Page 137
Panel 1: A wide shot of the front of the Plaine Museum. Emma is climbing up the stairs, wearing the same suit as on her first day. Dan is at the top of the steps, looking down at her.
DAN: Emma! Thank God.
Panel 2: Side view of Emma at the top of the steps and Dan approaching her, arms extended as if to wrap her in a hug. Dan is smiling while Emma is blushing. She’s back to normal now.
EMMA: I’m fine. Everything’s fine.
DAN: I was so worried after what happened.
Panel 3: Closer side view of just Emma and Dan from the mid-torso up. Emma has a hand on Dan’s breastbone to prevent him from hugging her. His hands are at his side, but he’s still smiling at her while she’s looking down.
DAN: I tried to see you, but your roommate said you were sick.
EMMA: It was just a little flu. Nothing serious. Becky likes to baby me.
Panel 4: Shot from over Dan’s shoulder. Emma has pulled her hand back and is looking down, blushing with embarrassment.
DAN: Sounds like she’s a good friend.
EMMA: She is. The best.
Panel 5: Close-up on Emma’s right eye. We see that it’s blue again now, but there’s just a tiny fleck of yellow visible in the bottom part of the iris.
DAN (Not shown): There’s something different about you…did you get new contacts?
EMMA: What? Oh, right. New contacts.
Panel 6: Side view of Emma with her hand on Dan’s chest again and looking at him while Dan is rubbing the back of his neck and looking down nervously.
DAN: I thought maybe you didn’t want to see me after what happened.
EMMA: No! Of course not. It wasn’t your fault.
Panel 7: Close-up of Dan smiling sheepishly at Emma.
DAN: Well, at least we won’t have to worry about any excitement around here anymore.
EMMA (Not shown): Why’s that?
Panel 8: Side view of Emma hurrying towards the front doors of the museum. Dan is watching her go, looking surprised.
DAN: The cops left last night. I guess they finished…Hey!
EMMA: I’ll see you later!
Page 138
Panel 1: Wide shot of Emma squatting in the rubble of her former office. There’s bits of the ceiling and walls lying around and also some of Emma’s equipment and such. Marlin is hovering over her, looking down.
MARLIN: What are you doing?
EMMA: Looking for evidence.
Panel 2: Side view of Emma still squatting but holding up the charred remains of a book.
MARLIN: What do you expect to find in here?
EMMA: I’m not sure. Something that might tell us about the Dragoon.
Panel 3: Shot from behind Emma, who’s looking up at Marlin. The charred book is being thrown over her shoulder.
EMMA: It might go faster if you helped.
MARLIN: What am I looking for?
EMMA: Something out of the ordinary.
Panel 4: Shot from behind Marlin, who’s halfway inside the floor and studying a pile of debris. Emma is bent over in the front right of the frame, looking at something.
MARLIN: This is as pointless as looking for a turnip in a haystack.
EMMA: Don’t you mean a needle?
MARLIN: Why would I ever want to find a needle?
Panel 5: Wider shot from behind Emma and Marlin. Emma is still squatting in the debris, but now she’s holding up a tiny bit of white plastic.
EMMA: I found something!
Panel 6: Close shot of Marlin looking down at Emma’s palm, which is holding the bit of plastic. The rest of Emma is not visible.
MARLIN: Whoopee. What is it?
EMMA: Part of a key card.
Panel 7: Slightly wider shot of Emma from waist up. She has her hand closed around the piece of plastic and is looking grimly ahead.
MARLIN (not shown): What good is that?
EMMA: I don’t know, but it’s a start.
Page 139
Panel 1: Side view of Emma exiting the elevator in the subbasement of the Museum. Marlin is floating in front of her.
MARLIN: I still don’t understand what good a bit of burnt plastic is.
EMMA: Well, the only person who should have been in my office was whoever wanted the Dragoon’s armor.
Panel 2: Close-up on Emma, who is looking up annoyed at Marlin.
MARLIN (not shown): So?
EMMA: So, if I can pull anything off what’s left of this, I’ll know who it is.
Panel 3: Shot from over Emma’s shoulder. Marlin is glaring down at her, ghost arms crossed.
MARLIN: How are you going to do that?
EMMA: Wait and see.
Panel 4: A short time later, an overhead shot of Emma sitting at a desk in another office, staring at the computer screen. A couple of wires extend from the computer’s CPU to the bit of plastic, which is lying face down so we see clamps attached to a magnetic stripe. Marlin is hovering off to the right side, watching her.
EMMA: Well, here goes nothing…
MARLIN: I’ll say.
Panel 5: Shot from over Emma’s shoulder at the computer screen. There’s some scrambled text on the screen. A part that’s visible reads: ID: 9687$%^&
EMMA: It’s got part of the ID number. I’ll see if I can narrow it down.
Panel 6: Same as Panel 5 but now the screen reads: 2 Matches Found
EMMA: Well, let’s see what we’ve got.
Panel 7: Straight on shot of Emma looking at the screen, grimacing. Marlin is over her shoulder, also looking at the screen.
EMMA: Murray Goldstein. He’s in the accounting department. I saw him during the presentation with his wife and granddaughter.
MARLIN: You don’t say.
EMMA: He couldn’t have done it. Which means the next one…
Panel 8: Close-up of Emma, looking pale and shocked.
EMMA: No.
Page 140
Panel 1: Straight on shot of a large, darkened office. There are various desks with piles of papers and so forth. There are campaign posters on the wall showing Councilman Lintner and American flags and whatnot. Far in the back is a single light on at a desk, with Becky hunched over the desk.
Panel 2: Shot from over Becky’s shoulder as she’s looking down at her desk. There’s a pile of envelopes and a pile of flyers that are similar to the posters on the wall.
BECKY: Just two hundred more.
Panel 3: Straight on shot from desk level of Becky licking the flap of an envelope that she’s holding up in her hands.
BECKY: One hundred ninety-nine more…
Panel 4: A short time later, a side view of Becky carrying a flyer in her hand. She’s walking towards the back of the office.
Panel 5: A shot through a window of Becky standing at a copy machine. The whitish glow of the machine is giving her face a ghostly aspect. She’s staring straight ahead at the window with a vacant expression.
BECKY: Don’t know why I get stuck here and they’re probably out drinking.
Panel 6: Shot from behind Becky as she’s looking out the window. Through the window, a spiky black shadow is visible falling towards the ground. (Insert sound effect of metallic thud)
BECKY: What the hell…
Panel 7: The same shot as Panel 6 but now Becky is squatting down behind the copy machine, facing us with a look of terror on her face. In the window is a pair of red glowing eyes.
BECKY: Oh shit. Emma, where are you?
Page 141
Panel 1: The same as Panel 7 in the previous page except now Becky is looking up towards the window with a look of shock instead of terror. The Dragoon is barely visible looking away from the window, towards the back of an alley.
LINTNER (Not shown): So, this is the mystery man.
Panel 2: Still the same view as Panel 1, except that Becky is on all fours, crawling around the copy machine. Her face isn’t visible. The Dragoon is still looking back in the alley.
DRAGOON: Yes. Have you considered my proposal?
LINTNER (not shown): Maybe. How do I know you can deliver?
Panel 3: A close side view of the window. The top half of Becky’s head is peeking over the glass, into the alley. We see the Dragoon more close up. He’s still looking back into the alley. In one hand he’s holding a woman who looks much like Becky, though perhaps a little lighter. The woman has a black metal spear sticking out from her stomach. She’s wearing a campaign button for Lintner’s opponent, Cafferty.
DRAGOON: Nothing stands in my way.
Panel 4: A side view looking through the window at Becky, who has hands pressed to her mouth to keep from throwing up. In the front of the panel is the Dragoon and the dead woman dangling from the spike.
LINTNER (Not shown): Too bad you can’t do that to everyone voting against me.
DRAGOON: Perhaps I could, but it will not be necessary.
Panel 5: The same as Panel 3.
LINTNER (Not shown): You really can pull off this scheme of yours?
DRAGOON: Yes. It will not be difficult to persuade the rabble.
Panel 6: A wider side view of the window. Becky is sitting with her back to the window, looking pale and frightened. The Dragoon has dropped the dead woman.
LINTNER (Not shown): What about that other one? The Scarlet whoever?
DRAGOON: I have dealt with her.
Panel 7: A side view from the opposite side of the alley. The Dragoon is holding out a clawed hand. Councilman Lintner has come forward, his hand extended to the Dragoon. Barely visible in the window is Becky, looking mortified.
LINTNER: Then let’s shake on it.
Page 142
Panel 1: A shot through the front doorway of Emma’s apartment. She’s sitting on one of the beanbag chairs, head turned to look straight at us. She’s looking pale and surprised. Marlin is floating off to one side, looking at her.
EMMA: Becky? What’s wrong?
BECKY (Not shown): It’s Lintner. He’s working with the Dragoon.
EMMA: What?
Panel 2: Side view of Becky sitting on a stool beside the kitchen counter. Emma is in front of her, a hand on her shoulder. Marlin is behind Emma, looking down at them.
BECKY: I saw him. Them. They were talking in the alley. They have it all planned.
EMMA: What do you mean?
Panel 3: An overhead shot of a ballroom with people in formal clothes and red, white, and blue balloons and bunting scattered about. There’s a stage and a podium, behind which is a sign: LINTNER FOR A NEW CENTURY. Lintner is standing at the podium.
CAPTION: He’ll be making a speech before a big audience.
Panel 4: Straight on closer view of Lintner on the stage, turned to one side and falling back, screaming in pain. The Dragoon is stabbing him in the chest.
CAPTION: Then the Dragoon will attack him.
Panel 5: Overhead shot of a hospital room with Lintner in a bed wearing a hospital gown with machines surrounding him.
CAPTION: He’ll be pronounced in serious condition.
Panel 6: Straight on view of Lintner sitting up in bed, eyes open, with a generic nurse and doctor to the side of the bed along with the various machines.
CAPTION: Then, after they let people hold their breath long enough, they’ll announce he’s going to pull through.
Panel 7: The same as Panel 6 except the nurse and doctor are replaced by a TV reporter and cameraman. Lintner is facing them and gesturing emphatically with one hand.
CAPTION: From bed he’ll announce he’s going to keep running and vow to stop the Black Dragoon and all crime in the city.
Panel 8: Similar to Panel 3 only now Lintner is standing there with arms outspread in a sort of Dick Nixon pose, though not giving peace signs. Balloons are falling around him.
CAPTION: And then he’ll be swept into office.
Page 143
Panel 1: Straight on view of Becky sitting on the stool by the kitchen counter, looking down at her feet. Emma is standing beside her, an arm around Becky’s shoulders.
BECKY: I knew he was a bad man, but I didn’t think he was that bad.
EMMA: There was no way for you to know. It’s not your fault.
Panel 2: Side view of Becky and Emma in the same position as Panel 1. Marlin is facing them, glaring down at them.
MARLIN: I say tomorrow you go into the museum and cut off that weasel MacGregor’s head. No Dragoon, no plan.
EMMA: I can’t do that.
Panel 3: Shot from behind Becky and Emma, who is now looking down as well. Marlin is still glaring at them angrily.
MARLIN: Why the hell not? You know he’s the Dragoon.
BECKY: Your boss is that thing? Jesus Christ.
Panel 4: Close-up of Emma, who’s looking down and looking grim.
EMMA: If I kill Ian, we won’t know where the black armor is and we won’t be able to do anything to Lintner.
Panel 5: The same as Panel 3, except Emma is looking back at Marlin.
MARLIN: So what do you propose to do? Nothing?
EMMA: No.
Panel 6: Same as Panel 2 except Emma is looking up and no longer has her arm around Becky. Becky is turned to look at her.
EMMA: We let them stage their little play…
Panel 7: Close-up of Emma, who is looking grim and determined.
EMMA: And then we bring down the curtain on both of them.
Page 144
Panel 1: Wide shot of Emma standing in line in the cafeteria of the Plaine Museum, her back turned to us. Dan is standing to one side, looking at her with a smile.
DAN: There you are. Thought I might have missed you.
EMMA: I was just getting a cup of tea.
Panel 2: Straight on shot of Dan, who is rubbing his neck nervously and looking down. Emma is facing the cafeteria line still, a cardboard cup of tea in her hand.
DAN: I know things didn’t go well the last time, so you can say no to this if you want.
Panel 3: Side view of Emma facing Dan, looking concerned. The cup of tea is in her hand. Dan is looking down nervously, hand still on the back of his neck.
EMMA: What is it?
DAN: My godfather, Councilman Lintner, is having a big rally tomorrow. It’s going to be in the Robinson Tower ballroom.
EMMA: Oh. I see.
Panel 4: Shot from over Emma’s shoulder at Dan, who’s taken his hand off his neck, but is still looking down sadly.
DAN: If you don’t want to go…
EMMA: I didn’t say that. I’d love to go with you.
Panel 5: The same as Panel 4 but now Dan is beaming like Ian earlier.
DAN: That’s great! How about seven o’clock?
EMMA: OK.
Panel 6: Side view of walking away, waving at her and still beaming. Emma is looking down sadly at her cup of tea.
DAN: I’ll see you then!
Panel 7: Straight on view of Emma in her office down in the subbasement. Her head is in her hands. The cup of tea is untouched on the desk beside her.
Page 145
Panel 1: Straight on shot of the front of Agnes’s house. Emma is standing at the bottom of the stairs, looking down. Agnes is in the doorway, looking down at her.
AGNES: Hello, dear.
EMMA: Hello.
Panel 2: Side view of Agnes, who is facing us. She has a hand on Emma’s shoulder. Emma is looking down and looking sad, her body turned to the side.
AGNES: Why the long face, dear?
EMMA: Oh, it’s nothing important.
AGNES: Boy trouble, I bet. Let’s talk in the kitchen.
Panel 3: Overhead shot of Emma and Agnes sitting at a round, wooden kitchen. The rest of the kitchen looks like something from a 50s sitcom, all neat and tidy with an old-style refrigerator and stove. In front of Agnes and Emma is a cup of tea, the pot between them at the center of the table.
AGNES: Now, dear, why don’t you tell me what’s wrong?
EMMA: Dan asked me to go with him to a rally at Robinson Tower.
Panel 4: Close straight on shot of Emma, who’s looking down sadly at the tabletop.
AGNES (not shown): That’s wonderful, dear.
EMMA: No, it’s not. The Black Dragoon is going to be there. He’s going to fake killing Lintner. I don’t know what to do.
Panel 5: Side view of the table, where Emma has her teacup by her lips and is looking down at it. Agnes has a spoon in hand, stirring her tea. She’s looking at Emma with a knowing smile.
AGNES: When I married Mr. Chiostro, he didn’t know I was a witch.
EMMA: You didn’t tell him?
AGNES: No, dear. In those days we both could have burned at the stake for that.
AGNES: No, dear. In those days we both could have burned at the stake for that.
Panel 6: Close straight on shot of Agnes, who is smiling gently at Emma and still stirring her tea absently.
EMMA (Not shown): But you still married him?
AGNES: Of course. Because I loved him. Love means taking risks.
Panel 7: Same as Panel 5 except Agnes has reached out with one hand to pat Emma’s hand.
AGNES: You have to decide if this young man of yours is worth the risk.
EMMA: But if something happened to him because of me…
Panel 8: Same as Panel 4 except Agnes’s hand is on Emma’s hand.
AGNES (not shown): That’s the chance you’ll have to take if you really love him.
Page 146
Panel 1: Side view of Emma going down the basement stairs of Agnes’s house. There’s a dim light coming from ahead of her.
EMMA: Sylvia?
Panel 2: View from over Emma’s shoulder as she stands on the bottom step of the stairs. Sylvia is hunched over a wooden table, the disassembled pieces of a weapon scattered about. A single light bulb is burning over her.
SYLVIA: If you want me to do something with your hair, take a seat and I’ll be with you in a few minutes.
EMMA: Actually I needed something else.
Panel 3: Same as Panel 2 except now Sylvia is turned to face Emma. There’s a welding mask on top of Sylvia’s head. The pieces of the weapon she was working on are more visible. Sylvia is smiling smugly at Emma.
SYLVIA: Looking for some real armaments instead of that gold toothpick?
EMMA: Not really, no.
Panel 4: Side view of Emma standing at the base of the stairs now and looking towards the rows of machine-guns, rocket launchers, and such that Sylvia has against the walls. Sylvia is facing straight on, still at her worktable.
EMMA: What do you do with all these guns?
SYLVIA: Sell them.
Panel 5: Close-up of Emma, who’s looking shocked and concerned.
EMMA: Isn’t that dangerous?
SYLVIA (Not shown): No.
Panel 6: Side view of Sylvia standing now and holding up an M-16 rifle, pointing it at a wall. Emma is standing next to her, looking surprised.
SYLVIA: I only sell to sides who will use them for good.
EMMA: But if they fall into the wrong hands…
SYLVIA: Then they won’t fire. A safety spell I picked up from a dealer in Madrid back in 1613 or so.
Panel 7: Shot from behind Sylvia and Emma. Sylvia has a hand on Emma’s back and is gesturing her forward with her other hand. Emma’s head is turned to Sylvia.
SYLVIA: So what are you here for?
EMMA: I thought after what the Dragoon did last time, you might have some way I could stop it from happening again.
SYLVIA: Maybe. Step into my office.
Page 147
Panel 1: Side view of a big silver cube that’s like a bank vault. The door to the vault is open and Sylvia is motioning Emma to go inside.
SYLVIA: I think I might have something in here that would work.
Panel 2: Shot from over Emma’s shoulder. She’s standing in the vault, which like a bank vault has rows of little metal boxes along the sides. The back wall doesn’t have boxes. Instead there are weapons hanging up: a bow, a battle-axe, a bronze short sword, and a big wooden club. Sylvia is standing to one side, motioning to the wall.
SYLVIA: These are my pride and joy. You see that short sword? Theseus used it to kill the Minotaur.
EMMA: But that’s just a story. It’s not real.
SYLVIA: Sure, and neither are witches. Or the Scarlet Knight.
EMMA: Oh, right.
Panel 3: Side view of Sylvia standing beside an open drawer, looking into it. Emma is facing us, examining a drawer on the opposite wall.
SYLVIA: I think dragonsbane would work.
EMMA: Dragonsbane? Never mind.
Panel 4: Shot from over Emma’s shoulder. She has a drawer open and inside are a bunch of tiny vials like the one Agnes gave to Becky earlier.
EMMA: Where did you get all of these?
SYLVIA (not shown): Agnes makes them. I haven’t got the patience for all that stirring and boiling.
Panel 5: Straight on shot of Emma holding up a red vial. She’s studying the label of the vial with a curious expression.
SYLVIA (not shown): I should be able to put these in some frames, like your old glasses. Then when the bastard tries that stunt again, the lenses should filter it out.
EMMA: Oh, that’s good.
Panel 6: Close-up of the vial in Emma’s hand. The label reads in an old-looking cursive script: Lover Be Gone.
SYLVIA (not shown): I can have them for you by tomorrow afternoon.
Panel 7: Shot from the doorway of the vault. Sylvia is holding up a yellow-white crystal to the light, examining it. Emma has her back to Sylvia. She’s dropping the red vial into her pocket.
EMMA: That should be fine. Thank you.
Page 148
Panel 1: Shot from the doorway of the rec room in the Park Glen Rest Home. There are several old people milling around. Aunt Gladys is in the corner, staring blankly. Percival is sitting at the front of the room with a newspaper obscuring his face and chest. Emma has her back to us as she walks into the room.
Panel 2: Shot from behind Percival. Emma is looking down at him with a shy smile. He has lowered the newspaper but it still holding onto it.
EMMA: Hello, Mr. Graves.
PERCIVAL: Hello, lass. How’s the hero business?
Panel 3: Straight on view of Emma and Percival, with Emma looking down sadly and Percival smiling comfortingly at her.
EMMA: I know what the Dragoon’s planning, but what if I can’t stop him?
PERCIVAL: Come now, lass. You’re better than I was when I started.
Panel 4: Side view of Emma sitting in front of Percival, who has now Percival taken Emma’s hand in his. He’s looking into her eyes.
PERCIVAL: I’ve known you since you were a wee thing. You’re the smartest and bravest person I’ve ever known.
EMMA: I don’t know about that…
Panel 5: Close-up of Percival, still smiling warmly at Emma.
PERCIVAL: I know. Or are you calling me a liar?
Panel 6: Shot from over Percival’s shoulder. Emma is still looking down, but smiling slightly now.
EMMA: I wouldn’t do that.
PERCIVAL: Good girl. Trust me, that bugger won’t know what hit him.
Panel 7: Shot from over Emma’s shoulder as she and Percival are hugging, her head on his shoulder. There are tears in his eyes.
EMMA: Thank you, Mr. Graves. For everything.
PERCIVAL: It’s been my pleasure, lass.
Panel 8: Straight on shot of Emma walking towards us. Percival is behind her, watching her go sadly. She’s wiping tears from her eyes.
PERCIVAL: Good luck, lass.
Page 149
Panel 1: Side view of Emma kneeling down in front of Aunt Gladys, who is looking back at her with a big smile.
EMMA: Hello, Aunt Gladys.
GLADYS: There you are! You’re getting so big.
Panel 3: The same view as Panel 2 but now Aunt Gladys is leaning forward, her hands grabbing onto Emma’s breasts. Emma is gasping, mortified.
GLADYS: Here, let me pick you up.
EMMA; Aunt Gladys, I’m nineteen years old! You can’t pick me up anymore.
Panel 4: Close-up of Aunt Gladys, who is smiling goofily and whose eyes are vacant and rheumy.
GLADYS: Months, sweetie. You’re only nineteen months old.
Panel 5: Side view where Emma has Aunt Gladys by the shoulders and is leaning forward, looking into Aunt Gladys’ eyes.
EMMA: Aunt Gladys, please, look at me. I’m not a baby anymore!
GLADYS: No, sweetie, of course not. You’re a big girl.
Panel 6: Close-up of Emma, who is crying and looking distraught.
EMMA: Please, Aunt Gladys. There’s something important I need to tell you. I might never get another chance.
Panel 7: Shot from behind Emma, who is still kneeling down and looking her aunt in the eye. But now a girl about Emma’s age has materialized beside Aunt Gladys. She’s very short and thin—looking more like a child than an adult—with wild black hair that covers all but one brown eye. This is MARIE MARSH, who is of more importance in the sequel. She’s wearing a white blouse with a nametag on it and tan slacks.
MARIE: Time for your medicine.
EMMA: I’m sorry—Marie, is it?—could you come back in a minute?
Panel 8: Side view of Marie standing beside the chair, looking vacant. Aunt Gladys is looking angry and waving a finger in Emma’s face. Emma is looking mortified.
GLADYS: Emma Jane Earl, don’t you sass your mother like that.
EMMA: My mother?
Page 150
Panel 1: Similar to Panel 8 but now Marie is kneeling down and looking at Aunt Gladys, who has turned in the chair to face her, though her finger is still raised. Marie has pushed aside her hair so that her other eye is visible. This eye is a pale, albino blue.
MARIE: Ms. Cabot, please look at me.
GLADYS: What is it, Louise? You need to control your daughter…
Panel 2: Close-up of Marie’s pale eye. Reflected in it we see Aunt Gladys, but as a younger woman, when she was about 40 or so, looking like a middle-aged Emma.
Panel 3: Close-up of Aunt Gladys, her mouth open in surprise. Her eyes are pure blue again, not rheumy like before.
GLADYS: Oh my…
Panel 4: Side view of Aunt Gladys who is looking at Emma with a smile. Emma is crying and looking surprised.
GLADYS: Oh, sweetheart, stop crying. You’ve had enough to cry about already.
EMMA: Aunt Gladys? Is it you? Really you?
GLADYS: Yes, sweetie. It’s me.
Panel 5: Closer side view so we don’t see Marie. Aunt Gladys has a hand on Emma’s cheek as she looks her in the eye. Emma is still crying, but is looking joyful now.
GLADYS: You’ve turned into such a beautiful young woman.
EMMA: Thank you…
GLADYS: Getting a chance to raise you—even for a little while—is the best thing to happen in my life. I’m so proud of what you’ve become.
Panel 6: Shot from behind Aunt Gladys. She and Emma are hugging now. Emma is still crying but looking happy.
EMMA: I love you, Aunt Gladys. I wanted you to know in case…
GLADYS; Don’t talk like that. We’ll see each other again. In this life or the next.
Panel 7: Side view of Aunt Gladys holding Emma out at arm’s length. She’s smiling gently at Emma, who is looking down at the floor.
GLADYS: Now, you’d better get going. But no matter what happens, remember I’ll always love you. So will they. Even if we’re not here.
EMMA: I will.
Panel 8: Straight on view of Emma who is standing and hugging Marie now. Aunt Gladys’ head chin has sagged onto her chest and her eyes are closed, but she’s smiling contentedly. Marie has just a hint of a smile and tears in her pale eye.
EMMA: Thank you, Marie. How did you…?
MARIE: It’s not important. You’d better go.
Page 151
Panel 1: Straight on view of Emma sitting on the bed, head in hands. Insert sound effect for someone knocking at the front door.
Panel 2: Shot from behind Emma, who has opened the front door. Dan is standing in the doorway, smiling at her nervously.
EMMA: Hello.
DAN: Hi. Your roommate gone?
EMMA: She went on ahead.
Panel 3: Side view of Emma standing behind the open door with Dan on the other side, looking at his wristwatch.
EMMA: Want to come in for a minute?
DAN: We don’t really have time…
EMMA: Please? Just for a minute.
Panel 4: Side view of Dan who is leaning against the kitchen counter, facing us. Emma is walking back towards the bedroom.
EMMA: I just need to get my purse.
DAN: Sure.
Panel 5: Overhead close-up of Emma’s purse. At the top of it we see a syringe with a red fluid in it. Her hands are on either side of the purse.
Panel 6: Shot from over Dan’s shoulder. Emma has come to stand in front of him. She’s looking him in the eye with a sad smile on her face.
EMMA: I really like you, Dan. I wanted you to know…
DAN: I really like you too.
Panel 7: Side view of Emma holding Dan’s hands and looking into his eyes. He’s looking confused back at her.
EMMA: I care about you, but things are so complicated for me right now. I don’t think a relationship is what I need.
DAN: Then what do you need?
Panel 8: Close-up of Dan, who is looking angry now.
EMMA (not shown): I guess I need you to understand.
DAN: I don’t understand. I love you.
Page 152
Panel 1: Side view of Dan and Emma kissing. Her eyes have gone wide with surprise.
Panel 2: Same as Panel 1 except now her eyes are closed as she kisses him back.
EMMA (thinking): Dan, I can’t love you. I can’t. Even though I want to…
Panel 3: Close-up of Emma’s hand reaching into her purse.
Panel 4: Shot from behind Emma of them kissing. Her hand is poised above his neck with the syringe.
Panel 5: Shot from behind Emma but now they’re not kissing. Dan is sagging back, his face confused as he looks up at her. The syringe is on the floor.
DAN: Emma?
EMMA: I’m sorry. Just relax. It’ll be over soon.
Panel 6: Side view of Dan lying on the floor, his eyes bleary and face confused. Emma is kneeling beside him, facing us as she looks down at Dan.
EMMA: Forget about me, Dan. Take a long trip. Go back to Egypt and forget that you ever met me.
DAN: Emma… (small lettering)
EMMA: I’m sorry. It’s better this way.
Panel 7: Shot from behind Emma, who is walking down the hallway of her building. Dan is slung over her shoulder in a fireman’s carry. He is unconscious.
EMMA (thinking): If anything happened to you…
Panel 8: Shot from over Emma’s shoulder. Dan is lying in the back of a limo. Emma is looking down at him through the open door.
EMMA (thinking): I could never live with myself. Goodbye.
Page 153
Panel 1: Shot from over Emma’s shoulder again, but now she’s standing at the entrance to the Robinson Tower ballroom. The place has marble floors and vaulted ceilings and a big crystal chandelier hanging over the ceiling. There are people in formalwear milling about as well as waiters carrying food and drink on trays. A stage is far off to one corner with a podium.
Panel 2: Side view of Becky holding up Emma’s hands and looking at Emma curiously. Emma is looking down sadly at her shoes.
BECKY: There you are! Where’s Dan?
EMMA: He didn’t feel good. He went home.
Panel 3: Straight on view of Becky with arm around Emma’s shoulders. Becky is smiling gamely while Emma is looking down at her feet.
BECKY: Hey, cheer up, everything is ready.
Panel 4: Side view of Emma sitting at a round wooden table that has crystal glasses, plates, and silverware on it. Emma is still looking down sadly. Becky is sitting in the chair next to her, looking at her with concern.
EMMA: That’s good, I guess.
Panel 5: Same as Panel 4 but now Becky has a hand on Emma’s knee.
BECKY: Did something happen with you and Dan?
EMMA: No.
BECKY: Emma…
Panel 6: Close-up of Emma, who’s dabbing at her right eye with one hand and still looking down at the floor.
EMMA: Please, Becky. I can’t talk about this now.
Panel 7: Same as Panel 5.
BECKY: I understand. We’ll talk after this is over.
Panel 8: Straight on shot of Becky standing behind Emma’s chair, a white plastic card in her hand and dangling in Emma’s face. Emma is grabbing the card with one hand and looking up at Becky..
BECKY: There’s a utility closet down the hall. The key will get you in there.
EMMA: Thanks.
BECKY: Good luck, kid.
Page 154
Panel 1: Side view of Emma heading for the door. Among a group of people is Don Vendetta, wearing a black dress. Her eyes are following Emma.
VENDETTA: Excuse me. I see a friend of mine.
Panel 2: Side view but now Don Vendetta has taken Emma’s left arm. The don is facing towards us while Emmas head is turned to the don. The don has a wolfish smile on her face.
VENDETTA: Well, here we are again. Emma, wasn’t it?
EMMA: Yes.
Panel 3: Straight on view of Don Vendetta with her arm through Emma’s. She’s leading Emma away while Emma is looking embarrassed.
VENDETTA: I recognized that gorgeous dress from the opera.
EMMA: Oh, right. Excuse me…
Panel 4: The same as Panel 2.
VENDETTA: Yes, suppose you have to get back to your boyfriend.
EMMA: He’s not here.
Panel 5: Side view of Don Vendetta taking Emma’s hand, pulling her towards the dance floor. Emma is looking surprised and embarrassed.
VENDETTA: Well then, let’s say you and me have a little dance?
EMMA: I’m sorry…
Panel 6: Shot from behind Emma. Don Vendetta is leaning close to Emma, whispering in her ear and looking angry.
VENDETTA: That wasn’t a request. Unless you want to see what your intestines look like you’d better get your tight ass on the dance floor.
EMMA: I…
Panel 7: Side view of Don Vendetta leaning close to Emma still, but looking behind her. Detective Donovan is in front of Emma with a smug grin. Donovan is wearing her usual clothes.
DONOVAN: Well well. The famous Dr. Emma Earl.
Page 155
Panel 1: The same as Panel 7 of the previous page except Don Vendetta is standing beside Emma with a look of contempt on her face. Emma is looking relieved.
DONOVAN: And if it isn’t my old friend Lydia Vendetta. This seems a little far from the Plastic Hippo.
VENDETTA: I’m a supporter of Councilman Lintner. I especially like his stance on police corruption.
Panel 2: Side view of Donovan and Vendetta facing off, glaring at each other. Emma is facing directly at us, looking down at the floor.
DONOVAN: So how do you know Dr. Earl?
VENDETTA: We’re both lovers of opera. Ever been there, Detective?
DONOVAN: Sorry, I’m too busy putting your thugs in jail.
Panel 3: Straight on view of Emma walking next to Donovan, who’s looking back at Vendetta. Don Vendetta is looking very angry. Emma is still looking down with embarrassment.
DONOVAN: If you don’t mind, the good doctor and I need to discuss something.
VENDETTA: See you later, Dr. Earl.
Panel 4: Side view of Emma standing in a corner of the room. Donovan is in front of her, an arm extended and hand planted next to Emma’s head as Donovan leans in to talk.
DONOVAN: Strange company you keep.
EMMA: She’s not my friend. I just saw her at the opera.
Panel 5: Shot from over Donovan’s shoulder at Emma, who’s looking down and looking embarrassed.
DONOVAN: You’d do well not to get involved with her, Doctor.
EMMA: I know.
Panel 6: Same as Panel 4.
EMMA: Is there something I can help you with, Detective?
DONOVAN: Tell me, Doctor, when was the last time you were at your parents’ house?
EMMA: Not for years. Why?
Panel 7: Close side view (just shoulders up) of Donovan smiling smugly and Emma looking shocked.
DONOVAN: I heard a rumor about a little girl with red hair wrecking the place. Ring any bells?
EMMA: No.
MANAGER (not shown): Hello. If I could have your attention. (Spiky balloon to indicate it’s coming from a microphone.)
Page 156
Panel 1: Straight on view of the stage. A little bald guy in a tuxedo is at the podium. This is Lintner’s manager. Behind him is a banner reading: A NEW CENTURY, A NEW LEADER, A NEW RAMPART CITY. The manager is speaking into the microphone.
MANAGER: Thank you all for coming tonight. It’s good to see so many of Rampart City’s elite here to support this noble cause.
Panel 2: Straight on view of Donovan standing next to Emma by the wall. Donovan is still smiling smugly while Emma is looking nervous and sliding away from the wall.
MANAGER (not shown): In just two months we will be electing a new mayor, one who will take our city in a new direction.
Panel 3: Side view of Emma in a corridor with gold wallpaper. She’s standing in front of a wooden door with a sign that says: UTILITY ROOM. She has the keycard out and is pressing it into a slot next to the door.
MANAGER (not shown): With a new century approaching, we need to elect a leader with a new vision.
Panel 4: Side view of Emma inside the closet, looking towards the back wall. There’s a broom and mop and some cleaning chemicals on the floor, but the rest of the closet is empty
EMMA: Mekka lekka weep ninibaum.
Panel 5: Straight on view of Emma dressed only in her slip putting on the leg pieces of the red armor.
MANAGER (not shown): We need a man who can clean up this city.
Panel 6: Same as Panel 5 but now Emma is dressed except for the helmet, which she is putting on with both hands.
MANAGER (not shown): We need a man not afraid to stand up to the criminals who have run things here for too long.
Panel 7: Wider shot of the hallway with the utility closet door open. Emma has the cape wrapped around her so that she’s invisible.
MANAGER (Not shown): It’s time to make Roy Lintner our new mayor!
Page 157
Panel 1: Straight on shot of Lintner on the stage now, wearing a tuxedo. He’s smiling broadly and shaking the hand of his smiling manager. Off to the left of the stage is a huge window that for the moment is intact and unoccupied.
Panel 2: Shot from behind Lintner, who is standing at the podium. Everyone is looking at him, including Don Vendetta to one side and Donovan in the back. Near the back is the ghostly form of the Scarlet Knight.
LINTNER: Thank you for that warm welcome. And thank all of you for being here tonight.
Panel 3: The same as Panel 2 except that Emma has worked her way forward, closer to the stage.
LINTNER: My friends, our city is dying. Not from a disease that’s easily visible.
Panel 4: Side view of Lintner at the podium. Emma is within a few feet of the stage now
LINTNER: It is a disease eating away from within at the heart of our city.
Panel 5: Close straight on view of Lintner holding onto the sides of the podium, his face sweaty and flushed. Behind him at the back of the stage is Emma, still invisible.
LINTNER: My opponent has done nothing to halt this decline, standing by idly while Rampart City has fallen into the hands of criminals.
Panel 6: The same as Panel 5 except that Lintner is pounding the podium with one fist while Emma is now standing almost directly behind him and just a foot back.
LINTNER: When I am elected mayor I will not stand idly by and…
Panel 7: Side view of the stage. Lintner is looking back towards his manager and the window. He’s looking terrified.
LINTNER: I will not stand idly by…(small lettering)
Page 158
Panel 1: (This should be about three times a normal panel size.) Straight on view of the window beside the stage shattering. The Black Dragoon is leaping through it, clawed hands extended to strike and eyes glowing.
Panel 2: Straight on view of the stage. The Dragoon is on the stage, pointing a clawed hand at Lintner, who looks like he’s taking a big dump. Emma is still invisible behind him.
DRAGOON: You can do nothing against me, fool. This is my city now.
Panel 3: Shot from over the Dragoon’s shoulder as he jams a clawed hand into Lintner’s midsection. Lintner still looks constipated.
LINTNER: Aaaaaaaah! (or something to indicate a scream)
Panel 4: Side view of Lintner down on his knees. Emma is visible now and punching the Dragoon in the face.
LINTNER: What the hell?
Panel 5: Straight on view of the stage. Emma is holding up Lintner, who is bare-chested so that we see there’s no holes in his flesh where the Dragoon supposedly stabbed him.
EMMA: This is all a lie. They staged this little production to make you think Lintner was a hero.
Panel 6: Shot from behind the Dragoon who’s sitting up with one hand pointed up at Emma. She’s looking back at the Dragoon.
EMMA: Now you see what he really is.
Page 159
Panel 1: Same as Panel 6 but now Lintner is falling forward from the stage, Emma no longer holding onto him. She’s ducking as a claw goes over her head.
Panel 2: Side view of the Dragoon on his feet. Emma is slamming into him, her shoulder into the middle of his chest.
Panel 3: Overhead shot of Emma and the Dragoon lying on the floor while Lintner is lying in front of the stage, dazed. The people are running, looking terrified.
Panel 4: Straight on shot of the Dragoon standing at the edge of the shattered window, looking back at Emma, who’s squatting down.
DRAGOON: This isn’t over.
Panel 5: A side view of the Robinson Tower, which is a polished black tower like the Sears Tower in Chicago. The Dragoon is visible jumping through the air, his red eyes glowing.
Panel 6: Straight on shot of the window as Emma is running towards it.
EMMA: You’re right. This isn’t over.
Panel 7: Overhead shot of the Dragoon in the far bottom corner. Above in the opposite corner is Emma, her helmet pointed towards the ground, arms extended, and cape flat against her back.
Page 160
Panel 1: Shot from the ground of Executive Plaza, which is a large plaza of gray cement. There’s a big reflecting pool in the center and around that are bronze statues of figures in Colonial and Victorian garb, a couple of them on horseback. Shocked people in shorts and T-shirts are pointing up as the Dragoon is crashing down like a meteor, arms and legs tight against his body as he crashes towards the ground. Above that, more distantly, is Emma, who has oriented herself feet first with her cape billowing up like a parachute.
CITIZEN: What is that?
Panel 2: Side view from ground level as cement is flying into the air from the Dragoon crashing into the plaza. People are running in all directions, looking terrified.
Panel 3: Shot from the ground as Emma is touching down far more gently in the reflecting pool.
Panel 4: Shot from inside the Dragoon’s crater looking up at the night sky. Emma’s face (covered by the visor) is visible peeking over the rim of the crater.
Panel 5: Side view of Emma falling back, the Dragoon’s hand around her ankle, yanking her backwards.
Panel 6: (This should take up the rest of the page.) Shot from behind Emma at ground level. Her head is at the front of the panel with the Dragoon towering over her, clawed hands pointing down and eyes glowing red.
DRAGOON: That will gain you nothing. I will still have my triumph.
Page 161
Panel 1: Shot from over the Dragoon’s shoulder. Emma is rolling to her right, the cape covering her body.
Panel 2: Another shot from over the Dragoon’s shoulder but now he’s looking straight ahead. Emma is squatting a few feet away, invisible with the cape wrapped around her with one hand while the other reaches beneath the cape. The Dragoon is holding a long black metal spear.
DRAGOON: Foolish child, do you think you can hide from me?
Panel 3: Same as Panel 2 but now the Dragoon is holding the spear out in front of him. There are three red balls hovering just over the Dragoon.
EMMA: Not exactly.
Panel 4: Shot at ground level behind the Dragoon, who is now on his knees with the spear lying on the ground in front of him. The air around him has turned bright white-yellow like in the Plastic Hippo. Emma is lunging forward, the cape behind her and one hand reaching for the sword at her hip.
Panel 5: Shot from behind Dragoon at ground level. The Dragoon is looking up at Emma, who is standing over him with the Sword of Justice hovering over his neck. The sword is glowing yellow. The air has turned dark again now.
EMMA: It’s finished. Surrender now.
Panel 6: Shot from over Emma’s shoulder, looking down at the Dragoon, whose eyes are glowing a bright red like on the opera house roof.
DRAGOON: Never. You are nothing more than a weak, insignificant child.
Panel 7: Close-up of Emma’s face. She’s raised the visor so we can see she’s wearing her old glasses only now the lenses are made of a yellow-white crystal so that her eyes aren’t visible.
EMMA: That’s not going to work this time.
Page 162
Panel 1: Side view of Emma still with the Sword of Justice over the Dragoon’s neck. The visor is back in place over her face. A bullet is pinging off her chest with appropriate sound effect. To the side, facing us, is a man in shirt and tie with thinning brown hair and a weaselly look. This is LT. KRAMER of the police. There are also a couple of uniformed cops.
KRAMER: You there, drop the sword.
Panel 2: Straight on view of Emma, who has turned to face Kramer and the cops. Her sword is still pointed loosely at the Dragoon. More bullets are pinging off Emma’s armor.
EMMA: What are you doing? He’s the one you want!
KRAMER (not shown): Both of you are coming with us.
Panel 3: The same as Panel 2 but a little wider so we can see the Dragoon batting the sword away with one claw while the other is pointing towards the cop and firing four claws.
DRAGOON: We will meet again.
Panel 4: Shot from over Kramer’s shoulder. The Dragoon is running away while Emma is facing Kramer, her hands out in supplication. The Sword of Justice is on the ground.
EMMA: You’re letting him get away!
KRAMER: At least I’ll get one of you freaks.
Panel 5: Straight on view of just Kramer and the cops. Behind them is Detective Donovan, who’s looking extremely angry.
DONOVAN: What are you doing, Steve?
KRAMER: We’re taking in this criminal, Detective.
Panel 6: Side view of Donovan pointing towards where Emma would be standing while facing Kramer. Both of them are looking angry.
DONOVAN: She just saved the people up there from that other maniac and Lintner.
KRAMER: I think you’d better reevaluate which side you’re on, Detective.
Panel 7: Closer straight on shot of Kramer, head lolling to one side as Donovan punches him in the jaw.
DONOVAN (not shown): I did.
Panel 8: Shot from over Donovan’s shoulder. Kramer is at her feet, rubbing his jaw. A uniformed cop is off to the side, a hand over his mouth to hold in laughter. Emma is in front of Donovan, putting the Sword of Justice in its scabbard.
DONOVAN: You’d better get out of here.
EMMA: Thank you.
DONOVAN: Just do me a favor and don’t let him get away.
Page 163
Panel 1: Straight on shot of the front of the Plaine Museum. It’s mostly dark now except for a few security lights. The Dragoon is climbing the front steps of the museum.
Panel 2: Straight on shot from inside the main gallery at the front doors. The Dragoon is smashing through those front doors, eyes glowing red.
Panel 3: Side view of Alex the mastodon with the Dragoon crouching behind the mastodon, eyes still glowing. Overhead, looking down, is Marlin.
Panel 4: Side view of Emma crouched on the top of an apartment building, looking down at the ground. Marlin is now floating over her.
MARLIN: He’s in the museum. Behind the big elephant.
EMMA: Mastodon.
MARLIN: Whatever. I don’t know what he’s doing, but I don’t like it.
Panel 5: Closer, straight on view of Emma looking down at the ground. Marlin is hovering over her shoulder, looking down as well.
EMMA: He’s running scared. Whatever part of Ian remains thinks of it as safe ground.
MARLIN: So what are you going to do?
EMMA: Go in and get him.
Panel 6: Side view of Emma jumping through the air, cape trailing behind her.
Panel 7: Same as Panel 1 except it’s Emma coming up the steps now.
Page 164
Panel 1: Shot from over Emma’s shoulder. She’s standing just inside the main gallery, looking back towards Alex the mastodon. The Dragoon is not visible.
EMMA: Ian, come out. Let’s talk about this. We don’t have to kill each other.
Panel 2: Wider side view of Emma standing by the ticket counter while the Dragoon is still crouched behind the mastodon skeleton.
DRAGOON: You might have discovered his identity but it will not matter. He belongs to me now.
EMMA: I don’t believe that.
Panel 3: Straight on view of Emma, who has a hand on the hilt of the Sword of Justice.
DRAGOON (Not shown): You will have to find me and kill me.
EMMA: I’ll do that if I have to.
Panel 4: The same as Panel 3 but now Emma is ducking as a claw flies overhead.
DRAGOON (Not shown): Then come and get me.
Panel 5: Side view of Emma approaching Alex’s skeleton. The Dragoon is still crouching behind it, but now his clawed hands are underneath the pedestal.
Panel 6: Side view of Emma standing directly in front of the mastodon while the Dragoon is lifting the back of the pedestal.
DRAGOON: I think you and Alex should get better acquainted.
Panel 7: Shot from behind Emma at ground level. Her arms are up to protect herself as Alex is coming crashing towards her, headfirst.
EMMA: No!
Page 165
Panel 1: Overhead shot of Alex’s skeleton lying in a tangled heap on the ground. Emma’s head is just visible at one end of the pile. The Dragoon is standing off to one side, a black metal spear in his hand.
DRAGOON: You fool. You shouldn’t have come here.
Panel 2: Closer overhead shot of the black metal spear embedded in the pile of bones, about where her left shoulder would be. Emma’s head is thrown back as she’s screaming with pain.
EMMA: Aaaaaaah! (Or something to indicate a scream.)
Panel 3: Side view of the Dragoon batting at the bones on the pile with his claws, bones flying into the air. Visible in the heap is Emma’s right hand, which is grabbing one of Alex’s tusks.
Panel 4: Overhead shot of Emma lying on the floor, her chest exposed now. The spear is sticking out of her left shoulder. The Dragoon is standing over her, his head lolling to the side as she hits him across the face with the tusk, shattering it.
Panel 5: Shot from over the Dragoon’s shoulder of Emma on her feet now, pulling the black metal spear from her shoulder.
EMMA: Aaaaaaah! (Or something to indicate a scream.)
Panel 6: Side view of the Dragoon ducking as the metal spear flies over his head. Emma’s hand is holding the cape out to cover herself with it.
Panel 7: Shot of the doorway to the Karlak II exhibit, which looks like the sandstone entrance of an Egyptian crypt. Emma is staggering through the doorway, the cape wrapped around herself so that she’s invisible.
DRAGOON (Not shown): You can’t escape me here!
Page 166
Panel 1: Straight on shot of the doorway to the Karlak exhibit only from the inside. We see a few Egyptian artifacts in the room. Emma is pressed flat next to the doorway, the cape still wrapped around her. The Sword of Justice is floating over the doorway, its point aimed down.
DRAGOON (Not shown): Come out, girl and I might spare your life.
Panel 2: The same as Panel 1 except the Dragoon is outside the doorway now.
DRAGOON: There’s no need for you to die.
Panel 3: Same as Panel 2 but now the Dragoon is inside the doorway.
DRAGOON: Why throw away your life so recklessly?
Panel 4: Same as Panel 3 but the Dragoon has come through the doorway. The Sword of Justice is sticking out of his right collarbone, the blade glowing bright yellow. The Dragoon’s head is thrown back in a scream.
DRAGOON: Aaaaaaah! (Or something to indicate a scream.)
Panel 5: Side view of the Dragoon flying backwards. Emma is punching him in the midsection with her right hand. The Sword of Justice is still embedded in the Dragoon.
Panel 6: Straight on shot of the Dragoon lying on the floor, the Sword of Justice lying on the floor next to him, glowing.
Panel 7: Shot from behind Emma, who’s bending down to pick up the Sword of Justice. The Dragoon is leaping through the shattered front doors. Marlin is hovering over the main gallery. Emma’s looking up at him.
EMMA: Marlin, follow him!
Page 167
Panel 1: Shot from behind Emma, who’s standing up at the entrance of Riverside Cemetery. The metal gates are shattered, lying at Emma’s feet. Marlin is hovering in front of her, looking down at her and looking ashamed.
MARLIN: He’s in there.
EMMA: Where?
MARLIN: I don’t know.
Panel 2: Close-up of Marlin, looking down and looking ashamed.
EMMA (Not shown): Why not?
MARLIN: Ghosts can’t go into cemeteries. Psychic interference. Sorry.
Panel 3: Shot from over Marlin’s shoulder, looking down at Emma. She’s looking down at ground, right hand on the hilt of the Sword of Justice.
EMMA: It’s all right. I know where he is.
Panel 4: Shot from behind Emma as she’s stepping over the fallen gates, into the cemetery.
Panel 5: Side view of Emma walking along the trail of the cemetery, past various tombstones. She has the Sword of Justice in her right hand while her left is dangling uselessly.
Panel 6: (This should take up the rest of the page.) Shot from over Emma’s shoulder. The Dragoon is sitting between two tombstones. The larger one says: SARAH ELAINE MACGREGOR, MAY 9, 1956 – AUGUST 29, 1999. The other one is smaller and says: THOMAS IAN MACGREGOR, AUGUST 29, 1999. The Dragoon is looking up at Emma, a clawed hand raised and red eyes glowing.
Page 168
Panel 1: Shot from behind the Dragoon. Four claws from his left hand are in flight, heading towards Emma, who’s looking down at him with the Sword of Justice glowing in her right hand.
Panel 2: Straight on view of Emma rolling to the right, three of the claws flying over her. The fourth is embedded itself in her right hip.
EMMA: Aaaaaaah! (Or something to indicate a scream.)
Panel 3: Side view of Emma on her knees, bringing the Sword of Justice down on the Dragoon’s left fingertips.
DRAGOON: Aaaaaaah! (Or something to indicate a scream.)
Panel 4: Closer straight on show of the Dragoon holding up his left hand, the tips of which have been sheared off by the Sword of Justice. The Dragoon’s eyes are glowing red.
DRAGOON: Do you really think this will stop me?
Panel 5: Shot from behind the Dragoon. He still has his hand raised but is now looking up at Emma, who’s back on her feet with the Sword of Justice pointed at his neck.
EMMA: It’s over, Ian. Don’t make me kill you.
DRAGOON: Never!
Panel 6: Side view of the Dragoon rising up, arm cocked back in a punch. The Sword of Justice is stabbing forward, through his left shoulder.
DRAGOON: Aaaaaaah! (Or something to indicate a scream.)
Panel 7: Shot from over Emma’s shoulder, looking down at the Dragoon. There’s blood pouring from the Dragoon’s left shoulder and fingertips, not to mention dried blood on his right shoulder. He’s lying almost flat on the ground, staring up at her. She has the Sword of Justice leveled at him again.
EMMA: Ian, please. Let’s end this.
Page 169
Panel 1: Same as Panel 7 of previous page but now the Dragoon’s eyes are glowing.
DRAGOON: It doesn’t matter if you kill me. I’ll come back. I always do.
EMMA: I don’t want to kill you, Ian. Please.
Panel 2: Closer shot of just the Dragoon’s shoulder and head, which is thrown back as he’s laughing at her.
DRAGOON: You weak fool. You can’t save him. He’s mine.
Panel 3: Closer shot of just Emma’s shoulder and head. She’s leaning towards the Dragoon.
EMMA: Ian, he doesn’t own you. You can still fight him. Just take off the armor and come with me. We’ll get help for you.
Panel 4: Same as Panel 1 but the Dragoon’s head is still thrown back in laughter.
DRAGOON: Help? What can you do? Can you bring back his family? Can you keep him out of prison? There is nothing left for him but to rot in a jail cell.
Panel 5: Same as Panel 3.
EMMA: It wasn’t your fault, Ian. He used you.
DRAGOON (not shown): What do you know about it?
Panel 6: Close shot of Emma pulling at the helmet with her left hand.
Panel 7: Close-up of Emma without the helmet. Hair is plastered to her face by sweat and she’s looking in agony. She’s also taken off the glasses from before
EMMA: He tried to use me first.
Page 170
Panel 1: Shot from behind the Dragoon at ground level, looking up at Emma without he helmet. She’s looking down sadly at the Dragoon.
EMMA: He said he could find the people who killed my parents. Just like he told you he could find who killed your wife and son.
Panel 2: Side view of Emma standing over the Dragoon. The spike at the end of his left foot is longer now.
EMMA: But it won’t bring them back. All that revenge does is turn you into a monster.
Panel 3: Close shot of the Dragoon’s shoulders and head. He’s looking down at his feet.
IAN: You’re right. I am a monster. (This is Ian, not the Dragoon so it should be a normal speech bubble.)
Panel 4: A close side view of the Dragoon reaching forward with his left hand, grabbing the spike on his left foot, which has grown into a spear.
IAN: I’m sorry, Emma.
Panel 5: Close-up of Emma’s face, screaming.
EMMA: Ian, no!
Panel 6: Straight on shot of Ian stabbing the spear through his own throat.
Panel 7: Same as Panel 6 but now Ian is pulling off the Dragoon’s helmet.
Page 171
Splash page: Straight on shot of Ian, who has turned to face us, draped over the tombstone of his wife as if embracing it. The spear is sticking out of his throat yet. Behind him Emma is standing with the Sword of Justice in her hand at her side. She’s looking down at Ian and crying.
Page 172
Panel 1: Shot from over Emma’s shoulder as she sits in the museum director’s office. The office is really nice with a big, expensive wooden desk and leather chair for the director. There’s also a nice view outside the window with Executive Plaza and Robinson Tower in the background. The director is leaning forward in her chair. She’s wearing a beige suit while Emma is wearing a dark blue one.
DIRECTOR: As you know, Dr. Earl, this has been a trying time for the geology department. First the loss of Dr. Brighton and then Dr. MacGregor.
EMMA: Yes ma’am. It’s terrible.
Panel 2: Closer straight on shot of the director leaning forward in her chair, smiling coldly at Emma.
DIRECTOR: Amidst that tragedy is also an opportunity.
EMMA (Not shown): Ma’am?
Panel 3: Shot from behind the director at Emma, who is looking shocked.
DIRECTOR: We need someone to run what’s left of the geology department and to get it on its feet again. The board and I agree that you would be the best choice.
EMMA: Me? But I’ve only worked here a couple of months…
Panel 4: Same as Panel 1 with the director smiling coldly and tenting her fingers.
DIRECTOR: Yes and in those months you submitted better work than Dr. Brighton had in fifteen years, may he rest in peace. That’s what this department needs if it’s going to rebuild.
EMMA: There must be someone else more qualified, though.
Panel 5: Side view of the director leaning back in her chair and smiling at Emma still.
DIRECTOR: Certainly there are more experienced staff members, but not more talented ones. That is why the board and I have decided on you as our first choice.
EMMA: Oh, I don’t know…
Panel 6: Same as Panel 3 except Emma is looking down at her shoulder.
DIRECTOR: Of course as the director of the geology department you would be entitled to a substantial raise, a reserved parking space, and full health benefits…
EMMA: Full health benefits?
DIRECTOR: Certainly.
Panel 7: Side view of Emma leaning across the desk shaking the director’s hand. The director is smiling smugly.
EMMA: I accept.
DIRECTOR: Very good, Dr. Earl. I’ll have my secretary provide you with the details on your way out.
Page 173
Panel 1: Side view of Emma walking down the hallway, which looked similar to the one for the geology department. She’s looking in shock as Dan is at the opposite end of the hallway.
Panel 2: Same view but now they’re closer in the hallway. Dan’s eyes are narrowed and he has a curious look on his face. Emma is looking down, her face turning red.
DAN: Hello. You look familiar but I can’t place the name.
EMMA: My name’s Emma Earl. I work in the geology department. Meteors.
Panel 3: Shot from over Emma’s shoulder. She’s looking down at her feet while Dan is smiling politely at her.
DAN: Oh, right. I’ve heard about you. The girl genius.
EMMA: That’s me.
Panel 4: Side view of Emma looking up at Dan now, looking surprised while Dan is still smiling politely.
DAN: It’s too bad I won’t get to see you in action. At least not for a while.
EMMA: Why’s that?
DAN: I’m going to Egypt. See if we can find out more about Karlak II.
DAN: I’m going to Egypt. See if we can find out more about Karlak II.
Panel 5: Close-up of Emma looking down, her face red.
EMMA: That’s good.
DAN (Not shown): The director called me this morning to say they’ve approved the funding for two whole years of research.
EMMA: Two years?
Panel 6: Same as Panel 4.
DAN: That’s just for starters. If we find anything we might stay longer.
EMMA: That’s great. (small lettering.)
Panel 7: Side view of Dan shaking Emma’s hand, which she is holding out limply.
DAN: Well, it was good meeting you, Dr. Earl. Maybe we’ll bump into each other again when I get back.
EMMA: I’d like that.
Panel 8: Straight on shot of Emma watching Dan go, tears in her eyes. Part of Dan is visible in the front right side of the panel.
Page 174
Panel 1: Side view of Emma in a sewer pipe, dressed in the armor. Her head is turned to face us, the visor of the helmet open so we can see the surprise on her face.
EMMA: Oh wow…
Panel 2: A straight on view of a sculpture of the Scarlet Knight made completely from garbage. There’s a red coffee can for the head with an old scrub brush attached for the plume. The torso, arms, and legs are made of toilet paper rolls and newspapers that are a rusty red cover—like dried blood. The cape is made of yellowed newspaper. A broken yellow broomstick is on its hip. The hands are on the hips in a heroic pose.
SEWER RAT (Not shown): You like?
Panel 3: Shot from over the Sewer Rat’s shoulder. Emma has turned her back from the sculpture to stare at him in shock.
EMMA: Who are you?
Panel 4: Close-up of the Sewer Rat’s face, most of which isn’t visible because of his tangled hair, but there is one red-brown eye visible and half his mouth.
SEWER RAT: I Sewer Rat. This my home.
EMMA (not shown): But I thought that was just a myth.
SEWER RAT: I real.
Panel 5: Side view with Emma turned back to motion to the sculpture of her. The Sewer Rat is surrounded by some rats—including Pepe—at his feet. His expression isn’t visible.
EMMA: And you did this?
SEWER RAT: Yes.
EMMA: It’s beautiful.
Panel 6: Shot from over Emma’s shoulder. The part of the Sewer Rat’s mouth that’s visible is smiling slightly.
EMMA: Do you mind if I use your sewers to get around?
SEWER RAT: So long as you no tell about me.
Panel 7: Close-up of Emma’s face—still with the helmet on and visor open—smiling at the Rat.
EMMA: I won’t tell anyone if you won’t.
Panel 8: Close-up of Emma’s gloved hand shaking the grubby hand of the Sewer Rat, his fingernails long and dirty underneath.
Caption (bottom): Looks like the start of a beautiful friendship…
Page 175
Panel 1: An overhead view of the Sanctuary. It’s been remodeled now with a comfortable leather office chair in front of the desk and a bank of television monitors over the desk and a computer on top of the desk. Beside the desk is a small brown metal cube. Emma is kneeling before this, wearing a blue T-shirt and purple Northwestern sweatpants. Marlin is hovering behind her. Any old crates and other junk have been removed.
MARLIN: I suppose the place does look a little better.
Panel 2: Shot from over Emma’s shoulder. She’s putting a blue-and-silver Red Bull can into the refrigerator along. The fridge is already stocked full of Red Bull and green Mountain Dew cans and a few vegetables like celery and carrots to munch on.
EMMA: If I’m going to be here, I’d like to be a little more comfortable.
MARLIN: You mortals and comfort. You’re not supposed to be lounging around.
Panel 3: Shot from behind Emma. She’s standing in front of the dozen or so tiny black-and white monitors. On the screens are various intersections, inside the museum, inside Robinson Park, and an old movie.
EMMA: It’s not just lounging around. This is a lot better than that old police radio.
MARLIN: Maybe…
Panel 4: Close-up of a monitor showing the park and a large man with a gun in his hand at his side running with his back turned to the camera. Emma’s finger is tapping the screen.
EMMA (not shown): See, look at that.
MARLIN (Not shown): Showoff.
Panel 5: Side view of Emma in the Scarlet Knight armor standing in a sewer pipe with a ladder leading up to the sub-subbasement, the hole being visible at the top of the panel. Emma is grabbing the handlebars of a red Ninja-type motorcycle that matches her armor.
Panel 6: Side view of Emma on the motorcycle, hunkered down as she rides it. The motorcycle’s headlight is shining straight ahead.
Panel 7: Straight on view of the motorcyle’s front end, headlight shining right at us, coming out of a cement pipe into an old cement aqueduct.
Page 176
Panel 1: Shot from behind Emma at ground level. She’s standing in front of a park bench with hands on her hips. On the bench, just an arm, leg, and part of a man’s chest is visible as well as the rest of the bench. He’s some generic mugger.
EMMA: Looks like you had a good night.
Panel 2: Straight on shot of the mugger sitting on the bench, a fan of cash in his hand that he’s been counting. He’s looking up at her, his jaw slack and eyes wide in surprise.
MUGGER: Hey, I don’t want no trouble.
Panel 3: Shot from over Emma’s shoulder. She’s still looking down at the mugger with hands on hips. He’s still holding the cash in one hand while the other is at his side.
EMMA: Then you should give that money back.
MUGGER: I didn’t steal anything!
Panel 4: Shot from the side. Emma is pointing with one finger at the mugger, whose hand without the cash is holding an old revolver.
EMMA: I’m sure the police would beg to differ.
MUGGER: Come on, I was laid off. I got two kids at home…
Panel 5: The same view as Panel 3 but now the Mugger is looking surprised and the pistol is in his hand. A shot is pinging off Emma’s armor. (Insert appropriate sound effect.)
MUGGER: What the hell?
Panel 6: (This should take up the rest of the page.) Another shot over Emma’s shoulder but now she’s holding up the mugger by the scruff. The pistol is lying on the bench behind him. He’s staring up at her with fear.
MUGGER: Who are you?
EMMA: I’m the Scarlet Knight. And I think you need a new line of work.
CAPTION (bottom): As a tag line it lacked menace, but it was a start.
THE END
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