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.
January 30, 2009
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.
January 12, 2009
Issue 0 - Prologue: Suicide Watch
Panel 1: Two detectives are in a car, parked on a street. One is visibly older ("Old"), sitting in the driver seat, smoking a cigarette, disinterestedly watching the street in front of him. The other is visibly younger, a rookie ("Rookie"), sitting in the passenger seat with a coffee in his hand and a file folder on his lap, paying close attention to the building across the street.
Panel 2: Old watches a prostitute walk by his side of the car.
Old: You must be lucky, kid. Your first assignment and you get to sit with me on suicide watch.
Panel 3: Rookie sips his coffee while keeping his attention on the building.
Rookie: Suicide watch? Brass must have more than a dozen of his men up there. The only thing he’s probably worrying about is the quality of programming on his TV.
Panel 4: Old throws his cigarette out onto the street.
Old: Trust me, kid. Brass doesn't stand a chance. Call it old age wisdom.
Panel 5: Rookie looks down and opens the file folder on his lap.
Rookie: Well that ... and the fact that he's got a huge contract on his head. Which is something that doesn't make sense. Why would anyone pay this much to kill this guy? Brass is almost a nobody in this town.
Panel 6: Old reclines his seat, and rests his forearm over his eyes.
Old: Well, yunno what they say, "Everybody is a somebody to somebody." And if we figured out where he's holed up, then this 'somebody' probably knows as well. Which means …
Panel 7: TV screen showing a woman’s face, eyes closed, mouth open, in pleasure. It is apparent that it is pornography on the TV.
Old (VO): … we might as well watch Brass slit his own throat.
Panel 8: A man ("Brass") is sitting up on his bed in a motel room, with one hand on a TV remote, the other holding a beer. The room is a mess, with beer bottles and pizza boxes thrown about. Some guns are lying on a table top, along with some brass knuckles. The sounds of a pornographic film echo through the room.
Panel 9: Out in the hallway, two big strong looking men are standing guard. The noises coming from the TV permeate into the hallway.
Panel 10: A big burly man appears at the end of the hallway, seemingly carrying a package in a sling of some sort, walking towards Brass’ door.
Panel 11: The two guards turn to face the guy, and stop him.
Panel 12: The man faces the two guards.
Delivery guy: Hey. I got an order of “Dead Meat” for a guy named Brass.
Panel 13: The delivery guy is facing the two guards, with his back turned to the viewer. The back of his jacket has the logo, “Big Bill’s BBQ Grill”. The two guards stare at each other in aggressive suspicion.
Panel 14: A figure ("M") is standing outside Brass’ window on the fire escape. M is standing in front of the limp body of a henchman, who is leaning up against the wall. The lighting is poor, so the two bodies are draped in shadow from the light coming from the street below. On one side of M, the window shows Brass sitting on his bed watching TV. On the other side of M, the window shows the scene in the hallway, with the guards aggressively questioning and roughing up the delivery guy.
Panel 15: M’s hand reaches into the pocket of the limp henchman and pulls out his cell phone.
Panel 16: M presses some buttons on the cell phone.
Panel 17: M puts the cell phone on the railing in front of Brass’ window.
Panel 18: In the hallway, the delivery guy has his hand twisted behind his back by one of the guards, and is being pressed up against the wall. The second guard is rummaging through the bag.
Guard holding the Delivery Guy: Who the fuck sent you, wise guy!?
Delivery Guy: I'm - I’m just a delivery guy! Someone called, promising me a big tip to bring an order down here!
Panel 19: Brass is sitting in bed, still watching TV. A cell phone ring permeates into the room.
Panel 20: Brass checks his own phone.
Panel 21: Brass looks around.
Panel 22: Brass stares out his window and realizes that it’s coming from his henchman’s phone outside.
Panel 23: The phone continues to ring, as Brass impatiently watches the phone ringing, expecting his guard to pick it up.
Panel 24: Out of frustration, Brass walks over to his window.
Panel 25: In a quick motion, Brass pulls the window open.
Panel 26: Brass sticks his head out, mouth open to tell his guard to pick up his phone.
Panel 27: M stands before Brass, draped in shadow.
Panel 28: Brass’ mouth is covered by a gloved hand, his eyes open with fright and recognition of the figure.
Panel 29: M slits Brass’ throat, blood spraying in all directions.
Panel 30: In the hallway, the guards are still interrogating the delivery guy when they hear noises coming from Brass' room.
Panel 31: The two guards open the door to find Brass clutching his throat, with blood pouring down his hand and body. In a panicked expression, he stumbles across the room, toppling over chairs and tables. The sounds from the TV are still filling the room.
Panel 32: One guard runs to the window, and the second comes to the aid of Brass, who is now leaning against the bed, bleeding out.
Panel 33: The guard at the window looks out, and in the forefront, sees the shape of the third guard leaning against the building in the dark. Beyond that, down the alley, he sees a figure running into the darkness.
Brass (OP): Maahh ... laahh ... deeee ... !!!
Panel 34: From the door of the adjacent room, more henchmen enter into the room, as the guard tries to stop the bleeding from Brass.
Panel 35: Brass faces his men, in a look of fright and determination to speak.
Brass (in a gurgle): Maaahh … laaahhh … deeeee …
Panel 36: The guard attending to Brass turns his head to the nearest henchman in a confused look.
Panel 37: M is riding off on a motorcycle (now wearing an overcoat, covering the blood on M's clothes), entering the city traffic, about to be consumed and lost in the dark busy swirl of the city.
Guard (VO): Malady?
Panel 38: M parks the motorcycle outside an apartment which looks incredibly dilapidated and in need of repair. It is obvious from the condition of the street that the neighbourhood is a "slum" of sorts.
Panel 39: M gets off the motorcycle.
Panel 40: M walks by a dumpster.
Panel 41: M looks into the dumpster, as if checking for something.
Panel 42: M walks to the entrance of the apartment.
Panel 43: M looks around to make sure no one is following.
Panel 44: M enters the building.
Panel 45: M walks by the elevator.
Panel 46: M walks up the stairs to the 3rd level.
Panel 47: M arrives at apartment door #6.
Panel 48: M checks the door for signs of forced entry.
Panel 49: M enters the apartment. Everything is dark. Only shapes of the apartment can be seen.
Panel 50: M walks to the washroom.
Panel 51: M turns on the light. M’s body is shown in the mirror. M’s head/face is left off panel.
Panel 52: M starts to take off the leather gloves, when a baby’s cry erupts into the apartment (awakened by the noise of M).
Panel 53: M takes off the leather jacket, the image in the mirror reveals a female figure.
Panel 54: M walks into the baby’s room, her body is draped in shadow.
Panel 55: M takes the baby out of the crib.
Panel 56: M carries the baby into the kitchen, gently holding the baby. She remains in shadow.
M: Shh … shh …
Panel 57: M sits down at the kitchen table, with the baby in her arms. The light from the washroom takes the bodies out of the dark, but not completely into the light.
Panel 58: M lifts up her shirt, revealing a bare breast.
Panel 59: M is sitting at the kitchen table, and starts breast-feeding the child. M’s face is revealed for the first time. There is blood on her face. She is average looking, with cut short hair, no piercings. Her body is quite well toned, with visible scars decorating it. On the table, there are guns, bullets, knives, and papers.
Panel 60: M kisses the baby on the head, as tears roll down her face.
M: No more bad dreams for mommy ... starting tonight.
Panel 2: Old watches a prostitute walk by his side of the car.
Old: You must be lucky, kid. Your first assignment and you get to sit with me on suicide watch.
Panel 3: Rookie sips his coffee while keeping his attention on the building.
Rookie: Suicide watch? Brass must have more than a dozen of his men up there. The only thing he’s probably worrying about is the quality of programming on his TV.
Panel 4: Old throws his cigarette out onto the street.
Old: Trust me, kid. Brass doesn't stand a chance. Call it old age wisdom.
Panel 5: Rookie looks down and opens the file folder on his lap.
Rookie: Well that ... and the fact that he's got a huge contract on his head. Which is something that doesn't make sense. Why would anyone pay this much to kill this guy? Brass is almost a nobody in this town.
Panel 6: Old reclines his seat, and rests his forearm over his eyes.
Old: Well, yunno what they say, "Everybody is a somebody to somebody." And if we figured out where he's holed up, then this 'somebody' probably knows as well. Which means …
Panel 7: TV screen showing a woman’s face, eyes closed, mouth open, in pleasure. It is apparent that it is pornography on the TV.
Old (VO): … we might as well watch Brass slit his own throat.
Panel 8: A man ("Brass") is sitting up on his bed in a motel room, with one hand on a TV remote, the other holding a beer. The room is a mess, with beer bottles and pizza boxes thrown about. Some guns are lying on a table top, along with some brass knuckles. The sounds of a pornographic film echo through the room.
Panel 9: Out in the hallway, two big strong looking men are standing guard. The noises coming from the TV permeate into the hallway.
Panel 10: A big burly man appears at the end of the hallway, seemingly carrying a package in a sling of some sort, walking towards Brass’ door.
Panel 11: The two guards turn to face the guy, and stop him.
Panel 12: The man faces the two guards.
Delivery guy: Hey. I got an order of “Dead Meat” for a guy named Brass.
Panel 13: The delivery guy is facing the two guards, with his back turned to the viewer. The back of his jacket has the logo, “Big Bill’s BBQ Grill”. The two guards stare at each other in aggressive suspicion.
Panel 14: A figure ("M") is standing outside Brass’ window on the fire escape. M is standing in front of the limp body of a henchman, who is leaning up against the wall. The lighting is poor, so the two bodies are draped in shadow from the light coming from the street below. On one side of M, the window shows Brass sitting on his bed watching TV. On the other side of M, the window shows the scene in the hallway, with the guards aggressively questioning and roughing up the delivery guy.
Panel 15: M’s hand reaches into the pocket of the limp henchman and pulls out his cell phone.
Panel 16: M presses some buttons on the cell phone.
Panel 17: M puts the cell phone on the railing in front of Brass’ window.
Panel 18: In the hallway, the delivery guy has his hand twisted behind his back by one of the guards, and is being pressed up against the wall. The second guard is rummaging through the bag.
Guard holding the Delivery Guy: Who the fuck sent you, wise guy!?
Delivery Guy: I'm - I’m just a delivery guy! Someone called, promising me a big tip to bring an order down here!
Panel 19: Brass is sitting in bed, still watching TV. A cell phone ring permeates into the room.
Panel 20: Brass checks his own phone.
Panel 21: Brass looks around.
Panel 22: Brass stares out his window and realizes that it’s coming from his henchman’s phone outside.
Panel 23: The phone continues to ring, as Brass impatiently watches the phone ringing, expecting his guard to pick it up.
Panel 24: Out of frustration, Brass walks over to his window.
Panel 25: In a quick motion, Brass pulls the window open.
Panel 26: Brass sticks his head out, mouth open to tell his guard to pick up his phone.
Panel 27: M stands before Brass, draped in shadow.
Panel 28: Brass’ mouth is covered by a gloved hand, his eyes open with fright and recognition of the figure.
Panel 29: M slits Brass’ throat, blood spraying in all directions.
Panel 30: In the hallway, the guards are still interrogating the delivery guy when they hear noises coming from Brass' room.
Panel 31: The two guards open the door to find Brass clutching his throat, with blood pouring down his hand and body. In a panicked expression, he stumbles across the room, toppling over chairs and tables. The sounds from the TV are still filling the room.
Panel 32: One guard runs to the window, and the second comes to the aid of Brass, who is now leaning against the bed, bleeding out.
Panel 33: The guard at the window looks out, and in the forefront, sees the shape of the third guard leaning against the building in the dark. Beyond that, down the alley, he sees a figure running into the darkness.
Brass (OP): Maahh ... laahh ... deeee ... !!!
Panel 34: From the door of the adjacent room, more henchmen enter into the room, as the guard tries to stop the bleeding from Brass.
Panel 35: Brass faces his men, in a look of fright and determination to speak.
Brass (in a gurgle): Maaahh … laaahhh … deeeee …
Panel 36: The guard attending to Brass turns his head to the nearest henchman in a confused look.
Panel 37: M is riding off on a motorcycle (now wearing an overcoat, covering the blood on M's clothes), entering the city traffic, about to be consumed and lost in the dark busy swirl of the city.
Guard (VO): Malady?
Panel 38: M parks the motorcycle outside an apartment which looks incredibly dilapidated and in need of repair. It is obvious from the condition of the street that the neighbourhood is a "slum" of sorts.
Panel 39: M gets off the motorcycle.
Panel 40: M walks by a dumpster.
Panel 41: M looks into the dumpster, as if checking for something.
Panel 42: M walks to the entrance of the apartment.
Panel 43: M looks around to make sure no one is following.
Panel 44: M enters the building.
Panel 45: M walks by the elevator.
Panel 46: M walks up the stairs to the 3rd level.
Panel 47: M arrives at apartment door #6.
Panel 48: M checks the door for signs of forced entry.
Panel 49: M enters the apartment. Everything is dark. Only shapes of the apartment can be seen.
Panel 50: M walks to the washroom.
Panel 51: M turns on the light. M’s body is shown in the mirror. M’s head/face is left off panel.
Panel 52: M starts to take off the leather gloves, when a baby’s cry erupts into the apartment (awakened by the noise of M).
Panel 53: M takes off the leather jacket, the image in the mirror reveals a female figure.
Panel 54: M walks into the baby’s room, her body is draped in shadow.
Panel 55: M takes the baby out of the crib.
Panel 56: M carries the baby into the kitchen, gently holding the baby. She remains in shadow.
M: Shh … shh …
Panel 57: M sits down at the kitchen table, with the baby in her arms. The light from the washroom takes the bodies out of the dark, but not completely into the light.
Panel 58: M lifts up her shirt, revealing a bare breast.
Panel 59: M is sitting at the kitchen table, and starts breast-feeding the child. M’s face is revealed for the first time. There is blood on her face. She is average looking, with cut short hair, no piercings. Her body is quite well toned, with visible scars decorating it. On the table, there are guns, bullets, knives, and papers.
Panel 60: M kisses the baby on the head, as tears roll down her face.
M: No more bad dreams for mommy ... starting tonight.
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