yet, there is a defensive aura about her, like she is traversing through dangerous territory. Her arms around her child signify this.
Buri (VO): They’re the ones you should worry about.
End of scene layering / cycle
Scene Change
Panel 21: At another part of the city, Stern is standing at a street corner. Dumb walks toward him. A taxi has just driven away.
Dumb: So? How did it go?
Panel 22: Stern hails down a black car. Dumb is standing next to him.
Stern: Fine. These taxi drivers never know what’s goin’ on. They just act as runners who get a bonus for keeping their mouths shut.
Panel 23: A car stops before them. Dumb sits in the passenger seat, while Stern takes the back seat.
Dumb: Well, I’ve always had a bad feeling about these R&G folks. Ever since they showed up in town, they’ve made it too easy for guys like us, yunno? I kinda miss the old world, when everything was in-house.
Panel 24: Stern hands an address over to the driver.
Stern: Me too, Bell ("Dumb"). But those wild wild west days are over. We’re playing a new game now. Yunno, handshakes and suits. Papers and lawyers. Stock options and pensions.
Panel 25: Sitting in the passenger seat, Bell, like a pre-occupied child, is picking at the side-door upholstery.
Bell: Or bullshit meetings, like the one we have now.
Panel 26: Stern stares out of his window at the high-rises in the distance. It’s obvious he’s dreaming of big things.
Stern: Well, Bell ol’ buddy, this Malady killer ain’t going sign us over this big development contract all by himself. Mr. Chande has first gotta be introduced to our boss’ interest in the matter.
Panel 27: Bell looks over his shoulder to his partner discontently.
Bell: Don’t patronize me, Sturn ("Stern"). All’s I’m saying is that I miss the old days, back when my hands did all the necessary introducin’.
Panel 28: Sturn buttons up his sleeve collar and brushes back his hair.
Sturn: I hear ya, Bell. Don’t get me wrong, I miss the action myself. But honestly, from one wolf to another, I could certainly get used to all this sheep’s clothing.
Scene Change
Panel 29: M is walking down the street with her child strapped to her. With one hand, M takes out a cell phone and starts dialing a number.
Panel 30: M brings her cellphone to her ear.
Panel 31: M speaks into her cellphone, while looking down at a piece of paper in her other hand. Around her are signs of poverty, broken homes, and social outcasts. Behind the decaying shells of society are the forces of greed, festering and leaching off the poor souls who inhabit the area as their home.
M: I’m calling for a pickup. Number is 216.
Panel 32: M walks beyond her street, and across the intersection is a public park. She puts the piece of paper back into her pocket.
M: I’ll be at the south-east corner of Koime Park.
Panel 33: M hangs up her phone, holds her child, and crosses the street.
Panel 34: M enters the park. The park is extremely old. It was once lush and full of beauty. While it retains some skeleton of that aesthetic, most of its fleshful elegance has been stripped away by decades of neglect and human wear-and-tear. In the end, it looks like more of an inhabited cemetery than an empty park. Strangely enough, the child has an instant positive reaction to seeing the park. M speaks to her child.
M: You miss the park, don’t you? Well, Mommy’s sorry she hasn’t been able to take you out in a while. She’s just been busy with work, that’s all.
Panel 35: The two continue walking down the path. Around her are fallen statues and homeless people resting against them. A homeless man has his outstretched hand, hoping for some charity. M ignores him.
M: So how about I make it up to you, Sweety, and take you to see Aunt Judy’s? Would you like that?
Panel 36: The child looks up at M and giggles and smiles.
Panel 37: The two continue on a path through the park. The sun is rising in the sky. Beyond the park, the city skyscrapers stand tall, casting shadows on the landscape below.
M: Alright then. Aunt Judy’s it is, then.
Panel 38: M walks out the other end of the park, with a taxi cab waiting at the corner of an intersection.
Panel 39: M steps into the cab.
Panel 40: M puts a seatbelt around herself, with her child in her arms. M speaks in a cold, straight-to-the-point tone.
M: Pickup for Number 216.
Panel 41: Mechanically, the taxi driver turns to the passenger seat, rummages through a folder, and pulls out an envelope. M is baby-talking and playing with her child, who is visibly excited by his/her new surroundings.
Panel 42: The taxi driver turns back towards M and hands her the envelope.
Taxi Driver: You need me to take you somewhere?
Panel 43: M looks down at the envelope, with the words R&G spelled in big letters on the front.
M: Yeah. Take us to Aunt Judy’s.
Start of scene layering / cycle
Scene - The Detectives
Panel 44: The two detectives are still driving in their car. Buri is at the wheel while Casus is looking over notes in his file. Buri recognizes a car ahead of them.
Buri: Put those papers away and look sharp, Detective. I think we just caught our first gazelle.
Scene - The Henchmen
Panel 45: The driver in Sturn and Bell’s car looks into his rear-view mirror, noticing a car is following them.
Driver: Boys, looks like we got someone on our tail.
Scene - The Detectives
Panel 46: Detective Casus is looking intently towards the car ahead of them, while awkwardly scrambling to put his file away. Buri’s face, on the other hand, turns more predatory.
Casus: Who is it?
Scene - The Henchmen
Panel 47: Bell looks to his side view mirror, and sees the detectives trailing behind them.
Bell: It’s that depressed old fuck, Buri. And it looks like he’s got a partner now too.
Scene - The Detectives
Panel 48: Detective Buri turns the wheel, changing lanes so that he can get closer to the other car. Casus is beginning to look scared.
Buri: Looks like two of Mr. Babow’s street associates, Sturn and Bell. Don’t worry, junior. We’re just going to have a talk with them.
Scene - The Henchmen
Panel 49: Sturn opens up his cellphone, and starts typing a message.
Sturn: And here you thought today was going to be a bore. Well, since you've been all nostalgic on me, why don't you go enjoy a trip down memory lane with some of the boys ...
Panel 50: Sturn’s black car continues to drive towards the big downtown towers, with the detectives in tow. Trailing behind, however, are several other black cars, making a formation around them.
Sturn: ... and remind that fossil what happened the last time he had a boy wonder.
January 13, 2009
Issue 1 - Origin Stories
Panel 1: Black.
Unknown (VO): Let me tell you a story.
Panel 2: A scene of a forest, but is barely recognizable from the heavy black tint over the green.
Unknown (VO): Once upon a time …
Panel 3: As the black filter is lifted, more green is revealed and an image of the forest becomes more apparent.
Unknown (VO): … there was a paradise.
Panel 4: The black filter is completely lifted and a lush green forest is revealed.
Unknown (VO): And man and woman were a part of it.
Panel 5: The green of the forest is cut by the grey of a highway.
Unknown (VO): But something happened.
Panel 6: The highway stretches on through the forest, like a path leading to some ominous destination.
Unknown (VO): The woman did something she was not supposed to.
Panel 7: Following the highway, more of the forest’s green is stripped away, as a bright light, seemingly coming from the end of the highway, radiates.
Unknown (VO): And even with her best intentions …
Panel 8: A sign next to the highway reads, “Welcome to Knod, Home to All Who Have Discovered It”, with the city towering over the horizon beyond the trees. The city is bathed in the light from the dawn of the rising sun.
Unknown (VO): … the man and the woman had to find a new home.
Panel 9: Scene of the city, showing it to be like an old New York, a mixture of modern, gothic, and mythic. There is garbage blown about by the wind. Pigeons flying off in the background. Steam and smoke rising from the buildings. There are billboard advertisements visible all around town. There is the usual Cola company ad. There is one for a pop music star. There is one for a brand of jeans. Lastly, there is one for a real-estate project, called "New Haven Homes."
Unknown (VO): And that’s why, we’re here.
Part 10: Outside an old apartment building.
Unknown (VO): That’s why you’re here.
Part 11: Outside the door of an apartment.
Unknown (VO): You’re going to help us.
Part 12: Inside the apartment, there are signs of a struggle, as furniture has been knocked around, paintings fallen off the wall, etc.
Unknown (OP): You’re going to help us find our way back to paradise.
Part 13: Silhouette of a group of men standing in the living room, facing a female figure being suspended by a rope from the ceiling in front of the draped windows of the apartment. The drapes are red, thus, casting a red tint all over the black silhouettes of the room. A man standing in the center is the one speaking.
Unknown: You’re going to help us finish the story.
Scene Change
Panel 14: Photograph of Brass, with his throat slit open, eyes open and lifeless.
Rookie (OP): So, we got a name.
Panel 15: The old detective and the rookie are at the police headquarters. The rookie is presenting his report to his partner. The rookie looks fresh, awake, energetic for a new day, as if he had been waiting all night to share his findings. The old detective, on the other hand, looks tired and grumpy, with a Monday-morning type look. He’s drinking coffee from a mug, with his feet up on his desk, passively listening to his partner, while reading the newspaper.
Rookie: Malady.
Panel 16: The old detective looks up at his partner when he hears the name, with a disgruntled expression. The look is a mixture of restrained surprise and of cynical disbelief.
Old: Malady?
Panel 17: The rookie is carefully reading the report, with a finger pointing to the lines he is reading.
Rookie: It was the last thing that came out of Brass’ … uh … throat.
Panel 18: The old detective looks back down into his paper and takes a sip of coffee.
Old: Malady? That’s not even a name. At best, it's some bullshit codename. Like a "Mr. Bullet". Or "Sniperman". Your theory ain’t much of a lead, Detective Casus.
Panel 19: Detective Casus ("Rookie") gives an irritated stare at his partner.
Casus: Well, it’s the only thing we got, Buri. Brass’ men were less than helpful with their eyewitness reports. Besides the one witness who claimed to see the killer run down the alley, describing him as being male, being approximately six feet tall, and wearing a leather jacket, no one else saw or heard much. And all the guests with window access to the fire-escape checked out clean.
Panel 20: Casus closes his file and throws it onto the old detective's desk, puts his hands behind his back, and leans back in his chair. A sense of frustration fills the air.
Casus: And of course, the autopsy report won’t be done for a day or two.
Panel 20: Detective Buri ("Old") puts his cup of coffee down, but keeps his eyes on his paper. He’s passively reading an article about a string of extremely violent sexual murders that have been taking place around the city. However, from his tone, it’s obvious that Buri is digesting his partner’s report.
Buri: So, Malady. Huh.
Panel 21: Buri throws his newspaper onto his desk, in a similar fashion to his partner, as if mocking his previous actions. Buri stares into Casus, like it's an interrogation.
Buri: Alright. Let’s go test your theory.
Panel 22: Buri swings his feet off his desk and puts on his jacket. Casus gets up from his chair, realizing that they’re about to hit the streets.
Buri: With a name like that, there’s gotta be someone in town who can tell us something more about this guy.
Panel 23: Buri is marching out of his office, with Casus in tow. Casus is visibly uncomfortable that his ideas have stirred his more experienced partner into action.
Casus: Well, I dunno. Maybe. This Malady killer could be a real professional. I mean, if he didn’t come from any of the nearby rooms, he must have come up from the street and escaped the same way.
Panel 24: Buri and Casus are walking through the precinct. There is a general sense of kinetic chaos flowing through the police department. It is apparent that that chaos is being barely contained by the staff. Casus is still visibly uncomfortable.
Casus: But if that’s the case, how did this “Malady” manage to get so close to Brass? Our surveillance shows that a guard was stationed outside Brass’ window.
Panel 25: Buri pushes the doors of the precinct open. The city and its buildings sprawls before the two detectives, like the yawning mouth of a giant beast.
Buri: Well, I suppose, that’s the mysterious thing about a sickness …
Scene Change
Panel 26: M is in bed, with no sheets covering her. She is in her underwear, curled in a fetal position. Daylight is filling the apartment.
Buri (VO): … you’re never sure where it came from.
Panel 27: M turns to her other side. Next to the bed is the baby’s crib, with the baby asleep inside. On the bedroom desk, there is some weaponry (guns, bullets, knives), as well as a wig on a mannequin head. There is also an old looking box, sitting inconspicuously.
Panel 28: M opens her eyes.
Panel 29: M turns to her clock, checking the time.
Panel 30: M gets up in bed.
Panel 31: M kisses the baby in the crib.
Panel 32: M walks out into the living room. The apartment is lit up completely, showing a moderately sized apartment, kept in relatively clean order. All around the apartment are pots of plants. There are weapons still on the kitchen table.
Panel 33: M clicks on her answering machine.
Panel 34: M starts watering her plants.
Answering machine: Hi, Laura. It’s Sandy, your psychiatrist. I noticed I haven’t heard from you for almost a year, and I just wanted to see if you’re ok. …
Panel 35: M finishes watering her plants.
Answering machine: … Please, call me back anytime. It’d be great to catch up with you. Have a nice day. Beep.
Panel 36: M goes to the fridge and takes out some orange juice.
Answering machine: Hey Scarlet, it’s Vlad. Your order of rounds just came in. Let me know when you wanna pick them up. Beep.
Panel 37: M drinks the juice from the container.
Answering machine: Ms. Vosburgh, it’s your landlord, Rand. Just to remind you, the new water bill rate will be in effect this month. Something to do with the water shortage. See ya around. Beep.
Panel 38: M starts heating some milk. As if on cue, the baby starts crying.
Panel 39: With the bottle of milk, M goes into the room and takes the baby out of the crib.
Panel 40: With one hand holding the child, the other hand feeding it, the shape of the two figures are silhouetted against the light coming from the window. They are facing the window, as if looking out into the city. The city is bustling with activity as usual. The run-down nature outside is a reminder of the neighbourhood she lives in.
M: Let’s go see what our day has in store for us, huh?
Scene Change:
Panel 41: Two "tough-looking" guys are walking down a street. One looks more intelligent than the other. There is something immediately “criminal” about them. The dumb one ("Dumb") has his excited face turned to his sterner looking partner ("Stern").
Dumb: You hear what fuckin’ happened?
Panel 42: The two keep walking. Crowds of people walk past them on the street. Stern shoves some guy out of his way.
Stern: ‘Course I heard. Brass got his fuckin’ gills gutted.
Panel 43: Dumb stares blankly at the ground in front of him. Stern keeps on walking. The guy who got shoved is looking back at Stern in a shocked anger.
Dumb: And I heard Jimbo don’t remember nuthin’. Says he woke up with Brass’ blood all over him.
Panel 44: The two enter a building.
Panel 45: The two walk past some criminal henchmen. They wave them by.
Stern: Yeah, this hitman is good alright. But keep your mouth shut. Let’s just see what Mr. Babow wants.
Panel 46: The two enter a back room. Mr. Babow, their employer, is sitting behind a desk, with a man standing next to him, speaking into his ear.
Babow: Hey boys! Sit down!
Panel 47: The two sit before the boss.
Babow: By now, you’ve probably heard the news. Brass is ass.
Panel 48: The boss is speaking to the two. His second-hand man is standing next to him motionless, but looking very menacing.
Babow: I dunno who ordered the hit, but I owe ‘em one. Cos’ now I know who I want for my next job.
Panel 49: The boss throws a file onto his desk, and Dumb stares at it in shock. Stern tries to keep a straight face.
Babow: Get in touch with this "Malady" killer. Let’s see if he can help me move uptown …
Panel 50: There are several photos in the file. One of them is of a business-type looking man, seemingly belonging to a high class of society. The other visible photo is of a skyscraper building under construction.
Babow: … and get me a little taste of paradise.
Unknown (VO): Let me tell you a story.
Panel 2: A scene of a forest, but is barely recognizable from the heavy black tint over the green.
Unknown (VO): Once upon a time …
Panel 3: As the black filter is lifted, more green is revealed and an image of the forest becomes more apparent.
Unknown (VO): … there was a paradise.
Panel 4: The black filter is completely lifted and a lush green forest is revealed.
Unknown (VO): And man and woman were a part of it.
Panel 5: The green of the forest is cut by the grey of a highway.
Unknown (VO): But something happened.
Panel 6: The highway stretches on through the forest, like a path leading to some ominous destination.
Unknown (VO): The woman did something she was not supposed to.
Panel 7: Following the highway, more of the forest’s green is stripped away, as a bright light, seemingly coming from the end of the highway, radiates.
Unknown (VO): And even with her best intentions …
Panel 8: A sign next to the highway reads, “Welcome to Knod, Home to All Who Have Discovered It”, with the city towering over the horizon beyond the trees. The city is bathed in the light from the dawn of the rising sun.
Unknown (VO): … the man and the woman had to find a new home.
Panel 9: Scene of the city, showing it to be like an old New York, a mixture of modern, gothic, and mythic. There is garbage blown about by the wind. Pigeons flying off in the background. Steam and smoke rising from the buildings. There are billboard advertisements visible all around town. There is the usual Cola company ad. There is one for a pop music star. There is one for a brand of jeans. Lastly, there is one for a real-estate project, called "New Haven Homes."
Unknown (VO): And that’s why, we’re here.
Part 10: Outside an old apartment building.
Unknown (VO): That’s why you’re here.
Part 11: Outside the door of an apartment.
Unknown (VO): You’re going to help us.
Part 12: Inside the apartment, there are signs of a struggle, as furniture has been knocked around, paintings fallen off the wall, etc.
Unknown (OP): You’re going to help us find our way back to paradise.
Part 13: Silhouette of a group of men standing in the living room, facing a female figure being suspended by a rope from the ceiling in front of the draped windows of the apartment. The drapes are red, thus, casting a red tint all over the black silhouettes of the room. A man standing in the center is the one speaking.
Unknown: You’re going to help us finish the story.
Scene Change
Panel 14: Photograph of Brass, with his throat slit open, eyes open and lifeless.
Rookie (OP): So, we got a name.
Panel 15: The old detective and the rookie are at the police headquarters. The rookie is presenting his report to his partner. The rookie looks fresh, awake, energetic for a new day, as if he had been waiting all night to share his findings. The old detective, on the other hand, looks tired and grumpy, with a Monday-morning type look. He’s drinking coffee from a mug, with his feet up on his desk, passively listening to his partner, while reading the newspaper.
Rookie: Malady.
Panel 16: The old detective looks up at his partner when he hears the name, with a disgruntled expression. The look is a mixture of restrained surprise and of cynical disbelief.
Old: Malady?
Panel 17: The rookie is carefully reading the report, with a finger pointing to the lines he is reading.
Rookie: It was the last thing that came out of Brass’ … uh … throat.
Panel 18: The old detective looks back down into his paper and takes a sip of coffee.
Old: Malady? That’s not even a name. At best, it's some bullshit codename. Like a "Mr. Bullet". Or "Sniperman". Your theory ain’t much of a lead, Detective Casus.
Panel 19: Detective Casus ("Rookie") gives an irritated stare at his partner.
Casus: Well, it’s the only thing we got, Buri. Brass’ men were less than helpful with their eyewitness reports. Besides the one witness who claimed to see the killer run down the alley, describing him as being male, being approximately six feet tall, and wearing a leather jacket, no one else saw or heard much. And all the guests with window access to the fire-escape checked out clean.
Panel 20: Casus closes his file and throws it onto the old detective's desk, puts his hands behind his back, and leans back in his chair. A sense of frustration fills the air.
Casus: And of course, the autopsy report won’t be done for a day or two.
Panel 20: Detective Buri ("Old") puts his cup of coffee down, but keeps his eyes on his paper. He’s passively reading an article about a string of extremely violent sexual murders that have been taking place around the city. However, from his tone, it’s obvious that Buri is digesting his partner’s report.
Buri: So, Malady. Huh.
Panel 21: Buri throws his newspaper onto his desk, in a similar fashion to his partner, as if mocking his previous actions. Buri stares into Casus, like it's an interrogation.
Buri: Alright. Let’s go test your theory.
Panel 22: Buri swings his feet off his desk and puts on his jacket. Casus gets up from his chair, realizing that they’re about to hit the streets.
Buri: With a name like that, there’s gotta be someone in town who can tell us something more about this guy.
Panel 23: Buri is marching out of his office, with Casus in tow. Casus is visibly uncomfortable that his ideas have stirred his more experienced partner into action.
Casus: Well, I dunno. Maybe. This Malady killer could be a real professional. I mean, if he didn’t come from any of the nearby rooms, he must have come up from the street and escaped the same way.
Panel 24: Buri and Casus are walking through the precinct. There is a general sense of kinetic chaos flowing through the police department. It is apparent that that chaos is being barely contained by the staff. Casus is still visibly uncomfortable.
Casus: But if that’s the case, how did this “Malady” manage to get so close to Brass? Our surveillance shows that a guard was stationed outside Brass’ window.
Panel 25: Buri pushes the doors of the precinct open. The city and its buildings sprawls before the two detectives, like the yawning mouth of a giant beast.
Buri: Well, I suppose, that’s the mysterious thing about a sickness …
Scene Change
Panel 26: M is in bed, with no sheets covering her. She is in her underwear, curled in a fetal position. Daylight is filling the apartment.
Buri (VO): … you’re never sure where it came from.
Panel 27: M turns to her other side. Next to the bed is the baby’s crib, with the baby asleep inside. On the bedroom desk, there is some weaponry (guns, bullets, knives), as well as a wig on a mannequin head. There is also an old looking box, sitting inconspicuously.
Panel 28: M opens her eyes.
Panel 29: M turns to her clock, checking the time.
Panel 30: M gets up in bed.
Panel 31: M kisses the baby in the crib.
Panel 32: M walks out into the living room. The apartment is lit up completely, showing a moderately sized apartment, kept in relatively clean order. All around the apartment are pots of plants. There are weapons still on the kitchen table.
Panel 33: M clicks on her answering machine.
Panel 34: M starts watering her plants.
Answering machine: Hi, Laura. It’s Sandy, your psychiatrist. I noticed I haven’t heard from you for almost a year, and I just wanted to see if you’re ok. …
Panel 35: M finishes watering her plants.
Answering machine: … Please, call me back anytime. It’d be great to catch up with you. Have a nice day. Beep.
Panel 36: M goes to the fridge and takes out some orange juice.
Answering machine: Hey Scarlet, it’s Vlad. Your order of rounds just came in. Let me know when you wanna pick them up. Beep.
Panel 37: M drinks the juice from the container.
Answering machine: Ms. Vosburgh, it’s your landlord, Rand. Just to remind you, the new water bill rate will be in effect this month. Something to do with the water shortage. See ya around. Beep.
Panel 38: M starts heating some milk. As if on cue, the baby starts crying.
Panel 39: With the bottle of milk, M goes into the room and takes the baby out of the crib.
Panel 40: With one hand holding the child, the other hand feeding it, the shape of the two figures are silhouetted against the light coming from the window. They are facing the window, as if looking out into the city. The city is bustling with activity as usual. The run-down nature outside is a reminder of the neighbourhood she lives in.
M: Let’s go see what our day has in store for us, huh?
Scene Change:
Panel 41: Two "tough-looking" guys are walking down a street. One looks more intelligent than the other. There is something immediately “criminal” about them. The dumb one ("Dumb") has his excited face turned to his sterner looking partner ("Stern").
Dumb: You hear what fuckin’ happened?
Panel 42: The two keep walking. Crowds of people walk past them on the street. Stern shoves some guy out of his way.
Stern: ‘Course I heard. Brass got his fuckin’ gills gutted.
Panel 43: Dumb stares blankly at the ground in front of him. Stern keeps on walking. The guy who got shoved is looking back at Stern in a shocked anger.
Dumb: And I heard Jimbo don’t remember nuthin’. Says he woke up with Brass’ blood all over him.
Panel 44: The two enter a building.
Panel 45: The two walk past some criminal henchmen. They wave them by.
Stern: Yeah, this hitman is good alright. But keep your mouth shut. Let’s just see what Mr. Babow wants.
Panel 46: The two enter a back room. Mr. Babow, their employer, is sitting behind a desk, with a man standing next to him, speaking into his ear.
Babow: Hey boys! Sit down!
Panel 47: The two sit before the boss.
Babow: By now, you’ve probably heard the news. Brass is ass.
Panel 48: The boss is speaking to the two. His second-hand man is standing next to him motionless, but looking very menacing.
Babow: I dunno who ordered the hit, but I owe ‘em one. Cos’ now I know who I want for my next job.
Panel 49: The boss throws a file onto his desk, and Dumb stares at it in shock. Stern tries to keep a straight face.
Babow: Get in touch with this "Malady" killer. Let’s see if he can help me move uptown …
Panel 50: There are several photos in the file. One of them is of a business-type looking man, seemingly belonging to a high class of society. The other visible photo is of a skyscraper building under construction.
Babow: … and get me a little taste of paradise.
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