SCRIPT

“Punching The Clock”

Creator/Writer: Eugene Argent

PAGE ONE

Panel 1: Mid-day. A half-page shot of Mexico City.

Panel 2: A half-page panel. A close-up on Mitch Cannon, the leader of a superhero team. Mitch is looking up at us. His face has the expression of a man who is confronting his enemy. It’s a sort of contained, focused aggression. (Note: Mitch is floating ten thousand feet above the ground. If you like, you can give some indication that he is in the sky.)

Caption (Mitch Cannon): Hello. I’m Mitch Cannon. I’m an Army man.

Caption (Mitch Cannon): And this is where the shit gets hairy.

PAGE TWO

Panel 1: A full-paged panel, with a smaller inset panel. It’s mid-day. Three superheroes: Mitch Cannon, Paul Abrams, and Robert Gates are floating high in the sky (ten thousand feet above ground). They are surrounded by a layer of altocumulus clouds. There are four, seventy-foot wide flying saucers confronting the heroes. Three of the saucers are closing in, while the fourth (the HC) is in the distant background.

Caption (Mitch Cannon): My team and I got a call today. At approximately thirteen thirty-one hours, the Mexican Air Force intercepted three bogeys, ten thousand feet above Mexico City. My teammates and I were ordered to verify the sighting, and take out the targets.

Caption (Mitch Cannon): And we were fully prepared to do so–until a fourth bogey appeared out of nowhere.

Caption (Mitch Cannon): I use that phrase, out of nowhere, not as some figure of speech meant to imply a rapid arrival. No. I use it as verifiable fact.

Panel 2: A close-up on Mitch’s face. He is shouting.

Mitch Cannon: That ship came out of nowhere.

Mitch Cannon: HC!!! We’ve got an HC!!!

PAGE THREE

Panel 1: Mitch Cannon and his team are still floating ten thousand feet above Mexico City. Three flying saucers are approaching the team. A fourth saucer (the HC) is in the distance. Mitch is shouting; pointing at the fourth saucer.

Mitch Cannon: Paul! Rob!

Robert Gates: On it!

Caption (Mitch Cannon): My team immediately focuses on the fourth saucer. They know what I know. The fourth saucer is an HC; a Historical Counterpart to one of the others.

Panel 2: The fourth saucer (the HC) is in the foreground. The other three saucers are midway between the HC and the superheroes (Mitch Cannon, Robert Gates, and Paul Abrams). Robert Gates and Paul Abrams are flying very quickly toward the HC. Mitch Cannon is confronting the other saucers.

Caption (Mitch Cannon): It’s a time-traveler, here on a reconnaissance mission: to learn the outcome of this battle and bring tactical information back to the past.

Panel 3: Robert Gates and Paul Abrams are rapidly approaching the fourth saucer (HC). They are coming in for a first strike.

Caption (Mitch Cannon): That’s a bogey for you. It’ll sit back, watch itself die, then go back and fight again–this time with a hundred reinforcements. An act of self-preservation.

Panel 4: At the last moment, one of the other saucers (Saucer #1) swoops in between the HC and the two approaching heroes. It is protecting the HC. Gates and Abrams have to stop short.

Caption (Mitch Cannon): It’s ironic, then, to see the three contemporary saucers acting as the defenders.

SFX: SWOOOSSSHH!!

Robert Gates: Whoa! Are these guys tryin’ to grow some balls?!

Paul Abrams: They’re not stupid, Rob. They know the stakes.

Panel 5: Robert Gates smashes his fists in to the hull of Saucer #1. Metal tears inward. Sparks fly. (Note: The heroes’ powers are gravity-based. Every punch has several tons of gravity behind it. Therefore, you may want to show some sort of effect with each punch.)

Robert Gates: Good. Now we’ll raise ‘em!

SFX: BRUUNNNKK!! BIZZZ!

PAGE FOUR

Panel 1: Saucer #1 retaliates, firing a focused gravity beam at Gates. Gates’ body hurdles backward from the beam’s impact.

SFX: zzzZZOOOOooo!!! WHAMM!

Robert Gates: OOOF!

Paul Abrams: Robert!

Caption (Mitch Cannon): One of the saucers fires a highly focused gravity beam at Gates.

Panel 2: Paul Abrams looks angry. He punches the hull of Saucer #1, creating another hole.

Paul Abrams: Bastard!

SFX: PRUUNKK!

Caption (Mitch Cannon): These beings are masters of gravity manipulation.

Panel 3: A close-up on Paul Abrams’ hands. From the edge of the hole, he grabs the hull’s silvery paneling. His fingers are digging  in to the metal.

SFX: KER-UNK. KRUNK.

Caption (Mitch Cannon): Gravity moves them across the stars, powers their weapons, and makes history in to their plaything.

Panel 4: Meanwhile, Robert Gates has stopped tumbling backwards. He is floating in the air, rubbing his bruised head.

Caption (Mitch Cannon): Back in the early days, we wondered, “How can we fight this enemy?”

Robert Gates: Oh. I’m so gonna murder these fuckers.

Panel 5: Paul Abrams rips off a large section of Saucer #1′s silvery paneling.

Caption (Mitch Cannon): “Who’s going to even the odds?”

SFX: BRUUUUUNNNNNNNNKKKK!!!

Panel 6: With both of his hands, Paul Abrams is ripping away at the exposed circuitry of Saucer #1. He is tossing large chunks of alien technology in every direction; literally digging his way toward the cockpit.

SFX: RRRRIPP!! POP! POP!! BZZZ!! KRUNKK!! POP!! RRRIPPP!!! BZZZ!!

Caption (Mitch Cannon): Well, after decades of  human ingenuity and blood-sacrifice, we finally got our answers.

PAGE FIVE

Panel 1: Robert Gates is pissed off. His angry eyes are focused on their target: Saucer #1 (which is off-panel). Somewhere behind and below Robert, we see Mitch Cannon fighting Saucer #2.

Caption (Mitch Cannon): It was us.

Robert Gates: Outta the way Paul! He’s mine!

Mitch Cannon: No, Robert!

Panel 2: A closer shot of Mitch Cannon. He is currently fighting Saucer #2. At this moment, he’s blocking one of the saucer’s focused gravity beams. He’s blocking the beam with an invisible gravity shield, emanating from his body. Mitch has his arms raised in front of himself, crossing them.(Note: We can tell there’s a gravity shield in front of Mitch because the saucer’s focused gravity beam is sliding along the shield’s curved surface.)

SFX: zzzJOOOOOJJJzzooZZOOOOOOJJJJoooo!!!

Caption (Mitch Cannon): We were the weapons we were looking for. Masters of gravity in our own right.

Mitch Cannon: Paul’s got that one! Get to the HC!

Panel 3: Robert Gates is flying toward the HC.

Robert Gates: Got him in my crosshairs.

Panel 4: Robert glances down as Saucer #3 approaches him from below.

Robert Gates: Damn it.

Panel 5: Saucer #3 fires a focused gravity beam at Robert.(Saucer #3 is protecting the HC.) Robert is blocking the beam with an invisible gravity shield. (Note: He should have his arms crossed, like Mitch did in Panel 2). As he fights the saucer, Robert is talking to Mitch Cannon through his ear communicator.

SFX: zzzJOOOOOJJJzzooZZOOOOOOJJJJoooo!!!

Robert Gates: That’s a negative on the HC, Mitch! Gotta deal with this one first!

Mitch Cannon: Make it quick! We can’t let it initiate a sequence!

PAGE SIX

Panel 1: Meanwhile, Paul Abrams is atop Saucer #1. With his right hand, he’s ripping large chunks of technology out of the ship. With his left, he’s generating an invisible gravity shield, blocking the saucer’s gravity beam.

SFX: KKRRRRIPPP!!!  KKRRRRIPP!!

SFX: zzzJOOOOOJJJzzooZZOOOOOOJJJJoooo!!!

Panel 2: Paul pulls out a large, odd-looking part from the guts of Saucer #1. This sets off a fire within the saucer. Large plumes of black and red smoke stream from the damaged alien ship.

SFX: KRNNCH!!

SFX: FWOOOSHH!

Panel 3: In the foreground, we see Mitch Cannon fighting Saucer #2. In the background, we see Paul Abrams atop Saucer #1, which is descending for a crash landing. Saucer #1 is on fire from within. Large plumes of black and red smoke are streaming from its guts.

Panel 4: Looking down on Mexico City. Hundreds of citizens are on the street, most of them looking upward.

Panel 5: On the ground in Mexico City. Hundreds of citizens are looking up at the rapidly descending Saucer #1. The saucer is coming down through the clouds, a stream of black and red smoke trailing behind it.

Panel 6: Paul Abrams is still digging in to the side of Saucer #1; making his way to the cockpit.

Caption (Mitch Cannon): Over the years, we’ve gotten pretty good at this.

SFX: KKRRRRIPPP!!!  KKRRRRIPP!!

Panel 7: Inside Saucer #1′s cockpit. Shot from a low angle. In the foreground, we see the foot of a standing alien. In the background, we see Paul Abrams entering the room through a large hole. Paul has literally dug his way in to the cockpit. (Paul should be largely back lit, with sunlight behind him.)

Caption (Mitch Cannon): Gotten good at exterminating these creatures; keeping the people safe.

PAGE SEVEN

Panel 1: Robert Gates is still fighting Saucer #3. He looks over his shoulder and sees Saucer #1. Saucer #1 is falling; about to crash in to Mexico City. Large plumes of smoke trail the saucer as it streaks across the sky.

Caption (Mitch Cannon): Today, we weren’t so good. In fact, we fucked up–royally.

Robert Gates: Paul’s goin’ down!

Panel 2: Looking down on Mexico City. The shadow of Saucer #1 has dimmed a large area of the city. The people on the ground are panicking, shouting and running in all directions.

Caption (Mitch Cannon): The HC threw us off our game.

Random Citizen A: ¡Dios mío, un ovni!

Random Citizen B: Salgamos de aquí!

Panel 3: Saucer #1 crashes right through a monument / building. Large chunks of the structure are thrown in to the air. Dozens of people are instantly killed.

Caption (Mitch Cannon): Should have lured the bogeys away from the city first.

SFX: THOOOM!!

Random Citizen: Ahhhhh!!!

Random Citizen: Nooo!!

Panel 4: Saucer #1 smashes in to the ground, destroying property and killing hundreds.

Caption (Mitch Cannon): Now it’s too late.

SFX: BUH-KHOOOMM!!

Panel 5: Meanwhile, up in the sky, Mitch Cannon is holding his ear. He is talking to Robert Gates via his communicator. Mitch has a sad / worried look on his face.

Mitch Cannon: Robert, we’ve got to move this–get away from the city.

Robert Gates: Agreed. Should we take out the Grav Manipulators?

Mitch Cannon: Take out two. Then push the ship to open desert.

PAGE EIGHT

Panel 1: Robert Gates is below Saucer #3. He is holding his ear; talking to Mitch Cannon via his communicator. The ship’s three Gravity Manipulators are clearly visible on its underbelly.

Robert Gates: On it. What about the HC?

Mitch Cannon: We’ve got civilian casualties. It’ll have to wait.

Panel  2: A shot of Mexico City. Saucer #1 has crash landed in a highly populated area. It has destroyed buildings and killed hundreds of people. The saucer is now sitting amidst the rubble. Clouds of dust and smoke are rising from the wreckage. There are thousands of injured and dazed people in the area. Paramedic and rescue services are already on the scene.

Panel 3: A closer shot of Saucer #1′s wreckage. We can see the silhouette of a lone figure through the dust and smoke. (It’s Paul Abrams.)

Amazingly, the figure is walking out of the saucer wreckage.

Panel 4: A close-up on the lone figure (from the previous panel). The dust and smoke have parted just enough to reveal the figure’s identity. It is Paul Abrams. Paul looks exhausted. He is bleeding and his clothes are torn. But he’s alive and on his feet.

Panel 5: A close-up on Paul. He’s looking up at the continuing battle in the sky.

PAGE NINE

Panel 1: Robert Gates is looking at us. He’s gnashing his teeth, and pulling back his fist. He’s about to punch us.

Robert Gates (thinking): Now, to increase the spatial distortion around my forearm and–

Panel 2: Robert Gates punches in to one of the three Gravity Manipulators on Saucer #3. His fist is embedded in to the Gravity Manipulator. Electric sparks fly from the point of impact.

Robert Gates: –BOO-YAH!! One demolished Gravity Manipulator!

SFX: POW!! SFZZZZZZ!!

Panel 3: A far shot. Having lost the Grav Manipulator, Saucer #3 is beginning to wobble.

SFX: WOOOOVOO. WOOOVOO.

Panel 4: Shot from behind Robert Gates. Saucer #3 has retreated from Robert. It is now far off in the distance.

Robert Gates: Oh no you don’t.

Panel 5: Robert has caught up to Saucer #3. He is beneath the saucer, rapidly approaching one of the Gravity Manipulators. (He’s going to punch it.)

Robert Gates: You can’t get away from me!

Panel 6: Robert punches a second Gravity Manipulator, destroying it. Electric sparks fly from the point of impact.

SFX: POW!! SFZZZZZZ!!

PAGE TEN

Panel 1: A far shot. Saucer #3 is now seriously damaged, having lost two Gravity Manipulators. The saucer is wobbling; losing control. (Note: The saucer still has lift, because of the remaining Grav Manipulator, but its propulsion is essentially disabled.) Robert Gates has emerged (flown) from beneath the saucer. He is now next to the saucer.

Panel 2: A close-up on Robert. He is grabbing the edge of the saucer, digging his fingers in to the metal.

Panel 3: Extreme close-up on Rob’s fingers as they dig in to the saucer’s hull.

Panel 4: Robert grits his teeth as he strains to push the massive saucer.

Panel 5: A far shot. Robert is pushing Saucer #3 away from the city (toward the desert).

PAGE ELEVEN

Panel 1: Mitch Cannon is beneath Saucer #2.

Panel 2: Shot from behind (beneath) Mitch Cannon. He is looking up at one of the saucer’s Gravity Manipulators.

Panel 3: Mitch Cannon is still under the saucer (Saucer #2), hauling his fist back to punch out the Gravity Manipulator.

Panel 4: The HC saucer is approaching Mitch from a distance. The HC is defending Saucer #2. It fires a gravity beam at Mitch, striking him on the shoulder.

SFX: SKANCHH!

Panel 5: Mitch turns toward the HC and blocks a second beam with his gravity shield. (He now has his back to Saucer #2.)

SFX: zzooZZOOOOOOJJJJoooo!!!

Panel 6: Mitch is turned toward the HC. Saucer #2 sees an opportunity and fires a gravity beam at Mitch’s back, striking him at point blank range.

SFX: KROOM!

Mitch Cannon: Arr!

PAGE TWELVE

Panel 1: Mitch is falling. He’s had the wind knocked out of him.

Panel 2: Mitch is still falling.

Panel 3: Mitch is holding his head. He’s still falling.

Panel 4: Mitch has regained his composure. He’s stopped falling, and he looks pissed.

Panel 5: Mitch jets up toward the two saucers (#2 and the HC). The saucers are firing multiple gravity beams at him. He is dodging and weaving between the beams. (He’s still trying to get to their Gravity Manipulators.)

SFX: ZJOOM!! ZJOOM!! ZJOOM!!

PAGE THIRTEEN

Panel 1: Mitch Cannon is blocking one of the gravity beams (with his gravity shield), when he looks over his shoulder. In the distance, Mitch sees Robert pushing Saucer #3 away from the city.

Mitch Cannon: Good work, Rob. Paul, how are we on civilian rescue?

Panel 2: Down in the city. Paul Abrams is leading a rescue effort at the (Saucer #1) crash site. He’s talking to Mitch via communicator. There are EMS workers, firefighters, police officers and volunteers on the scene. They are pulling bodies from the rubble, looking for survivors.

Paul Abrams: We could be better. Could use some help.

Mitch Cannon: That’s a negative. Repeat, negative. I’m having more trouble with this one than I expected.

Mitch Cannon: Not to mention the God damned HC that wants to fight all of a sudden–

Panel 3: Mitch Cannon has backed away from the two saucers (#2 and the HC). He’s getting a new look at them; realizing that they are, in fact, the same ship from different time periods.

Paul Abrams: Mitch?

Mitch Cannon: Nothing. Just realized something.

Panel 4: A close-up on Robert Gates. Robert is straining as he pushes hard on Saucer #3.

Robert Gates: GNNNNUGH!

Panel 5: A far shot. Robert pushes Saucer #3 down on to a vast area of open desert. A shock-wave of sand and dust shoots dozens of feet in to the air. Panicked desert animals run away in every direction. There are small explosions bursting through several points in the saucer’s hull.

SFX: BUH-KHOOOMM!!

Panel 6: A close-up on Robert Gates. He’s still straining as he continues to drive the saucer down in to the sand. There are several large explosions ripping through the saucer’s hull.

SFX: BRRRRRROOOOOMM!!

PAGE FOURTEEN

Panel 1: Robert is standing on the ground now, lowering the edge of the saucer with his hands.

Panel 2: Robert drops the edge of the saucer (Saucer #3) on to the sand. There is a loud thud as it hits the ground. Sand and dust fly up in to the air.

SFX: THUD.

Panel 3: Robert Gates is on top of the wreckage now, looking smug. There are plumes of smoke rising from the wreckage.

Robert Gates: Piece of fucking cake.

Panel 4: Mitch Cannon is hauling back his fist to punch out one of the HC’s Gravity Manipulators. Mitch looks furious.

PAGE FIFTEEN

Panel 1: Mitch punches in to the Grav Manipulator. Sparks fly, etc.

SFX: POW!! SFZZZZZZ!!

Caption (Mitch Cannon): Not like a bogey to defend another so fiercly.

Panel 2: A shot of a Grav Manipulator on Saucer #2. It caves in on its own, as if it had been punched. Sparks fly, etc.

SFX: POW!! SFZZZZZZ!!

Panel 3: Mitch punches another Grav Manipulator on the HC.

SFX: POW!! SFZZZZZZ!!

Caption (Mitch Cannon): Then again …

Panel 4: Another Grav Manipulator on Saucer #2 caves in on its own, as if it were punched.

SFX: POW!! SFZZZZZZ!!

Panel 5: A shot of Saucer #2. It is approaching Mitch and the HC.

PAGE SIXTEEN

Panel 1: Mitch has his arms above his head. He digs his fingers in to the saucer’s (HC’s) underbelly.

Caption (Mitch Cannon): It’s not like an HC to protect its own Contemporary Counterpart.

Panel 2: Mitch is still underneath the HC, with his hands dug in to the saucer’s underbelly. He looks down and sees Saucer #2 below him.

Mitch Cannon: That’s right. Try shooting at me now.

Panel 3: A shot of the HC flying out to the desert. (Mitch is dragging it there.)

Panel 4: A shot of the HC crashing in to the desert. Sand and dust fly all over the place. The hull of the saucer is exploding.

SFX: KA-THOOM!!

PAGE SEVENTEEN

Panel 1: A shot of Saucer #2 floating over Mexico City.

Panel 2: Angle on same (same as previous panel), except now, Saucer #2 has vanished from existence.

Panel 3: Robert Gates and Paul Abrams have joined Mitch Cannon by the HC’s wreckage.

Robert Gates: Woo-hoo! That’s how it’s done, Mitch! Nice and clean.

Panel 4: This panel is a shot of a tv news broadcast. The image is of the monument/building on PAGE SEVEN, Panel 3, except there is no saucer and absolutely no damage. The news logo, FNN, is on the screen.

Reporter: –reported three alien saucers over Mexico City.  The enhanced operatives intervened quickly—

Panel 5: The tv news broadcast. The image is of the the area shown on PAGE EIGHT, Panel 2, except there is no crashed saucer, and absolutely no damage or casualties. Mexico City is completely normal. The news logo, FNN, is on the screen.

Reporter: —and escorted the craft to an undisclosed location. Fortunately, there are no reported injuries or property damage.

Caption (Mitch Cannon): No, Rob. It’s not clean at all.

PAGE EIGHTEEN

Panel 1: Full paged panel. A shot of Mitch Cannon, Paul Abrams, and Robert Gates in the desert.

Mitch Cannon: Something’s changed.

Mitch Cannon: I just pray it was for the better.

END

Blue, Issue #4

Blue, Issue #4

“The Frozen, Forlorn Dead”

Creator/Writer: Eugene Argent

Artist: N/A

PAGE ONE

Panel 1: Somewhere on Mars. A screen is showing a Mars Action News Special Report. The words, “Mars Action News Special Report: Tragedy in Promethei Province” are displayed across the screen. There are also headshot photos of the Mars Action News team. From left to right, we see: Scott London (middle-aged lead anchor), Judy Byrd (young co-anchor), Max Solomon (weather), and Nick Digiorno (sports).

TV Announcer: A Mars Action News Special Report: Tragedy in Promethei Province.

TV Announcer: With Scott London, Judy Byrd, Max Solomon on weather, and the Mars Action News team.

Panel 2: Still watching the screen. Scott London and Judy Byrd are in the tv studio, behind the news desk.

Scott London: Good afternoon. I’m Scott London.

Judy Byrd: And I’m Judy Byrd. Terror. Shock. And tragedy. Today, the eyes of Mars are turned toward Kepler City, in the Promethei Province.

Panel 3: The news cuts to a live shot of Kepler City Square. There is a large fountain in the center of the square. There are many photographs of the deceased city residents around the fountain. The city structures are mostly intact, but there are no trees, animal life, or residents in the city. The only people there are mourners. There are thousands of mourners; most are dressed in black. It’s like one massive funeral. The mourners are laying flowers around the fountain. The word “Live” is on the top right corner of the screen.

Judy Byrd: It’s been just over a week since Earth System Defense Satellite 99J-09 accidentally misfired on the city, killing most of its 750,000 residents.

Panel 4: A closer shot of the fountain. There are hundreds of photos of the missing and deceased residents of Kepler City. There are also thousands of flowers in and around the fountain. Earth System President Nancy Oliver is laying a flower in the fountain. She is dressed in a long black dress and a black coat.

Judy Byrd: Condolences and charitable donations have poured in to the province from as far away as Aryan Separatist Space. President Oliver has declared today a system-wide memorial day, in remembrance of all the victims.

Panel 5: A close up on President Oliver’s hand as she drops the flower in to the fountain. There are victim photographs on the edge of the fountain. One of the photographs is of Dana Lutz, the murdered real estate agent from issue #3.

Judy Byrd: Stay here for live coverage of the memorial service, after these words from our sponsors.

PAGE TWO

Panel 1: Somewhere on Triton, Neptune’s largest moon. Blue finds herself in a dark, cramped basement office. She has just fallen out of a recycling chute built in to the ceiling. We can see the end of the chute hanging from the ceiling. Blue has landed on several bundles of old paper documents, which are also stacked up around her. There are dusty shelves of various objects against the walls. There is an office door, with a small frosted window, on the opposite side of the room.

Caption (Blue): I didn’t know where I was. This wasn’t Pump City. Damn sure wasn’t Mars.

Panel 2: A closer shot of Blue. She is in pain, rubbing the back of her neck.

Caption (Blue): I had just fallen a level or so down a recycling chute. Luckily, I didn’t break my neck. Or fall in to a vat of molten plastics.

Panel 3: Blue is on her feet. She is stumbling over the bundles of paper. She is headed for the office door.

Caption (Blue): But there was no time to pat myself on the back. I had to keep moving.

Panel 4: Blue has opened the office door. She is stepping in to a dimly lit hallway.

Caption (Blue): There was a murderer in the building.

Caption (Blue): A level or so above me.

Panel 5: Blue is walking down the hallway. There are office doors on either side of the hallway. Ahead of her, the hallway forks in two directions (left and right).

Caption (Blue): My first priority? Find a ship. Any ship. At that point I would have settled for a stray comet and a net.

PAGE THREE

Panel 1: Blue is at the end of the hallway, where it forks off in two directions (left and right). Blue is cautiously peering around the corner to the right. She sees an elevator bank about twelve feet down the hall. There are two elevators in the bank. The elevator doors are shut.

Blue (Thinking): Thank God. An elevator bank.

Panel 2: As Blue approaches the elevator bank, a red light blinks above one of the elevators. The light indicates that the elevator is coming down to her level.

SFX (red elevator light): ping!

Blue (thinking): Shit!

Panel 3: Blue spins around, looking to her left. There is an emergency exit about twenty feet away. The exit has a door that reads, “Stairway C.” There is a lit sign above the door reading, “Exit.”

Panel 4: Blue runs for the emergency exit just as the elevator door opens.

Panel 5: A foot (belonging to Mellis Erasmus) is stepping out of the open elevator door.

PAGE FOUR

Panel 1: Blue is still running toward the emergency exit. She has almost reached the door.

Panel 2: Mellis Erasmus emerges from the elevator. He has an evil look on his face. He’s holding a pistol. Erasmus is out for blood.

Panel 3: Erasmus looks down the hall. He sees the emergency exit. The door is closed.

Panel 4: Just behind that door, on Stairway C. Blue is cautiously making her way up the stairs, trying desperately not to make a sound.

Panel 5: Erasmus has turned the corner. He is in the main hallway now. There are offices on either side of the hallway. Erasmus is looking in to one of the offices.

PAGE FIVE

Panel 1: Back on Stairway C. Blue has reached the fifth floor. A sign on the stairway door reads, “05.”

Caption (Blue): I decided to get as much distance between myself and my kidnapper. I ran all the way up to five: the top floor.

Panel 2: Blue is on the fifth floor, in a really dark laboratory. There are all types of lab equipment in there. The only light in the room is coming from a small desk lamp, several feet away from Blue.

Caption (Blue): A desk lamp was on. Someone was in there. Someone other than the murderer.

Panel 3: A close-up on Blue’s hand. She grabs an unlit lamp from a nearby desk. She will use this lamp as a weapon.

Caption (Blue): We weren’t alone.

Panel 4: Blue is approaching the desk that has the lit desk lamp. She is still holding the unlit lamp for protection.

Panel 5: Blue is looking at a large blueprint on the desk. The blueprint shows the layout of the entire building. The top of the blueprint reads, “Triton Outpost 2-0.” The blueprint shows a vehicle hangar at the northwest corner of the building.

Caption (Blue): The blueprint on the desk confirmed my worst fears. I wasn’t only away from Mars. I was on Triton, Neptune’s largest moon.

Caption (Blue): Stranded in the outer system.

Panel 6: A close-up on the blueprint. There is a large square area at the northwestern corner of the building. It reads, “Vehicle Hangar.”

Caption (Blue): But, if the blueprint was correct, I wouldn’t be stranded for long.

PAGE SIX

Panel 1: Just then, Mellis Erasmus kicks open the stairway door. He is now with Blue on the fifth floor. He still has a pistol in his hand. Blue is terrified.

SFX: BOOM!

Panel 2: Erasmus is shooting at Blue. He hits the lit desk lamp and other lab equipment. Glass shatters everywhere. Blue runs for her life.

SFX (gun): POW! POW! POW! POW!

Panel 3: Back on Mars. We’re watching the Mars Action News coverage in Kepler City. The M.A.N. logo is in the corner of the screen.

A disgruntled citizen is looking in to the camera. He is talking in to reporter, Anita Chen’s, microphone. The words, “Disgruntled Citizen” are displayed under his face.

Disgruntled Citizen: I think it’s bullshit! How you gonna have a laser beam that only kills the people, but leaves the buildings intact?! On top of that, you got the beam movin’ all the way from Kepler to Secchi?! That’s bullshit!

Panel 4: Another citizen (Vivian Smith) is talking in to Anita Chen’s microphone. The name “Vivian Smith” is on the screen.

Vivian Smith: I really can’t trust the government account. Something’s wrong.

Panel 5: Anita Chen is looking in to the camera, summarizing her report.

Anita Chen: And that’s the sentiment being expressed by several mourners here in Kepler. A controversial viewpoint in this time of public bereavement. For Mars Action News, I’m Anita Chen.

PAGE SEVEN

Panel 1: Back in the news studio. Scott London and Judy Byrd are behind the news desk. They are accompanied by Buck Ofeld, a defense expert.

Scott London: Controversial to say the least. Thanks Anita.

Scott London: Now, with more on this subject, is defense expert, Buck Ofeld. Welcome to the studio.

Buck Ofeld: Glad to be here, Scott.

Scott London: Buck, where do people get these wacky conspiracy ideas?

Panel 2: A close-up on Buck Ofeld.

Buck Ofeld: It’s a two-part problem, really. One: tragedy fatigue. I mean, we’re all still suffering after Honolulu, now here’s this new tragedy.

Judy Byrd: Honolulu. God bless their souls.

Buck Ofeld: Of course. God bless.

Panel 3: A 3D animation has appeared on the tv screen. It shows a laser gun firing a group of separated light waves. Halfway across the screen, the light waves condense in to a tightly focused laser beam.

Buck Ofeld: Two: they don’t understand the nature of the Kepler accident. As you can see in this animation, a laser is a series of focused light waves, set to a specific frequency and power level.

Panel 4: The tv screen is still showing the 3D animation. The laser beam has been fired at two collinear square targets, one behind the other. The laser has burned right through the first target. But, has no effect on the second target. The beam just stops at the second target.

Buck Ofeld: By adjusting the power level and frequency, a laser can be set to burn specific substances, while leaving others unharmed.

Scott London: It’s sort of like a baked potato in a microwave. You have to take off the foil, or the beams will just bounce off.

Panel 5: The news studio is back on the tv screen. Buck Ofeld is talking to Scott London and Judy Byrd.

Buck Ofeld: That’s right, Scott. The microwaves will simply bounce off of certain substances, but burn others. Our defense lasers are very similar to those microwaves. It’s all E-M radiation.

PAGE EIGHT

Panel 1: Another 3D animation appears on the tv screen. This time, it shows the defense satellite 99J-09 firing down to the Martian surface. The satellite’s red laser beam is hitting a crude model of Kepler City. The beam bathes the city in red light. It instantly vaporizes all of the trees in the city.

Buck Ofeld: Because of some faulty software, the 99J-09 simply activated in a low power state. It sent a relatively low frequency beam that could only burn through certain organic compounds. It was a perfect storm, if you will.

Panel 2: The 3D animation continues. A red line (representing the laser) hits a satellite dish on the top of a building. The line then travels down, within the walls, until it exits (through a wall) in to an apartment. There is a 3D model of a man inside of the apartment.

Buck Ofeld: Add to that, the fact that our homes are now largely coated in a light-conducting substance, and you’ve got a major problem.

Panel 3: Inside the 3D animated apartment. The 3D man is standing in a room. A wall (screen) is showing a football game. Another wall is showing a Windows-like computer desktop. The upper part of both walls is turning red (from the approaching laser beam).

Judy Byrd: Meta-materials?

Buck Ofeld: That’s right, Judy. The beam simply traveled along the meta in our paints and structural surfaces–

Panel 4: Still inside the 3D animated apartment. The walls are all shooting red laser lines in to the apartment. The 3D man inside is breaking apart (vaporizing).

Buck Ofeld: –bathing the city’s inhabitants in a deadly red light. Without all that meta, thousands of lives would have been spared.

PAGE NINE

Panel 1: Back on Triton, in the fifth floor laboratory. The room is very dark. Blue is crouching; hiding behind some lab equipment. She is still holding a desk lamp in her hand. Mellis Erasmus is nearby, looking for Blue.

Caption (Blue): Whoever he was, this guy knew his business. No bullshit. No unnecessary running off with the mouth.

Caption (Blue): He just came in and killed you.

Caption (Blue): Which had to seem a simple task, at that moment. I mean, he knew that I was unarmed. And he knew that I was trapped.

Panel 2: Mellis Erasmus is very close to Blue. He is about to find her.

Caption (Blue): Trapped on Triton of all places. Triton; a meaningless ice-moon. Even if I could get to an airlock, and find a working space suit, I’d still have to make it to that hangar.

Panel 3: Blue tightens her grip on the desk lamp in her hand.

Blue (thinking): Oh well.

Panel 4: Blue is standing. She has the lamp raised above her head, about to strike Mellis Erasmus in the back of his head. But Erasmus doesn’t notice her. He has quickly spun around (away from Blue). He’s looking directly at us, at something off panel. There is a flickering fire light coming from whatever he’s looking at.

Blue (thinking): No guts, no glory.

Panel 5: Both Blue and Erasmus are stunned to see someone else in the lab with them. It’s Mebbe Sumdae, a 5’ 9” tall, naked, jet black alien. With his right hand, Mebbe is holding a two foot long cylindrical glass canister. The canister has a valve at the end and the letters “LN2” written down the canister’s length. With his left hand, Mebbe is holding a lit Bunsen burner to the end of the canister’s valve.

Panel 6: Erasmus fires his gun at Mebbe Sumdae.

SFX: BAM!

PAGE TEN

Panel 1: The canister explodes. Mebbe Sumdae is engulfed in flames. Mellis Erasmus raises his arm; shielding his eyes from the blast.

SFX: KER-BOOM!

Panel 2: Seeing an opportunity, Blue smashes her desk lamp across Erasmus’ head.

Blue: Take this, fucker!

SFX: SMASHHH!!

Mellis Erasmus: ACK!

Panel 3: Erasmus is unconscious on the lab floor.

Panel 4: A close-up on Blue’s hand as she picks up Erasmus’ gun.

Panel 5: Blue has opened the door to the C stairway. She pauses for a moment, turning to look at Mebbe’s body. He’s unconscious on the floor. The flames are out, but smoke is still rising from his body.

Caption (Blue): “LN2.” That was liquid nitrogen. That … thing wanted the canister to explode.

PAGE ELEVEN

Panel 1: Blue is running down the stairs.

Caption (Blue): Was it trying to help me?

Panel 2: Blue is back on the main level. She is running through the large cafeteria from last issue. (Issue #3, Page Twenty-One)

Panel 3: Blue is in the dark airlock room, also from last issue (Issue #3, Page Twenty-Two). She is in the transparent airlock, putting on a space suit. There is an exit behind her.

Caption (Blue): There was no time to figure that out.

Panel 4: A close-up on Blue’s hands. She has on the thick space suit gloves. She is opening the exit.

Caption (Blue): Not now.

Panel 5: Back in the Mars Action News studio. Scott London is reacting to Buck Ofeld’s description of the Kepler/Secchi tragedy.

Scott London: Wow. Irradiated by your entertainment center. That must be a terrible way to go.

Buck Ofeld: Indeed.

Scott London: But what about the reconstruction?

Buck Ofeld: Ah, yes. As you know, most of the city structures are still intact. Therefore, only minimal reconstruction will be necessary. It’s mostly clean up.

PAGE TWELVE

Panel 1: Scott London is talking to Buck Ofeld.

Scott London: More to that point: We all use meta-surfaces. Is there a way to make them any safer?

Buck Ofeld: Yes. We just had a sit-down with New Mars Realty, a large investor in Kepler City. The consensus is that a low-yield, alternating force-field would prevent any significant laser conduction, thus avoiding a future tragedy.

Panel 2: Judy Byrd asks Ofeld a question.

Judy Byrd: How would such a force-field be applied to existing meta-surfaces?

Buck Ofeld: Oh, it’s simple Judy. A small, dime-sized field generator would be placed at each corner of the surface—let’s say a wall. The field would block any dangerous laser light, while allowing normal touch-sensitive interactivity. My private firm already holds a patent for these generators. It should hit retail early next quarter.

Panel 3: Scott, Judy and Buck, at the news desk.

Judy Byrd: Well that’s a relief! Ha-Ha!

Scott London: Yeah. For a minute there, I thought I’d have to cancel my satellite service! Ha-Ha!

Buck Ofeld: Ha-Ha! No Scott—

Panel 4: Back on Triton. Blue is in her space suit, walking along the surface of Triton, Neptune’s largest moon. (She still has Erasmus’ gun in her hand.)

Triton is a frozen wasteland. A world of flat expanses, covered with a layer of frozen nitrogen snow and ice. Right now, the frozen nitrogen is falling from the sky like discolored snowflakes.

Caption (Buck Ofeld): Nothing so drastic.

Caption (Blue): I was having trouble seeing through the snowfall. I wasn’t even sure what the snow was made of, but I knew I had to get through it.

Panel 5: Blue is looking down at her suit’s wristband. There is a digital display that gives atmospheric and geographical information. The display is showing the current temperature, −237.6 °C. It also has a compass. Blue is walking on a Northwestern course.

Caption (Blue): To keep my bearing, I kept an eye on the suit’s wrist display. I knew that the vehicle hangar was at the northwest corner of the compound, so I planned to stay on that heading.

PAGE THIRTEEN

Panel 1: Blue hears a strange sound. She is looking down at the ground below her feet.

SFX: Pfft. Pfft.

Blue (thinking): What the–?

Caption (Blue): But Triton, it seems, had different plans for me.

Panel 2: Suddenly, a small nitrogen geyser erupts under Blue’s feet. It breaks through the surface and shoots twenty feet straight into the air. Luckily, Blue is only knocked a few feet in to the air. (The gun flies from her hand.)

SFX: KOOOSH!

Panel 3: Blue is on the ground, picking herself up.

Caption (Blue): Some kind of alien geyser knocked the wind out of me. Another nasty fall like that could put a tear in my suit. I would have to watch my step.

Panel 4: A shot of Blue picking up the gun.

Panel 5: A shot of Blue walking through the snow.

PAGE FOURTEEN

Panel 1: A shot of Blue walking through the snow.

SFX: Pfft. Pfft.

Panel 2: Blue steps aside as a geyser erupts right next to her. She completely avoids the blast.

SFX: KOOOSH!

Panel 3: A shot of Blue walking through the snow.

Panel 4: Shot from atop the vehicle hangar. We see the leg of a person (Mellis Erasmus) who is standing on the roof of the hangar. Down below, we can make out the broken silhouette of an approaching figure (Blue).

Panel 5: Through the falling snow, Blue can barely make out the shape of a large building in the distance. (The vehicle hangar.)

PAGE FIFTEEN

Panel 1: Blue is closer to the large building. It’s the vehicle hangar.

Panel 2: A close-up on Blue’s face. She is smiling.

Blue: Oh thank god.

Panel 3: Suddenly, Mellis Erasmus crashes in to Blue. (He jumped down on her from the hangar roof.)

SFX: KRAKKKKKKKK!!!!

Blue: Oh!

Panel 4: Blue’s P.O.V. Erasmus is sitting on Blue’s chest, pounding his fists on her helmet. He is also in a space suit, sweating profusely. He has an absolutely maniacal look on his face.

SFX: FWOOMPP! FWOOMPP! FWOOMPP! FWOOMPP! FWOOMPP!

Blue: Oh!

Panel 5: Looking down over Erasmus’ shoulder. He’s still pounding his fists on Blue’s helmet. The glass is beginning to crack. Blue is terrified. She has tears in her eyes.

SFX: FWOOMPP! FWOOMPP! FWOOMPP! KRAKK! KRAKK!

Blue: Oh God no!

PAGE SIXTEEN

Panel 1: Blue is reaching out to her right, looking for her gun in the snow. She sees it, but it is out of her reach. Erasmus is still pounding on her helmet.

SFX: KRAKK! KRAKK! KRAKK! KRAKK!

Panel 2: Blue is stretching and straining to reach the gun. Erasmus is still pounding on her helmet.

SFX: KRAKK! KRAKK! KRAKK! KRAKK!

Blue: arrrgghh.

SFX: Pfft. Pfft.

Panel 3: A close-up on Blue’s face. She has a look of excited surprise.

Panel 4: Blue swings her head to her left, where she hears a familiar sound.

SFX: Pfft. Pfft.

Panel 5: Grabbing Erasmus’ left leg, Blue rolls Erasmus to her left.

PAGE SEVENTEEN

Panel 1: Blue slams Erasmus down to the ground. Erasmus’ helmet slams in to the ground.

SFX: OOOF!

Panel 2: A geyser blasts upward, hitting Erasmus’ face and his right arm. (Blue doesn’t get hit by the blast.)

SFX: KOOOSH!

Mellis Erasmus: AAAAAAAGH!

Panel 3: Blue is standing now, looking down at Erasmus. Erasmus is badly injured. His helmet is damaged, leaking oxygen. His right arm is broken in at least ten places.

Panel 4: Blue is crouching down, shaking Erasmus by his collar. Blue is pissed.

Blue: Who are you?! What do you want with me?!!

Panel 5: Blue is really pissed at Erasmus.

Blue: What did I ever do to you?!!

PAGE EIGHTEEN

Panel 1: Erasmus lifts his left hand. He is holding a small, electronic device.

Panel 2: Erasmus activates the small device.

SFX: beep. beep.

Panel 3: Out in space, in Neptune’s orbit. An Earth Defense satellite is activated. It begins to turn toward Triton, Neptune’s largest moon. The words “Dept. of Defense” are on the side of the satellite.

Panel 4: The defense satellite is now pointed at Triton.

Panel 5: It fires a gigantic laser beam (similar to the laser in Issue #3) at Triton’s surface.

PAGE NINETEEN

Panel 1: Back on the surface of Triton. Blue is still holding Mellis Erasmus by his collar, angrily interrogating him. In the distance, the defense laser beam strikes down. It is cutting a path toward Erasmus and Blue. (Blue doesn’t even care about the beam.)

SFX: THUDDD-DOOOMM!!!!

Panel 2: Blue is yelling at Erasmus.

Blue: Are you behind it? The attack at Kepler? Was Lutz involved?!!

Panel 3: Blue is still yelling at Erasmus.

Blue: Answer me!

Panel 4: Someone strikes Blue from behind, knocking her unconscious.

SFX: BRAKK!!

Blue: Ans—OOOOOF!!

Panel 5: A shot of Blue’s face. She is on her back, about to lose consciousness. Her eyes are barely open.

PAGE TWENTY

Panel 1: Blue’s P.O.V. She is looking up at Mebbe Sumdae, the naked alien from PAGE NINE. He is reaching down toward her.

Panel 2: Mebbe Sumdae is running toward the vehicle hangar. He is carrying an unconscious Blue on his back.

Panel 3: Mebbe Sumdae has found the BoonPax inside the hangar. He still has Blue on his back.

Panel 4: Outside. The giant laser beam is quickly approaching, destroying everything in its path.

SFX: RUUUMMMMMBBLLEE.

Panel 5: Mebbe Sumdae is loading Blue in to the BoonPax’s hatch.

PAGE TWENTY-ONE

Panel 1: Outside. An injured Mellis Erasmus is still on his back, in the snow. A red glow (from the approaching laser) is coming from somewhere off-panel.

Mellis Erasmus: t-too late. too late.

SFX: RUUUMMMMMBBLLEE.

Panel 2: Inside the hangar. Mebbe Sumdae and Blue are aboard the BoonPax. Mebbe has started the ship’s engines.

Panel 3: Outside. Mellis Erasmus is bathed in red light as the beam comes for him.

Mellis Erasmus: Here we are.

SFX: RUUUMMMMMBBLLEE.

Panel 4: The giant laser beams rips through the scene, vaporizing Erasmus and the vehicle hangar.

Caption (Mellis Erasmus): Showtime.

SFX: DOOOOOOOMMMMMMMMMM!!!!!

Panel 5: The BoonPax rockets upward, narrowly avoiding the laser beam.

SFX: SWOOOOOSH!

Caption (Scott London): Well, Mr. Ofeld, you’ve certainly cleared a few things up for our viewers.

PAGE TWENTY-TWO

Panel 1: Back on Mars. A view screen (inside the BoonPax) is showing the Mars Action News. Scott London and Judy Byrd are wrapping up their interview with defense expert, Buck Ofeld.

Buck Ofeld: My pleasure, Scott. An informed citizen is a safe citizen.

Scott London: Indeed, sir. Indeed.

Panel 2: A shot of the Pump City space station. The BoonPax is docked at the station.

Scott London: This has been a Mars Action News Special Report: Tragedy in Promethei Province. On behalf of Judy Byrd, Max Solomon and the rest of our team, I’m Scott London.

Panel 3: A shot of Blue inside the BoonPax. She is watching the news, holding a remote control. She clicks the remote, turning off the view screen. Blue’s face has the expression of a person who has come to terms with a grim reality.

SFX: click.

Caption (Blue): There it was—the truth I was looking for. The reason for the whole damn thing. The bastards didn’t even try to hide it. They broadcast it, for God’s sake.

Panel 4: Another shot inside the BoonPax. Blue is alone in her ship.

Caption (Blue): Money. A lot of prime real estate for dirt cheap. Land tailored for the rich, but inhabited by the poor. 750, 000 human write-offs.

Caption (Blue): Fodder, for a new business model.

Panel 5: A close-up on Blue’s face. She realizes how deep this conspiracy goes, and she can’t do a thing to change it.

Caption (Blue): Instant gentrification.

Caption (Blue): There’s a murderer in the building. Out of my reach—a level or so above me.

THE END

]]> http://comicswp.wordpress.com/2008/10/29/blue-issue-4/feed/ 0 bumperhead blueart0041 http://comicswp.wordpress.com/2008/05/07/blue-issue-3/ http://comicswp.wordpress.com/2008/05/07/blue-issue-3/#comments Wed, 07 May 2008 12:54:05 +0000 bumperhead http://comicswp.wordpress.com/?p=8 ]]>

“The Meta-Man”

Creator/Writer: Eugene Argent

Artist: N/A

SCRIPT

PAGE ONE

Panel 1: A rectangular panel. The planet Mars in space. Mars is in the center of the panel.

Panel 2: This panel is also rectangular. It has the same proportions as the previous panel. There is a solid red circle in the center of the panel. The circle is where Mars was in the previous panel. The rest of the panel is solid blue. (Note: This panel is the Martian flag.) There is also text on the panel. It reads, “Mars Action News: You hear it fourth!”

Panel 3: A shot of a video monitor. It has the same proportions of the previous two panels. The T.V. news is on. The anchor, Scott London, is seated behind a news desk. He looks like a typical, middle-aged news anchor.

There is a P.I.P. (Picture in Picture) box in the upper right corner of the screen. The P.I.P. box is a picture of Nancy Oliver, President of all Earth System Worlds. The President is speaking at a press conference. She is a pretty woman. She has the typical fake politician’s smile.

There is a logo in the lower left corner of the screen. The logo reads, “M.A.N.” for “Mars Action News.”

Scott London: Good afternoon. I’m Scott London. Judy has the day off. This is just in from the System Press. Earth System President Nancy Oliver has just signed the controversial “Broken Eggs” Bill in to law. As our viewers will recall, this bill concerns all Earth System defensive departments.

Panel 4: Still on the video monitor. President Oliver is on the Earth House lawn, walking away from the Space Force One transport-class starship. She just got off the ship. (A transport-class ship is larger than a cruiser-class, but not as large as a freighter class.) She is smiling and waving to the cameras. There are security officers on the lawn with her. The M.A.N. logo is in the lower left corner.

Scott London (off-screen): If any defensive military operation results in civilian deaths, the government will be exempt from all legal action—provided the death toll is fewer than one million human lives.

Panel 5: Still on the video monitor. Senator Louis Briggs, of Mars, is walking down the white stone steps of the Earth Capitol Building. A group of reporters has approached him. They are shoving mics in his face. Briggs looks like an honest, friendly man. The M.A.N. logo is in the lower left corner.

Scott London (off-screen): This bill is of particular interest to the Martian population, considering it was introduced by our own Senator Louis Briggs, of the Promethei Province. Today the Senator commented on the bill’s successful passage.

PAGE TWO

Panel 1: A close-up on Senator Briggs as he answers the reporters’ questions on the Capitol steps. He is surrounded by microphones. The M.A.N. logo is in the lower left corner.

Senator Briggs: We’re very pleased that the President saw through the controversy and kept a level head. Given the tragic events in Honolulu, it was obvious that we needed to give the Defense Department the freedom it needs to protect us from any threat to our way of life.

Panel 2: Still on the Capitol steps. Another shot of Briggs answering a reporter’s questions. He is looking at that specific reporter. The M.A.N. logo is in the lower left corner.

Reporter: And if that protection results in civilian deaths?

Senator Briggs: We had two choices. Take the gloves off or surrender to the enemies of freedom. Today, President Oliver wisely chose the former.

Scott London (off-screen): We will have a full report on these developments at eleven.

Panel 3: Somewhere on Mars. We pull back from the video monitor (which is on a wall) to reveal the office of Gerry Kunstler, Blue’s attorney. The office is in a high-rise office building. It’s early morning. The sunlight is shining through the windows. Kunstler is a young man in his twenties. He has a friendly face. He is sitting behind his desk.

Blue is in the office with Kunstler. She is standing. She and Kunstler are watching the Mars Action News on the monitor. The monitor is showing the shot from the previous panel. Blue is pointing to Senator Briggs on the screen.

Blue: Can you believe this? They actually passed it! You lawyers should be going after this guy!

Gerry Kunstler: I wish I could! But these politicians … they’re untouchable, you know? We have to settle for the small victories.

Panel 4: Shot over Gerry Kunstler’s shoulder. He is typing on his computer keyboard. The keyboard is electronically displayed within his desk’s surface. (Note: The desk is coated with meta-materials. Meta-materials can display and distort light. They are often used to turn any surface in to a pressure-sensitive computer terminal. There is no longer a need for standard keyboards or monitors, just coated surfaces.) The keyboard is made of red light. The monitor is no longer displaying any video. Instead, it shows the following text:

Earth System Dept. of Corrections Legal Settlement Transaction

Settlement: 100,000 ES credits

Attorney Fee: 10%

Balance (granted to client): 90,000 ES credits

Gerry Kunstler: Hey! Speaking of settlements—let me transfer those funds for you. That’s why you’re here, right?

Blue: Yeah. I know we could have done this over the net—but I wanted to thank you in person. You gave me back my freedom.

Panel 5: Kunstler is handing Blue her bank/debit card. She happily accepts it.

Gerry Kunstler: You spent eight months in prison, Blue. It was the least I could do. I just wish I could have gotten you more—

Blue: Hey—the day I complain about makin’ a hundred grand—that’s the day I belong in prison!

PAGE THREE

Panel 1: Later, outside the office building. The BoonPax is hovering just above the street. Blue is climbing up a ladder in to the ship’s underbelly. There are small spacecraft and cars flying by. (Note: Spacecraft are generally bigger than cars. Cars can fly, but aren’t made for long distance space flight. For that, people either buy their own cruiser-class starships, or take transport-class public transportation.)

Caption: Outside, moments later.

Caption (Gerry Kunstler): What will you do with the money?

Caption (Blue): Well, I figure it’s time I got a residence that didn’t require a parking fee.

Panel 2: Inside the BoonPax. Blue is flying the ship.

Computer: And what, pray tell, will happen to me?

Blue: Like I told you, Computer—there’s a nice, low cost docking station in the neighborhood. I’m not gonna abandon you in the desert.

Panel 3: Later that morning, in Kepler City, Mars. The BoonPax is approaching the city. There is traffic flying all around the city. Kepler is a largely underdeveloped area. It is about 40% terraformed, with 60% remaining red desert. The terraformed areas have plant life and crops. The city has about 750,000 residents. There are buildings and private homes. Because of the city’s underdeveloped eco-system, the housing costs are low to moderate.

Caption: Later that morning, in Kepler City.

Panel 4: Within the city. The BoonPax is landing outside a moderately priced apartment complex. The building looks a little out of date and run down.

Computer: You’re sure?

Blue: I’m sure. I just want to look at this apartment.

Panel 5: Worm’s eye view (shot from below). Blue is out of the ship. She is shaking hands with Dana Lutz, a real estate agent. The BoonPax is flying away in the background. There is also some traffic flying by. Cars, ships, etc. Blue is talking to the ship’s computer through a communicator embedded in her clothing.

Dana Lutz: Hi there. I’m Dana Lutz, from New Mars Realty.

Blue: Pleasure to meet you. Computer, head to that docking station, m’kay?

Computer: Okay Blue. Call me if you need anything.

Dana Lutz: Great. Let’s head inside.

PAGE FOUR

Panel 1: Inside the building. Dana Lutz is smiling as she leads Blue in to an apartment. The apartment looks sleek and futuristic. There is no furniture in the apartment. There aren’t any lights with bulbs, either. (Because the walls are covered with meta-materials, they can emit light.) Blue is impressed. She is whistling.

SFX (Blue): *whistle*

Blue: Not bad—

Dana Lutz: Yes. People don’t usually associate our city with above board housing. They think we’re a shanty-town out here!

Blue: Ha-ha! It’s not that bad!

Panel 2: Blue and Dana Lutz are in the living room. Blue is admiring the room’s glossy hardwood floors. Dana Lutz is beside her, no longer smiling.

Dana Lutz: But seriously, this area doesn’t have the best reputation. High crime rate, underdeveloped eco-system—it’s a tough life.

Panel 3: Blue and Dana Lutz are now in the kitchen. Lutz is talking to Blue, but Blue is ignoring her. Instead, Blue is admiring a marble counter top. She is running her finger along the counter top.

Dana Lutz: Maybe I can show you in something in Secchi City. We have some great properties out there. In fact, I bought one myself.

Caption (Blue): Her words seemed odd, especially for a real estate agent. I tried to change the subject.

Blue: Nice surfaces. Real marble?

Panel 4: Blue and Dana Lutz are still in the kitchen. Shot from behind Blue. Dana is talking to Blue. She is asking Blue a question.

Dana Lutz: No. The counters are polymer-based—coated in a layer of meta-materials, of course.

Blue: The walls too?

Dana Lutz: Uh, yes. That’s standard, nowadays. You can access your central computer from any surface in the apartment. How long did you say you’ve lived in your ship?

Panel 5: Shot from behind Dana Lutz. Blue is talking to Dana. Blue has a deadpan expression.

Blue: I didn’t. But I do. I have for several years. I only have a few meta-panels on board for computer access.

Dana Lutz: So how do you light your interior?

Blue: Light bulbs.

Dana Lutz: How do you change the wall color?

Blue: Paint. Just regular, non-electronic, acrylic paint.

PAGE FIVE

Panel 1: Dana Lutz is walking toward the kitchen sink.

Dana Lutz: Wow. A real pioneer woman, huh? I like that.

Blue: I like to think so.

Panel 2: A close-up on Dana’s hands. She is at the kitchen sink, filling a cup with water.

Dana Lutz: We also have hot and cold running water, if that’s a luxury aboard your ship—

Panel 3: Dana Lutz is smiling; trying to hand the cup of water to Blue. Blue doesn’t take the cup of water.

Panel 4: Dana is trying to hand the cup of water to Blue. Blue has a dead pan look on her face. She still won’t take the cup of water.

Caption (Blue): Bingo. I finally understood what she was saying. She just didn’t want to say it directly.

Blue: Ms. Lutz, this is an average priced apartment. Are you implying that I can’t afford the rent? I assure you—I can.

Panel 5: A close-up on Dana Lutz’s face. Her face is half-covered in shadow.

Dana Lutz: Today you can. But tomorrow?

Caption (Blue): I wasn’t sure where the attitude came from, but I’d had enough of it. I politely excused myself and left.

PAGE SIX

Panel 1: Later, aboard the BoonPax. Blue is relaxing in a chair. She is thinking about what Dana Lutz said to her.

Caption: Later, aboard the BoonPax.

Caption (Blue): I thought I had brushed them off, but somehow her words stuck with me.

Caption (Blue): “Today you can. But tomorrow?”

Caption (Blue): Is that how you talk to a prospective tenant? Is that how you close a deal? With presumptuous disrespect?

Panel 2: Later, in the Martian city of Secchi. It’s night in an upscale suburban neighborhood. We have a bird’s-eye-view of a nice looking house with a perfectly manicured lawn. (It is the home of Dana Lutz, the real estate agent.) The number over the front door (the address) says 777. There is a light on in a second floor window.

Caption (Blue): I mean, how does a person like that even sleep at night?

Caption: Secchi City. 11:00 PM local time.

Panel 3: Inside the house. Dana Lutz is in her second floor bedroom. She is wearing a nightgown. The walls in her room are glowing white. They are illuminating the room. (There are no lamps or light bulbs in the room. The walls themselves are the lights.) Ms. Lutz is walking toward the wall next to her bed.

Caption: The home of Dana Lutz, prominent real estate agent.

Panel 4: Ms. Lutz is tapping an electronic keyboard that is visible in the paint on her wall. The keyboard is made of red light. The rest of the wall is still glowing white, illuminating the room.

SFX: tap. tap. tap.

Panel 5: A close-up on Lutz’s hand. She is tapping the “Lights Off” button which is part of the electronic keyboard displayed within the wall’s surface.

SFX: beep.

PAGE SEVEN

Panel 1: The bedroom walls are no longer lit up. The room is dark. Lutz is getting in her bed. (Note: Her bed has a head board.)

Panel 2: A close-up on Lutz. She is asleep in bed.

Panel 3: Angle on same (same as previous panel) except it is now the next morning. The sunlight is coming in through the windows.

Mellis Erasmus (off-panel): Good morning, Dana.

Panel 4: Shot from behind Dana Lutz. She is awake now, sitting up in her bed. She looks terrified. Lutz has been startled by an invisible intruder! (It is Mellis Erasmus, the cold-blooded hit man. He is wearing a suit made of meta-materials, which bends light around his body, making him completely invisible.) The intruder is sitting at the foot of her bed. We can see the indentation that his body is making on the bed covers.

Dana Lutz: gasp!

Mellis Erasmus: Finally awake? Good. Boss wants it this way.

Dana Lutz: What is–?

Panel 5: The invisible intruder (Erasmus) removes his mask. Erasmus has a hard face. He looks like a man that has seen the fires of Hell and returned to tell the tale. The rest of his body is still invisible, so he looks like a floating head. He has a menacing look in his eyes.

Dana Lutz: Erasmus! Oh God no.

Mellis Erasmus: Shut your mouth. You knew we were watching you. You knew what would happen if you talked.

PAGE EIGHT

Panel 1: A close-up on Erasmus’ invisible hand. He is holding up a small tape recorder. (We can see the tape recorder.) He is playing Dana’s conversation from the previous day. Dana Lutz is in the background, sitting up against the bed’s headboard. She is looking at the tape recorder with fear in her eyes.

Dana Lutz: But I didn’t—

SFX (tape recorder): click.

Blue (from the tape recorder): Ms. Lutz, this is an average priced apartment. Are you implying that I can’t afford the rent? I assure you—I can.

Dana Lutz (from the tape recorder): Today you can. But tomorrow?

Dana Lutz: Oh please don’t! I—she didn’t know what I meant! She has no fucking idea!

Panel 2: Erasmus suddenly slams Dana Lutz against the headboard. He is pinning her against the headboard, holding her throat. His body is still invisible, but his face isn’t. Dana is grabbing at his invisible arms.

SFX: SLAMM!

Dana Lutz: OOOF!

Mellis Erasmus: You should be ashamed of yourself. Because of you, because of what you said—a lot more people are gonna die. Thousands more.

Mellis Erasmus: Men, women and children—all dead because one bitch couldn’t close that big mouth of hers.

Panel 3: A shot of Erasmus. With one hand, he has Dana Lutz by her throat. With the other hand, he is pulling his invisible mask back over his own face. The part of his head that is under the mask is now invisible. The rest of his face is still visible.

Mellis Erasmus: Guess it wasn’t worth it, huh?

Panel 4: Meanwhile, elsewhere on Mars. The BoonPax is flying through the air. It is still early morning.

Caption: Meanwhile, elsewhere on Mars.

Computer: Where to, Blue?

Blue: We’re going back to that apartment in Kepler City. I’m taking it.

Panel 5: Inside the BoonPax. Blue is flying the ship.

Computer: Didn’t you say that the woman mistreated you? Why would you give your money to someone like that?

Caption (Blue): The Computer’s A.I. just didn’t get it. My decision wasn’t based on logic. It was based on pride.

PAGE NINE

Panel 1: Still inside the BoonPax. Shot from behind Blue. The ship’s view screen shows the outskirts of Kepler City. There is traffic over the city. (Flying cars and public transports.)

Caption (Blue): Lutz had assumed that I didn’t belong. By signing her lease, I would prove to her that I did.

Computer: We’re almost there, Blue.

Blue: Good. Begin descen—

Panel 2: A very large panel. The BoonPax is nearly incinerated by an unbelievably massive red laser beam. The width of the beam extends for miles. We can’t even see where it ends. (The beam was shot down from space.) The laser utterly engulfs Kepler City. Several flying cars and transports are visible near the edge of the beam. The ships are falling out of the sky. Clouds of debris and dust fly up from the ground. The BoonPax pulls back, narrowly averting the beam.

SFX: THUDDD-DOOOOOM!!!!

Blue: Oh God!

PAGE TEN

Panel 1: Inside the BoonPax. The ship is filling up with a blinding red light (from the laser). Blue is covering her eyes with the back of her hand.

SFX: RUMBLE. RUMBLE.

Blue: Get us out of here!

Panel 2: A shot of Mars from space. The red laser beam is firing from a government defense satellite. The words “Dept. of Defense” are on the side of the satellite. The beam has already incinerated Kepler City. It is now moving Southwest, toward Secchi City, burning everything in its path (desert, settlements, etc.). The beam is leaving a burnt trail on the Martian surface.

Panel 3: Secchi City. A bird’s-eye-view of Dana Lutz’s home. It is still morning. There’s a red glow (from the laser) approaching from the Northeast.

Panel 4: Inside Dana Lutz’s second floor bedroom. She is still being held against the bed’s headboard, by the (completely) invisible assassin, Mellis Erasmus. There is a red glow coming in through the window.

Mellis Erasmus: Here we are.

Dana Lutz: no. please.

Panel 5: A close up on Dana Lutz’s terrified face. She is still being held down by the invisible Mellis Erasmus. The room is bathed in a red light. The walls are glowing red. Everything is red. The laser light is filling the room. Lutz screams as one side of her face begins to disintegrate.

Mellis Erasmus: Showtime.

Dana Lutz: AHHHHHHHH!!!

PAGE ELEVEN

Panel 1: Meanwhile, back in Kepler City. The BoonPax is flying over what’s left of the city. Surprisingly, most of the structures are still standing. There are fires and crashed vehicles everywhere, but most of the buildings are standing. There is absolutely no sign of life, plant or animal. It’s all been vaporized.

Blue: W-what happened?

Computer: Wait. I’m getting an audio news feed.

News Feed: –just confirmed a large-scale crisis in the Promethei Province. A laser defense satellite has apparently fired in to Kepler City. The beam then moved Southwest to Secchi City. Citizens are advised to—

Panel 2: Inside the BoonPax. Blue is listening closely to the audio news feed.

News Feed: What’s that, Jack? Is it confirmed? Yes? Yes, ladies and gentlemen. We’ve also confirmed that this was an accidental firing. I repeat an accidental firing of a defensive laser satellite.

Blue: My god. We did this? Not terrorists?

Panel 3: A shot of the BoonPax’s view screen. Kepler City is still standing, but much of it is on fire. There is twisted vehicle wreckage all over the place.

Computer: It’s like Honolulu all over again. Maybe worse.

Blue: Are you reading any survivors?

Computer: I can’t see a thing. Infrared is no use with the fires.

Panel 4: The view screen switches to grav-sensor mode. Grav-sensor mode shows any gravitational distortions in a particular area. Anything moving will leave a gravity signature that is shaped like the object. So a human would leave a human shape. Unfortunately, the view screen is only showing rodent-shaped signatures, moving under the city streets.

Blue: How about grav sensors? Anything down there moving on two legs?

Computer: I’m getting some movement underground. Probably rodents. But nothing humanoid. The accident wiped out any trace of surface life. It’s a miracle that the buildings are standing.

Blue: What did you say?

Panel 5: Blue looks concerned.

Computer: The buildings are standing. The laser must have been hot enough to burn organic matter, but it left the structures intact.

Blue: Turn us around.

Computer: Why?

Blue: Because … I don’t think this was an accident.

PAGE TWELVE

Panel 1: Later, in Secchi City. The BoonPax is hovering over the scene. Much like Kepler City, Secchi has been devastated by the laser blast. The beam has burned a large area of the city, including the suburban area where Dana Lutz lived. There are fires and crashed public transports. There are police and rescue vehicles flying all over the place.

Caption: Secchi City.

Blue: Computer, have you finished that directory search?

Computer: I have three local addresses under the name, “D. Lutz.”

Blue: Good. We’ll check ‘em all.

Panel 2: The BoonPax is hovering over Dana Lutz’s house. Her house is still standing, perfectly intact. But all the trees, grass and plants have been incinerated. There are police vehicles on Lutz’s block. The police are loading civilians in to a large police transport.

Caption: Two addresses later.

Panel 3: Blue has left her ship. She is now standing on Dana Lutz’s doorstep, trying to enter the house. Cop # 1 is blocking her path. He is telling Blue to leave.

Cop # 1: Ma’am, this is a disaster area. You have to leave.

Blue: Please officer. This is my sister’s house. Number 777. Can I at least check for her inside?

Panel 4: Blue is looking at Cop # 1 with innocent “puppy-dog eyes.”

Blue: She’s my only sister.

Panel 5: Another cop (Cop # 2) is calling Cop #1 from down the block. Cop # 1 is talking to Blue as he leaves to help Cop # 2.

Cop # 2: Bobby! We need your help down at seven-eight-one. Some kid is lookin’ for his dog.

Cop # 1: On my way, T.

Cop # 1: Ma’am, do you have a key?

Blue: Of course.

PAGE THIRTEEN

Panel 1: Blue is standing on Dana Lutz’s doorstep. She is watching Cop # 1 run down the block (to help Cop # 2).

Cop # 1: Five minutes. Then you have to leave.

Blue: Bless you.

Panel 2: Blue kicks in Dana Lutz’s front door.

Caption (Blue): I was ready to believe that this was an accident. That is, until my Computer pointed out that the buildings were still standing. What kind of defense laser can’t melt steel and stone? Why did it only affect the people? It was weird.

Panel 3: Inside Dana Lutz’s house. Blue is walking up the stairs to the second floor.

Caption (Blue): Then I remembered what Dana Lutz said.

Caption (Dana Lutz): “Today you can. But tomorrow?”

Caption (Blue): It was too specific to be a coincidence. Lutz knew that something would happen that day. By discouraging me, she probably saved my life.

Panel 4: Blue is in Lutz’s bedroom. On the bed, she sees Lutz’s nightgown, and the ashes that once composed her body.

Caption (Blue): Unfortunately, she couldn’t save her own.

Panel 5: Days later, Blue is walking up to the New Mars Realty corporate headquarters. It’s an inconspicuous building. There’s a simple sign outside that reads, “New Mars Realty.” Blue is wearing sunglasses.

Caption: Days later.

PAGE FOURTEEN

Panel 1: A close-up of Blue entering the building. A sign reads, “New Mars Realty.”

Panel 2: Inside the building. Blue is talking to a receptionist who is seated behind the front desk. Blue is still wearing the sunglasses.

Receptionist: May I help you?

Blue: Yes. I’m Blue Lutz, from Secchi City. My much older sister, Dana, was killed during the accident.

Receptionist: My goodness. You’re Dana’s sister? Such a terrible loss. We all loved her so much.

Receptionist: What can I do for you?

Panel 3: This panel is a bird’s eye view, looking down (from a security camera). The receptionist is now standing. She is walking away from the front desk (going to get the office key). Blue is waiting by the desk.

Blue: I’m just here to pick up her personal stuff. Computers, files—that sort of stuff. You know … for the family.

Receptionist: Of course, dear. I’ll get the key to her office.

Panel 4: Later, inside a dark office, somewhere on Mars. The image from the previous panel is now displayed on a computer screen. It is footage from a security camera. (Note: The dark office is actually that of Sen. Louis Briggs. Briggs is the man behind all of this issue’s events.)

Mellis Erasmus: You called, Boss?

Panel 5: Still inside the dark office. A shadowy figure (Mellis Erasmus) is entering the office. There is mysterious figure (Sen. Louis Briggs) seated at a desk, watching the footage on the computer screen. We can’t see either man’s face, because they are in shadow.

Boss (Sen. Louis Briggs): Yes. Come in. I want to show you something.

PAGE FIFTEEN

Panel 1: A close-up on the computer screen. It is footage of Blue, waiting at the New Mars Realty reception desk.

Boss (Sen. Louis Briggs): This surveillance video was sent to me from the New Mars corporate headquarters. This woman claims to be the sister of Dana Lutz.

Mellis Erasmus: That’s not her sister.

Boss (Sen. Louis Briggs): I know. Which makes this woman a problem.

Panel 2: Still in the office. The standing figure leans forward in to the light, revealing his face. It is Mellis Erasmus! He looks as cold-blooded as ever.

Boss (Sen. Louis Briggs): Can you handle it, Mr. Erasmus?

Panel 3: An extreme close-up on the footage of Blue. (A close-up on her face.)

Mellis Erasmus: Absolutely. Consider this problem solved.

Panel 4: Space. Outside the Pump City star port. (The same from Issue #1.) The star port has a large dome. Ships come in and out through an open section of the dome. There is a force-field in the open section that holds in the atmosphere but allows ships to pass through. Pump City looks like a busy truck stop in space. There are a couple of diners, motels and fuel stations. There are various ships bustling in every direction. There is also an increased police presence due to the recent terrorist attack (see Issue #1).

Panel 5: Inside the dome. The BoonPax is docked in the space port.

Computer: What are we doing here, Blue? Pump City has never brought us much luck.

Blue: I know. I know. But I just don’t feel safe on Mars right now.

PAGE SIXTEEN

Panel 1: Inside the BoonPax. Blue is seated in her meager kitchen area, eating some take-out from the Grub Diner. The bags and cups have the Grub Diner logo. There are several open laptop computers on tables, counters, etc. The computers are all on. They belonged to Dana Lutz. The ship’s Computer is reading through all the hard drives, looking for clues.

Blue: Besides, I like the food.

Computer: While you were out stuffing your face, I was in here scanning Lutz’s drives.

Blue: Find anything of interest?

Panel 2: Another shot of Blue eating.

Computer: Lutz’s files were mostly about real estate.

Blue: No surprise there.

Computer: But I did find something a little out of place. It’s a Congressional bill.

Blue: No kiddin’! Put ‘er up on the view screen.

Panel 3: Still inside the Boon Pax. Blue is still eating. She is looking at the large view screen at the front of the ship. The view screen shows a Congressional bill entitled, “The Earth System Defense Exemption Bill.”

Blue: “The Earth System Defense Exemption Bill?” Isn’t that–?

Computer: Broken Eggs.

Blue: Why would a real estate agent have a copy of the defense bill?

Mellis Erasmus (off-panel): Too bad you’ll never find out.

Panel 4: Suddenly, Blue is shot from behind by an energy blast. Blue screams and writhes in pain as the blast hits her back.

SFX: VIZZOWW!!

Blue: Ahhh!

Computer: Blue!!!

Panel 5: The BoonPax’s Computer has turned on its grav-sensors. In the background, we see the gravity image of the ship’s interior on the large view screen. We can barely make out the shape of Blue’s body, laying face-down on the table in front of her. But we can clearly see the shape of a male figure holding a gun. It is Mellis Erasmus in his invisibility suit.

In the foreground, we see the actual scene. Blue is laying face-down on the table in front of her. A gun is floating in mid-air behind her. (The gun is actually being held by Erasmus.)

Computer: Blue?! Switching to grav-sensors …

Computer: Who-who are you?!

Mellis Erasmus: Computer, A.I. off.

PAGE SEVENTEEN

Panel 1: A close-up on a small over ride device in Mellis Erasmus’ hand. Of course, we can’t see his hand because he is in his suit. We can only see the device. The device has a small switch and a glowing red light.

Computer: That won’t work on me, whoever you are! I only respond to Blue!

SFX (over ride device): click.

Mellis Erasmus: Computer, A.I. off.

Panel 2: A shot of the ship’s view screen. It is a black screen with green letters. (Like DOS mode on an old PC.) The following is on the screen:

A.I. shutting down. Please wait.

Mellis Erasmus: Good. Now, set a course for the outer system.

Panel 3: A shot of the BoonPax’s pilot chair. The invisible Mellis Erasmus is seated in the chair. We can’t see him, but we can see the indentations on the chair. Blue is still knocked out in the background. She is face-down on a table.

Mellis Erasmus: Your owner and I have a lot to talk about.

Panel 4: A shot of Triton, Neptune’s largest moon. Triton is a large moon, covered with ice.

Panel 5: Triton’s surface. Triton is flat and covered with ice in all directions. In the middle of this flat terrain, we see a white building and an aircraft hangar.

Panel 6: Inside the aircraft hangar. The BoonPax is parked in the hangar. The ship is turned off.

PAGE EIGHTEEN

Panel 1: Inside the white building. Blue is in a room, face-down on a carpeted floor. She is finally waking up from the energy blast. Her back is partially exposed (the clothing has burn holes) as a result of the blast.

Blue: Any-Anybody get the number of that freight train? I owe Mr. Conductor an ass-whoopin.

Panel 2: Blue is still on the floor. She turns around to see Mellis Erasmus standing over her. Erasmus still has on his invisibility suit, but his gloves and mask are off. (Meaning we can only see his head and hands.) He is leaning against a small wooden cabinet.

Blue: You the guy that zapped me?

Mellis Erasmus: …

Blue: Quiet type, huh?

Panel 3: Blue staggers up to her feet. She is injured and weak, but ready to fight. She raises her fists to fight Erasmus.

Blue: Allow me to loosen that jaw.

Mellis Erasmus: Who are you working for, Blue?

Panel 4: Shot from behind Blue. We are looking at Mellis Erasmus. He is standing up; no longer leaning against the wooden cabinet. His body is invisible. We can only see his head and hands.

Blue: You know my name? Funny, I didn’t get yours.

Mellis Erasmus: Doesn’t matter. Just tell me who you’re working for.

Panel 5: Erasmus smacks Blue really hard across her face. Spit and blood fly from her mouth.

Blue: I work for myself—

SFX: SMAKK!

Blue: Oh!

Panel 6: Blue is on the floor, wiping the blood from her mouth. Erasmus is standing over her. His face has a cold expression.

Mellis Erasmus: That’s one lie, Blue. Won’t tolerate another.

PAGE NINETEEN

Panel 1: A close-up on Blue’s face. She is looking up at Erasmus, wiping the blood from her mouth.

Blue (thinking): Jesus! This bastard is fast. I didn’t even see that coming.

Panel 2: Blue staggers back to her feet. Erasmus is watching her.

Blue: No, I’m serious. I only work for myself. I do odd jobs.

Panel 3: Erasmus gives Blue a right hook to the face. Blood flies from her mouth, nose, etc.

Mellis Erasmus: Stupid bitch. Told you not to lie.

SFX: POW!

Mellis Erasmus: I know that you spent time in a federal prison on conspiracy to commit a terrorist act.

Blue (thinking): He’s so fast.

Panel 4: Blue counters with a right hook of her own, but Erasmus leans back—dodging her punch.

SFX: WHOOSH!

Mellis Erasmus: I know that would have gotten anybody else a twenty year minimum.

Blue (thinking): So fast.

Panel 5: Erasmus hits Blue with a ferocious left uppercut.

SFX: BOOM!

Mellis Erasmus: But you? You got out in eight months.

Blue (thinking): Oh God–

Mellis Erasmus: Eight months!

Panel 6: Blue is still on her feet as Erasmus sends his right knee in to her torso.

Mellis Erasmus: Don’t tell me you’re not connected!

SFX: KRAKK!!

Blue: Oof!

Blue (thinking): –He’s gonna kill me.

PAGE TWENTY

Panel 1: Erasmus is holding Blue by her shoulders. This time, he is sending his left knee in to Blue’s torso.

Mellis Erasmus: You’re an intel operative, plain and simple!

SFX: KRAKK!!

Mellis Erasmus: Just let me know who’s pulling your strings.

Panel 2: Suddenly, Blue grabs Erasmus’ left leg (with her right hand).

Blue: I don’t know about string-pullin’.

Panel 3: Still holding Erasmus’ leg, Blue rams her left hand in to his crotch.

SFX: WHOOSH-FWUMPP!!!

Panel 4: A close-up on Blue’s face. She is bloody and bruised, but she is smiling mischievously.

Blue: But for you, I’ll give it a try.

Panel 5: Outside the room, down a hallway. There are lots of rooms lining the hallway. (Note: Blue and Erasmus are off-panel. They are still in the room.)

Mellis Erasmus: YEEEARRRRGHHHHHH!!!

Panel 6: Angle on same (same as previous panel). Except Blue has exited the room. She is running frantically toward us. She is looking for a way out of the building. Erasmus is still in the room (off-panel).

Blue (thinking): I’ve gotta get out of here! Find the exit.

Mellis Erasmus: Where are you?!

PAGE TWENTY-ONE

Panel 1: Blue is running frantically. She turns a corner at the end of the hallway. Erasmus is somewhere off-panel, chasing her.

Mellis Erasmus: You can’t get away, bitch!

Panel 2: Blue runs through a large cafeteria. There is no food in the cafeteria. There are no other people in the building.

Panel 3: Blue is trying to open a door, but it’s locked. She is trying to turn the doorknob.

Panel 4: A close-up on Blue’s hand. She is trying to turn the doorknob.

SFX: click. click.

Blue (thinking): Damn it! Locked.

Panel 5: Blue is leaning against the locked door, still trying to open it. She turns her head when she hears a noise somewhere behind her. She is terrified because she knows that Erasmus is getting closer.

SFX: CLANG! SMASH!

Panel 6: Blue slams her shoulder in to the locked door.

SFX: SLAM!

PAGE TWENTY-TWO

Panel 1: A shot of the door frame. It’s beginning to break (cracked or bent).

Panel 2: Blue slams her shoulder in to the door again.

SFX: SLAM!

Panel 3: Blue stumbles a little as the door flies open. Bits of the broken door frame fly in the air.

SFX: CRASH!!!

Panel 4: Blue finds herself in a very dark room, which is connected to a transparent air lock. The air lock is straight ahead. There are several old machines and space suits in the air lock. Beyond the air lock is the exit. Through a window, we can see the frozen surface of Triton.

Blue is startled by this sight. She has no idea what planet she is on. To her left, is a refuse chute, built in to the wall. The chute lid reads “Recycling.” (Note: The chute leads to the basement, where recyclable materials are processed. The chute is large enough for a person to jump down.)

Blue (thinking): An airlock?!

Mellis Erasmus (off-panel): I heard that noise!

Blue (thinking): Where the hell am I?!

Panel 5: Blue looks to her left. She notices the refuse chute that is built in to the wall. The lid reads “Recycling.”

Mellis Erasmus: There’s nowhere to hide!

Panel 6: A close-up on Blue’s eyes. She’s trying to decide what to do. Beads of sweat are rolling down her face.

TO BE CONTINUED

Blue, Issue #2

“The Hard Eight”

Creator/writer: Eugene Argent

Artist: N/A

SCRIPT

PAGE ONE

Panel 1: Somewhere on Mars. The BoonPax—a black, cruiser class starship, is parked at a docking station.

Caption (Blue): I would have to make a decision. There was no way around it.

Panel 2: Interior of the BoonPax. Blue, the thirty-something African-American owner of the ship, is sitting in her pilot chair. She looks like she has something important on her mind. The ship’s interior is very unkempt and messy.

Caption (Blue): I had two choices. Fly in to Aryan Space; take out those Nazi bastards before they build a nuke. Or go to the Feds and let the trail go cold.

Panel 3: A close-up on Blue. She is still seated, talking to her ship’s computer.

Caption (Blue): My ship’s computer made its position crystal clear.

Computer: Blue! We can’t fly that deep in to Aryan Space! Not alone!

Blue: We have no choice. If we wait too long, they’ll switch ships. The trail will go cold.

Panel 4: Exterior of the BoonPax. The ship is flying away from the docking station shown in Panel 1.

Computer: The trail is already cold! Face it, the wheels are in motion. We have to go to the Feds.

Blue: But what if the Feds can’t find them? These aren’t choir boys, you know. If they get a nuke, they’ll use it!

Panel 5: Interior of the BoonPax. A close-up of Blue as she pilots the ship. Her expression shows a reluctant acceptance. She accepts that she must go to the Feds, but she doesn’t like it.

Computer: That’s why we have to report this now. And in person. They won’t buy a transmission.

Caption (Blue): I had to admit it. He had a point.

Panel 6: Large panel. Exterior shot. Blue is proudly walking in to a Mars Federal Building as the BoonPax hovers in the background. The sign on the building reads, “James Portnoy Federal Building.”

There are also two flags waving from a flag pole in front of the building. The first flag has the symbol of all Earth System planets. It’s a picture of the Earth surrounded by olive branches and the words, “An Earth System World.” The second flag shows the symbol of Mars: a red circle in the center of a blue field.

Caption (Blue): Besides, I was performing my civic duty—making the galaxy a safer place to live. I strolled in to that government building, confident that I would be rewarded for my patriotic gesture.

PAGE TWO

Note: Pages 2 through 4 are a parody of the opening shots of the first Blues Brothers movie. They should look as close to that film as possible.

Panel 1: A shot of the partially terra-formed planet, Mars. Some parts of Mars look like Earth, with cities and green vegetation. But much of the planet is still red desert.

Caption: Mars. Eight months later.

Panel 2: Bird’s-eye-view. We are looking at an industrial area on the surface of Mars. There are many factories and all sorts of machinery.

Panel 3: Shot of a Martian Federal Prison. There is a fence with barbed wire. There is a prison guard with a sniper rifle standing on the roof. The sign on the building reads, “Drake Federal Correction Center. Earth System Dept. of Corrections.”

Panel 4: Close-up on the sign. It reads, “Drake Federal Correction Center. Earth System Dept. of Corrections.”

Panel 5: Inside the prison. It is a women’s prison. There is a large room of prison cells. Two guards are standing outside one of the cells. (Blue’s prison cell.)

Guard #1: It’s time.

PAGE THREE

Panel 1: Blue has exited the cell and is walking down the row of cells with the two guards.

Panel 2: Still inside the prison. Blue is at a booth retrieving her belongings. The two guards are at her sides. The prison employee in the booth has a box on a table. She is pulling a black suit, fedora hat, and shades out of the box. This is Blue’s “Blues Brothers” outfit.

Panel 3: Blue signs a release form at the booth. She simply signs, “Blue.”

Guard #2: Sign here.

Panel 4: The BoonPax is hovering outside the prison. (By the large exit gate.)

Panel 5: The large exit gate opens. Blue is behind the gate, wearing the black suit, fedora, black necktie and black shades. She is dressed just like John Belushi in the Blues Brothers movie. There is a bright yellow light coming from the prison interior behind her.

PAGE FOUR

Panel 1: A close-up on Blue, looking directly at us. The word “Blue” appears at her bust level. The font should be white letters with a blue outline. Just like the Blues Brothers movie.

Caption: Blue

Panel 2: A shot of the BoonPax, facing us. The word “BoonPax” appears under the ship. Again, use the Blues Brothers font.

Caption: BoonPax

Panel 3: A large, split panel. On the left is the BoonPax, facing right. Blue is on the right, facing left. (They are facing each other.) The title, “The Hard Eight,” appears in this panel in Blues Brothers font. The credits will also appear in this panel.

Caption: The Hard Eight

PAGE FIVE

Panel 1: Interior of the BoonPax. There are dozens of wooden pineapple crates stacked in high piles. There is a pineapple logo on each crate. Blue is sitting in the pilot chair. She looks cramped with all those boxes around her. She is still in her black suit, hat and shades.

Blue: What’s all this?

Computer: All what?

Blue: This! All this crap!

Computer: I’m shipping pineapples.

Panel 2: Exterior shot. The BoonPax is flying away from the Federal Prison.

Blue: Why are you shipping pineapples?

Computer: Money was tight. I needed 115 to power my engines.

Blue: You couldn’t afford a docking station?

Computer: Please. With what you left me?

Panel 3: Interior of the BoonPax. Blue is flying the ship. There are crates all around her.

Blue: What about the desert? Plenty of empty desert out there. You could have just powered down in the mountains.

Computer: And get towed by the cops?! No thanks. I like my freedom.

Blue: I can see that.

Panel 4: Exterior shot. The BoonPax is flying over the industrial area shown on PAGE TWO, Panel 2.

Computer: I needed money. So I met this guy who needed to move fruit.

Blue: How much did he pay?

Computer: Not much. But enough. Just gotta finish this last run and I’m done. How about you? How are you doing?

Panel 5: Interior of the BoonPax. Blue is flying the ship.

Blue: Fine, considering I just lost eight months of my life.

Computer: How’d that happen, Blue? Didn’t the Feds believe your story?

Blue: Yeah. Maybe too well.

Blue: They held me for questioning. Figured I had something to do with the attack at Pump City. That I led the Aryans to Dr. Demissie.

PAGE SIX

Panel 1: A flashback to eight months earlier. Blue is in a small police interrogation room with a two-way mirror. She is alone in the room. In the foreground, there are two Federal Agents on the other side of the mirror, in another room, watching her. (Blue’s room is well lit, but the Agents’ room is dark.)

Caption (Blue): It’s funny. You mention the word “nuke” and Miranda goes right out the window. Like shouting “bomb” on a bus. There are no rights on the other side of terrorism.

Panel 2: Flashback. Blue is in a holding cell, looking through the bars.

Caption (Blue): Next thing I knew, I was behind bars.

Caption (Computer): I looked for you, Blue. I swear I did. At first they denied ever speaking to you. When I got a lawyer, they admitted that they lost you in the system. Clerical error. Can you believe that?

Panel 3: Back to the present moment, inside the BoonPax. A close-up on Blue as she works the ship’s controls. She has a serious expression on her face.

Blue: It’s possible. Some government schlub, getting five creds an hour, saves my name in the wrong folder. I end up in a Federal prison. Just another digit in the longest number.

Panel 4: Another flashback to eight months earlier. Blue’s first day inside the Drake Federal Correction Center. She is in a short line of new female inmates. They are each in prison jumpsuits, each carrying a folded blanket and towel. There is a male prison guard (Jones) leading the new inmates to their cells. There are many cells lining the walls, on multiple levels. Many of the older inmates are shouting and throwing things at the new inmates.

Caption (Blue): It doesn’t matter what got me there. The point is, I was there. And nothing could prepare me for what happened next.

Jones: Welcome to the Drake Federal Correction Center, ladies. This way. Step lively.

PAGE SEVEN

Panel 1: The flashback continues. The new inmates are lined up next to a row of cells. One by one, the inmates are directed to their cells. Each woman must share her cell with an older inmate. The male Prison Guard (Jones) is currently directing the first woman in line to her cell. Blue is the third inmate in the line. There are random prisoners shouting at the new inmates from their cells.

Random Prisoner #1: New fish! I smell new fish!

Jones: Prisoner 781824! This is your cell. Get in.

Panel 2: Continued from last panel. Prison Guard Jones is directing the second inmate to her cell.

Random Prisoner #2: Mmm-mmm-mmm. We gonna have a good time tonight!

Jones: Prisoner 599053! This is your cell. Get in.

Panel 3: Continued from last panel. Jones is directing Blue to her cell. Standing inside the cell is Butterworth, an enormous prisoner/gang leader. Butterworth looks like a female bodybuilder, but way more masculine. Butterworth has tattoos, scars and several pierced body parts. She is enormous—and she is looking down at Blue with anger in her eyes.

Random Prisoner #3: Hey bitches …

Jones: Prisoner 011002! This is your cell. Get in.

Random Prisoner #3: Welcome to Hell!

Panel 4: Blue frantically pleads with Jones.

Blue: Sir, I know it sounds strange, but I don’t belong here.

Jones: Get in your cell.

Blue: Phone call! Doesn’t everyone get a phone call?!

Panel 5: Jones pushes Blue in to her cell. Butterworth is still standing inside, staring angrily at Blue.

Jones: You got your call when you were arrested. Now get inside!

Blue: But—I was never actually arrested! They never read my rights—never provided a lawyer!

PAGE EIGHT

Panel 1: The cell is closing. Blue is frantic. Jones is smiling at her through the bars. He looks really evil, because he expects sexual favors from the prisoners. Butterworth is quietly standing behind Blue.

Jones: S’what they all say. But, maybe I can arrange a phone call—if you’re nice to me.

Blue: You … you can’t be serious.

Panel 2: Jones is walking away from Blue’s cell.

Jones: You just think about it, m’kay? And tell your cellmate here to save me some.

Butterworth: grrrrrrrr.

Panel 3: Inside Blue’s cell. Blue turns around and introduces herself to Butterworth. Butterworth still looks angry.

Blue: Hi. I-I’m Blue. What’s—What’s your name?

Butterworth: You like salad?

Blue: Pardon me? Uh … yes. Yes, I like salad. Do you cook?

Butterworth: Me and the girls—we like tossin’ salads.

Panel 4: Shot from behind Butterworth; looking down at Blue. Blue looks really nervous. She is sweating. She is forcing a smile.

Blue: Really? With Ranch or Italian?

Butterworth: We like it with jelly or syrup. I prefer syrup.

Panel 5: Blue notices a bunk bed in the cell. But she can’t approach it, because Butterworth is in her way.

Blue: Well, that’s an odd flavor combination—but “to each her own,” I suppose. About our sleeping arrangements, Ms.—I’m sorry. I didn’t catch your name.

PAGE NINE

Panel 1: A dramatic close-up on Butterworth’s angry face.

Butterworth: Butterworth.

Panel 2: A close-up on Blue. She delivers a deadpan response. Her face is emotionless.

Blue: Of course.

Panel 3: Blue is forcing another smile as she tries to squeeze past Butterworth and get to the beds.

Blue: Ms.—Butterworth, I wonder if you could just skooch over a bit and I’ll just take that top bunk.

Butterworth: Top bunk’s mine.

Panel 4: A close-up on Blue’s face. She looks confused.

Blue: Oh. I had assumed … I mean with our … you know. Weight differential?

Panel 5: Blue is putting her folded blanket on the bottom bunk.

Blue: You’re right. You’re right. I should just move on down to the bottom bunk. I don’t know what I was thinking.

Butterworth: Bottom bunk’s mine too.

PAGE TEN

Panel 1: Blue is putting her now unfolded blanket on the bottom bunk. She is making the bed.

Blue: And where should I sleep?

Butterworth: Stand.

Panel 2: A close-up on Blue’s angry face.

Blue: Look here—we seem to have a misunderstanding. Don’t let my girlish looks fool you. I ain’t no pun—

Panel 3: Butterworth grabs Blue’s hair with one of her enormous hands.

Blue: ack!

Panel 4: Butterworth smashes Blue’s head in to the cell wall. Bits of the wall crack and fall due to the force of the impact. A trickle of blood flies from Blue’s nose and mouth.

SFX: WHHHOOOOOSSSH-KRAAKKKK!!

Panel 5: Butterworth is whispering in Blue’s ear as she holds her head to the wall. Blue has tears in her eyes and blood on her face.

Butterworth: You mine now, new fish. My set runs Drake Federal. An’ I run the set. So when I need somethin’ from Jones and those other crooked guards, I’mma send ‘em yo ass as payment. That’s how it was done to me, and how it will be done to you. You readin’me?

Blue: Y-yes.

PAGE ELEVEN

Panel 1: Night in Blue and Butterworth’s cell. The prison lights are out. Blue is standing in the corner of the cell, looking through the bars.

Caption (Butterworth): Good. Now keep your ass in that corner. I’m going to bed.

Caption (Blue): All that night, I stood there in that cell, wondering how many women were lost in the Martian prison system.

Panel 2: Angle on same (angle on the previous panel), except it’s the next morning. Blue has stood in the same spot all night.

Panel 3: Jones is standing outside of the cell. He is talking to Blue and Butterworth.

Jones: Rise and shine, ladies.

Panel 4: Blue is outside of her cell, walking down the row of cells (toward us). Butterworth has stayed behind. She is in the far background, standing right in front of her cell, talking with Jones. Jones and Butterworth are formulating a plot against Blue.

Caption (Blue): I didn’t need to hear what Jones was asking for—or what my cellmate was offering.

Panel 5: Blue is in the prison cafeteria. She is sitting at a table with a few of her fellow new inmates. She is quietly eating her breakfast.

Caption (Blue): I avoided the showers that day.

Panel 6: The next morning. Blue is in the cafeteria again. She is on the food line, holding her tray and getting her breakfast. She has not showered in a couple of days. She looks a little disheveled.

Caption (Blue): And the next.

Panel 7: The next morning. Blue is in the cafeteria. She still hasn’t showered. She looks even more disheveled. She is sitting alone at a table, quietly eating her breakfast.

Caption (Blue): And the next.

PAGE TWELVE

Panel 1: Inside Blue and Butterworth’s cell. Blue is standing in her corner of the cell, grinning and looking dirty. Butterworth is lying in bed with a mean look on her face.

Caption (Blue): I don’t think my cellmate found my lack of hygiene very attractive. She never touched me.

Panel 2: The next morning. Blue is naked, taking a shower in the shower room. She looks relieved as the water pours down over her head. Blue has her back to the doorway. There are several other inmates that are also taking showers. The shower room has tiles all over the walls and floor. It has multiple shower heads with individual towel racks.

Caption (Blue): But by the time the fifth day rolled around, I started turning my own stomach. I had to get clean. So I had to take a chance.

Panel 3: Butterworth, Jones, and another guard (Richards) enter the shower room through the doorway. They are fully clothed. When the other inmates see Butterworth, they begin to leave in a hurry. Blue hasn’t noticed anything. She is still showering.

Panel 4: A closer shot of Butterworth, Jones and Richards. They are slowly approaching Blue from behind. Several more inmates run out the shower room.

Caption (Blue): Unfortunately, it was just the chance they were waiting for.

Panel 5: Blue turns. The shower is still running. She is still naked and soaking wet. Blue sees her enemies before her. She knows what they want.

PAGE THIRTEEN

Panel 1: Blue grabs her towel off the rack.

Panel 2: Blue wets her towel in the shower.

Panel 3: Blue is in a kung fu stance, holding each end of the wet towel. She is ready to fight the three assailants. (Butterworth, Jones, and Richards)

Blue: Come and get it, muthafuckas.

Panel 4: Blue attacks Jones with a flying kick. Jones stumbles backwards from the impact. The impact also causes water droplets to fly off of Blue’s body and hair.

Blue (Thinking): Take out Jones first. They won’t expect it.

Caption (Blue): I knew that Butterworth was strong. But she was slow. I decided to eliminate the most immediate threat.

Panel 5: Blue is behind Jones, choking him with the wet towel.

Blue (Thinking): These people are crazy.

Caption (Blue): I tried to break his neck. Really, I did.

PAGE FOURTEEN

Panel 1: Blue is still choking Jones. The veins are bulging in Jones’ head.

Panel 2: Blue kicks Jones in his back really hard, simultaneously releasing one end of the towel around his neck. The towel unravels from Jones’ neck as he goes careening towards Richards. Butterworth is surprised to see all of this.

SFX (kick): POW!

SFX (towel): Snapp!

Blue (Thinking): Get crazier.

Caption (Blue): When that didn’t work, I improvised.

Panel 3: Jones slams in to Richards. They both hit the wet shower room floor. Water droplets fly up from the floor. Blue leaps toward Butterworth, tossing the wet towel in her face.

SFX (Jones hitting Richards): BOOM!

Caption (Blue): They hit that wet floor pretty hard.

SFX (towel hitting Butterworth’s face): SMAKK!

Panel 4: The wet towel is covering Butterworth’s face. Blue kicks down hard on Butterworth’s knee, dislocating her kneecap.

Caption (Blue): I gave Butterworth a face full of wet towel and changed the orientation of her kneecap.

SFX: POPP!!

Butterworth: ARRRR!!

Panel 5: Butterworth, Jones, and Richards are all laid out on the wet shower room floor (in various states of confused injury). Blue is running out the room (she is still naked and wet).

Caption (Blue): Then I got the hell out of there.

PAGE FIFTEEN

Panel 1: Blue is still wet and naked. She runs in to a hallway. There are caged windows lining the hallway. (You can see outside through these windows. It is a sunny day. There is a fenced-in grassy field that goes on for some distance. Beyond the field is a vast, Martian flatland.) There is a guard in the hallway with Blue, sitting at his post. He is yelling at Blue to stop her.

Guard #1: What the–?! Stop right there!

Caption (Blue): I knew I couldn’t get away. That they’d probably kill me for fighting back.

Panel 2: Blue runs further down the hallway. The guard from the previous panel is chasing her from behind. There are two more guards ahead of her.

Caption (Blue): But I had to try, damn it.

Guard #1: Stop her!

Panel 3: Blue is desperately clutching at one of the caged windows. She is crying; screaming at the top of her lungs. The three guards are trying to pull her down from the window.

Caption (Blue): I had to try.

Panel 4: The guards have Blue down on the floor. They are beating her mercilessly.

Panel 5: The guards are still beating Blue.

PAGE SIXTEEN

Panel 1: Several weeks later. Blue is in the prison infirmary (hospital). She is in bed. She has a few bandages on her face, hands and arms. There is a nurse standing by her bedside, checking Blue’s blood pressure.

Caption (Blue): I spent the next few weeks in the infirmary. I won’t bore you with my list of injuries. Suffices to say—it was extensive.

Panel 2: Blue is back in the main prison area. The other inmates are staring at her as she walks in to the large room. Rows of cells line the walls.

Caption (Blue): I braced myself for the worst when I got back to general population.

Panel 3: A tough-looking inmate approaches Blue. She is handing Blue a long box of cigarettes.

Caption (Blue): I was wrong.

Caption (Blue): The inmates in Butterworth’s “set” weren’t as loyal as she had hoped.

Panel 4: Blue is eating in the cafeteria. She is eating alone. The long box of cigarettes is on the table in front of her.

Caption (Blue): In fact, they hated her guts.

Panel 5: Angle on same. Except now, another tough-looking inmate is placing a second long box of cigarettes on the table in front of Blue.

Caption (Blue): They were just waiting for somebody to topple the giant.

Panel 6: Angle on same. Except now, several more tough-looking inmates are placing long boxes of cigarettes on the table in front of Blue. There are cigarette boxes all over Blue’s table.

Caption (Blue): Her power was paper-thin.

PAGE SEVENTEEN

Panel 1: Blue’s table is completely covered with piles of cigarette boxes. We can barely see Blue peering from behind the boxes. She seems a bit overwhelmed. (Funny facial expression.)

Caption (Blue): By the end of the day, I had twenty women paying me tribute.

Caption (Blue): By the end of the week, there were a hundred.

Caption (Blue): Too bad I didn’t smoke.

Panel 2: Inside the prison boiler room. A lot of steaming pipes and valves. A close-up on a furious Butterworth. She is balling her massive fists and shouting.

Caption (Blue): Needless to say, Butterworth wasn’t pleased.

Butterworth: I’m gonna kill that bitch!

Panel 3: Prison Guard Jones is also in the boiler room. He is trying to calm Butterworth down.

Jones: No! We’ve already got enough light on this place, thanks to that stunt she pulled. The Warden wants to look the other way—as usual—but the union is concerned with guard safety. They’ve been asking questions.

Panel 4: Jones gets really close to Butterworth’s ear.

Jones: We have to do it quietly. A few of your most loyal girls. We’ll set up a spot, but we can’t be directly involved. Understood?

Butterworth: GRRRRRRR.

Jones: I’ll take that as a yes.

Panel 5: A few months later, inside Blue’s prison cell. Blue is lying in the bottom bunk bed. Her new cellmate, Akeelah, is in the top bunk. Akeelah is a slim, friendly looking woman.

Caption (Blue): A few months went by without any incident. I had a new cellmate by then. Akeelah wasn’t much of a conversationalist, but she was several evolutionary steps ahead of the previous occupant. And she was loyal to me.

PAGE EIGHTEEN

Panel 1: A shot looking down at Blue as she lies in her bed. She looks completely relaxed. She has her eyes closed and a broad smile on her face.

Caption (Blue): I slept relatively well at night.

Caption (Computer): What month was this, Blue?

Caption (Blue): August.

Panel 2: Back in the present moment. Back in the BoonPax. Blue is in her pilot chair, flying the ship. She is still wearing her Blues Brothers outfit. She is still surrounded by pineapple crates.

Computer: That’s where I come in. I’d been looking for you for seven months by then. To no avail.

Panel 3: A flashback. The interior of the BoonPax. There is an arrogant-looking man on the main screen. He is dressed in an expensive suit. He has a dismissive expression on his face. (He is a lawyer. He does not believe the Computer’s story about Blue.)

Caption (Computer): About four months in, I got the bright idea of getting a lawyer. If anyone could find you in the penal system, a lawyer could. But no one found my story believable. “Who could get lost in the modern prison system?” they would ask.

Panel 4: Still in flashback. A human worker is loading crates of bananas in to the BoonPax’s open cargo hold. The crates have a banana logo on their sides.

Caption (Computer): Most of them turned me away—brushing my story off as some bug in my central processor. To make matters worse, I had no money. None at all. I was doing small runs, which barely paid for my fuel.

Panel 5: Still in flashback. Gerry Kunstler, a young attorney, is in his Martian office. He is on the phone with The BoonPax’s computer. (Since it’s a video call, Gerry’s monitor just shows a picture of the BoonPax. The word “BoonPax” is under the ship’s picture.) Gerry has a friendly face. He seems to believe the Computer’s story about Blue. He looks eager to help.

Caption (Computer): That’s when I found Gerry Kunstler, a small-time attorney out in the highlands. His family had a long legal tradition; they did pro-bono work in hundreds of prominent cases.

PAGE NINETEEN

Panel 1: A close-up on Gerry Kunstler. He is still in his office, talking to the BoonPax via video phone.

Caption (Computer): But Gerry hadn’t made a name for himself. He was still looking for that big case to make his name in legal circles.

Caption (Blue): And you were happy to provide that case.

Caption (Computer): You know me so well. I called the guy on a Friday. He had a track on you by Saturday morning.

Panel 2: Still in flashback. Back to the Drake Federal Correction Center. The sun is going down. Blue is in her cell with Akeelah. The cell door is open. There is a flashing red light filling the room (a fire alarm). Blue and Akeelah look surprised.

Caption (Computer): He would get you out. It was only a matter of time.

SFX: BREEE-OOOO!! BREEE-OOOOOOO!!

Blue: What the hell?!

Akeelah: Fire! Come on!

Panel 3: Akeelah is leading Blue down a prison hallway. There is a lot of thick smoke, making it hard to see and breathe.

Blue: cough! Can’t see—cough!—through this smoke!

Akeelah: Just follow me!

Panel 4: Akeelah and Blue enter the prison’s boiler room. There is less smoke in this room than in the hallway. There are steaming pipes and valves. Butterworth is standing in the center of the room, ready for battle. She is flanked by no less than twenty of her most faithful gang members. Many of them are carrying weapons: knives, shanks, pipes, etc. There are no guards present.

Blue: Butterworth!

Butterworth: Now bitch—your ass is mine!

Panel 5: Blue turns to look at Akeelah. Akeelah is grinning.

Blue: Akeelah!

Akeelah: Don’t look too surprised—

PAGE TWENTY

Panel 1: Akeelah very suddenly stabs Blue in her abdomen with a shank (a sharpened toothbrush). Blue is stunned.

Akeelah: –We haven’t even started yet!

SFX: POP!

Blue: Ah!

Panel 2: Shot down over Blue’s shoulder. Blue is looking down at her own abdomen. The brush end of a toothbrush is sticking out of her abdomen.

Caption (Blue): I didn’t know what happened at first. Then I looked down and saw the brush end of a sharpened toothbrush—an improvised shank.

Panel 3: Blue pulls the toothbrush shank out of her own abdomen with her right hand. A stream of blood droplets flies from the wound. Butterworth and her angry gang are charging toward Blue. They should be right on top of her. They are very close to her.

Blue: ARRRGH!

Caption (Blue): Simple, but effective. It took me one second to pull out the toothbrush, and another to notice the twenty insane gangsters that were already on top of me.

Panel 4: Still holding the shank, Blue quickly spins around and slashes the nearest gang member across the arm and chest. The woman screams in pain as blood flies from her wound.

Caption (Blue): I wouldn’t make it easy for them. I sliced the first bastard I could reach. Sent her screaming.

Panel 5: Blue slashes to her left, cutting another woman across the face.

Caption (Blue): Got the next bitch across the face. There was no time for subtlety.

Panel 6: The injured woman from the previous panel is hunched over, holding her bleeding face. Blue takes this opportunity and rolls across the woman’s back, spin kicking two other women in the process. The two women go flying backwards from Blue’s sweeping kick.

Caption (Blue): I had never fought this hard in my life. I was rolling over one girl’s back, using her as leverage to take out the next. I started to feel like I might live to see the next day.

PAGE TWENTY-ONE

Panel 1: Butterworth’s massive hands grab on to Blue’s leg.

Caption (Blue): That’s when it happened. Butterworth got a hold of me. A good grip.

Panel 2: Butterworth is holding Blue’s right arm with her left hand. She is holding Blue’s throat with her right hand. Blue drops the shank from her own right hand.

Caption (Blue): Her strength was unbearable. Crushing.

Panel 3: With all of her strength, Blue kicks Butterworth in her face. (Blue uses her right leg to kick her.) Spit and blood fly from Butterworth’s mouth.

Caption (Blue): I tried to be a woman. Tried to show some effort. But her fury left me no quarter.

Panel 4: Butterworth raises Blue above her head. She is going to slam her in to the floor.

Caption (Blue): I was her plaything. And I was going to die.

Panel 5: Butterworth slams Blue in to the floor. Chunks of the floor go flying everywhere. The floor cracks around Blue. Blood flies from her nose and mouth.

SFX: BOOOOOOOOM!!

Warden (off-panel): Stop!

Panel 6: Butterworth turns to see who has interrupted her. It’s the Warden. He has about fifty Prison Guards behind him, including Jones and Richards. The guards are armed with shields, sticks and taser weapons. Jones is carrying a large taser gun. Butterworth’s remaining gang members stand in silence.

Caption (Blue): Don’t tell me there’s not a God.

Warden: All of you! Stop right there!

Butterworth: Fuck you, Warden! This bitch dies tonight!

PAGE TWENTY-TWO

Panel 1: The Warden casually gives Jones an order.

Warden: Jones. Neutralize her.

Jones: Yes sir.

Panel 2: Jones blasts Butterworth with the taser gun, sending thousands of volts of electricity through her massive body.

SFX: FZZZZZZZZZZZZZZZZZ!!!

Butterworth: ARRRRRRRRGGHHH!!!!!!

Panel 3: Butterworth hits the floor face-first with a thud. Her skin and clothes are singed.

SFX: THUD.

Panel 4: The Warden is looking down at Blue. Jones and Richards are helping Blue to her feet.

Warden: Get her up.

Blue: Wha-? I don’t understa–

Warden: We just got a call from the Governor. Somebody fucked up.

Panel 5: A close-up on Blue’s surprised face. She is bloodied and bruised.

Warden: You’re being released, Blue.

Caption (Blue): Don’t tell me God ain’t real.

Panel 6: Back to the present moment. Back in the BoonPax. Blue is flying the ship. She is smiling.

Blue: Three days later, here I am. You saved my life, Computer.

Computer: No problem, Blue. I know you’d have done the same. Just make sure I get a cut of that settlement.

Blue: You got it, amigo. You got it.

THE END

Blue Issue #1

Title: “Arms For The Poor”

Writer/Creator: Eugene Argent

Artist: N/A

PAGE ONE

Panel 1: Large Panel. Exterior of the BoonPax, a cruiser class starship, floating in space.

Blue (from inside the starship): Computer, A.I. on.

Computer (from inside the starship): May I help you, Blue?

Blue (from inside the starship): Yeah. Gimme an E.T.A. on the star port.

Panel 2: Interior of the BoonPax. The cockpit is cramped with gadgets and devices of all sorts. It’s very unkempt. Blue, a thirty-something African-American woman with short, blue-colored hair, is sitting at the pilot station. Note: There are other work stations on the bridge, but Blue has no crew.

Computer: We will arrive at the Pump City star port in approximately eight Earth Standard minutes.

Blue: Cool. I’ll hustle up some grub and get some 115 for your engine.

Computer: Thank you Blue. I am running low on my fuel reserve.

PAGE TWO

Panel 1: The BoonPax is entering an open portion of the dome over the Pump City star port. (There is a force-field in the open portion that holds in the atmosphere but allows ships to pass through.) The star port looks like a busy truck stop in space. There are a couple of diners, motels and fuel stations. There are various ships bustling in every direction.

Computer (inside the BoonPax): Crossing dome-field.

Panel 2: The BoonPax is landing at the Pump City star port. There are ships and people (all human) around. There are several prostitutes picking up johns. The dome is high above the scene.

Panel 3: Blue is exiting the hatch underneath the BoonPax. She is still talking to her ship’s computer.

Blue: I’ll be back by midnight. Keep your peepers on.

Computer: Will do. You be careful, Blue. Don’t get in to any trouble.

Panel 4: Close-up on Blue’s face. Blue is walking away down the street when she looks back over her shoulder. She has a devilish grin.

Blue: Have I ever?

Computer: Are we on television? Am I being punk’d?

Panel 5: Blue is walking in to the “Grub Diner.”

Blue (Thinking): Heh. No. But you are one—and not in a Ramones kinda way.

PAGE THREE

Panel 1: Interior of the Grub Diner. Blue is seated, eating her meal. She looks really happy.

Blue (Thinking): This is a grrrreeaat dish! S’why I love comin’ here!

Panel 2: A close-up on Blue’s grinning face. She is stuffing her mouth with food.

Blue (Thinking): Wonder how I’m gonna pay for it.

Dr. Demissie (off panel): Excuse me, ma’am. Is this seat taken?

Panel 3: Dr. James Demissie is sitting with Blue at her table. He is an older black man; very distinguished looking but a bit frazzled. He’s worried about something.

Blue: No! Pull ‘er right up! Have a seat! I’ll order you somethin’. Waiter!

Panel 4: Dr. Demissie is sitting closer to Blue. He is whispering to her. Blue is talking to a teenaged waiter.

Dr. Demissie (whispering): Umm. I actually came here for another reason.

Blue: Uh-huh. More grub for the gentleman?

Waiter: Yes ma’am. Right away.

Dr. Demissie (whispering): I need someone with a private ship.

Panel 5: Blue is shouting at the waiter, who has already walked away.

Blue: Waiter! A pint of your finest ale!

Waiter (off-panel): Yes ma’am.

Dr. Demissie (whispering): Uh. Ma’am? You do have a ship?

PAGE FOUR

Panel 1: Blue’s expression has completely changed. She looks dead serious now. She is also under lit for an ominous, dramatic effect. Blue is staring directly at Dr. Demissie. She’s getting down to business.

Blue: Okay. Wheredoyawannago? Whaddayawannado? Howmuchyagonnapay?

Dr. Demissie (whispering): Uhh. I need passage to a dead alien world.

Blue: Ain’t no other kind. Next.

Dr. Demissie (whispering): I want to find a buried alien treasure.

Panel 2: Blue is cheerful and smiling again. She is calling for the waiter.

Blue: Check please!

Blue (Whispering): Half the treasure is mine, understood?

Dr. Demissie (whispering): Uh, yes. Understood.

Panel 3: The waiter has arrived with more food. Blue is cheerfully talking to him. She is also pointing at the Doctor. The Doctor looks stunned.

Waiter: Your grub and ale, ma’am.

Blue: Fine. Wrap all this shit up. Then fill my ship with 115. This guy’s payin’ for it. What’s your name again?

Dr. Demissie: Uh—Demissie. Doctor James Demissie.

Blue: Jimmy Demissie. My old pal.

Panel 4: Blue is leaving the table. The waiter hands Dr. Demissie the check. Dr. Demissie looks stunned.

Blue: Leave a strong tip now, Jimmy. I’ll be outside in the BoonPax. That’s my ship. Fine service here.

Panel 5: Blue is climbing back in to her ship’s hatch.

Blue: Fine service.

PAGE FIVE

Panel 1: Blue is on her cluttered bridge. She is clearing junk from one of the seats.

Blue: I haven’t had company in ages. Computer, why don’t you clean up in here sometimes?

Computer: How? You’ve got the arms.

Computer: Blue! Incoming!

Blue: What the–?

Panel 2: Blue is looking at the BoonPax’s view screen. A clunky looking ship with armor plating has entered the dome. It is firing its machine guns at the space port. There is a swastika on the side of the ship.

SFX (guns): BRRRRRRRAATT-TAT-TAT-TAT!!

Blue: Jesus in Germany!

Panel 3: A close up on the clunky ship’s swastika design.

Blue: It’s an Aryan!

Panel 4: Outside the ship. On the street. The clunky Aryan ship is firing its machine guns at Dr. Demissie! Dr. Demissie is running from the gunfire. He drops the bagged diner food and heads behind a garbage dumpster.

SFX: BBRRRRRRAAT!!! POP! POP! POP!

Blue (off panel): Dr. Demissie! They’re firing at him!

Computer: Him who?

Panel 5: Blue jumps in to her pilot’s chair.

Blue: Computer, fire up the machine guns.

Computer: Under dome?

Blue: They’re doin’ it!

PAGE SIX

Panel 1: Exterior of the BoonPax. The machine guns have extended. The ship is now hovering above the port.

Panel 2: Interior. Blue is holding on to her ship’s gun controls. The Aryan ship is on her monitor. She has a cross hair on it.

Blue: Lock on target.

Panel 3: Exterior. The BoonPax swings around and fires its guns at the Aryan ship.

SFX: BBBBBRRRRRRRRRAATT-TAT-TAT-TAT!!

Blue: Fire!

Panel 4: The Aryan ship dodges the brunt of Blue’s attack.

SFX: FZZZ! FZZZ! FZZ!

Panel 5: Down on the street, Dr. Demissie has had enough. He walks out in to the open street.

Dr. Demissie: Enough. I’ve had enough of this.

Computer (off panel): Blue! The Doctor!

PAGE SEVEN

Panel 1: Dr. Demissie is standing in the open street with his arms spread out, accepting his death. The Aryan ship is approaching him in the distance.

Blue (off panel): What the hell is he doing?!

Dr. Demissie: If you want me so badly, come and get me! I won’t run anymore!

Panel 2: A small missile emerges in the Aryan ship’s launcher.

Computer (off panel): The Aryan has armed his missile!

Panel 3: The Aryan ship fires a missile at Dr. Demissie. There is a huge explosion on the space port.

SFX: Fssssss-BOOOOOM!!

Panel 4: Interior of the BoomPax. Blue is teary-eyed and furious. She’s gripping her gun controls.

Blue: Son of a bitch! Lock on!

Panel 5: Blue fires on the Aryan ship, which takes some damage.

SFX: BBRRRAATTT!!! BAM! BAM! BAM!

Blue: Fire!

Panel 6: The Aryan Ship escapes through the opening in the dome. The BoonPax fires several more shots.

SFX: BRRRRRRRRRAATTT-TAT-TAT!

Blue: Fire! Fire! Fire!

Computer: They’ve escaped the dome. Shall we follow?

Blue: No. Not yet.

PAGE EIGHT

Panel 1: Some time later. The police have arrived. They’ve taped off the area around the missile’s impact. Blue is talking to the police.

Caption: Some time later.

Panel 2: Interior of the BoonPax. Blue is sitting at the controls, digging in her pocket.

Computer: Will the police hold you for further questioning?

Blue: No. I’ve told them what I know.

Computer: Too bad we didn’t follow that Aryan vessel.

Blue: Oh I know where they’re going.

Panel 3: A close up on Blue’s hand. She has removed a small PDA from her pocket.

Blue: I know exactly where they’re going. I have the coordinates right here.

Computer: Coordinates? Of the Doctor’s treasure? Did you steal that back in the diner?

Panel 4: Blue is at the controls, preparing the BoonPax for launch.

Blue: What are you, my father? I thought he thought I was a street walker. Call it a preemptive strike. Not that I don’t regret it.

Panel 5: The BoonPax exits through the open section of the Pump City dome.

PAGE NINE

Panel 1: Exterior of the BoonPax flying through space.

Computer: Blue, you still haven’t told me where we’re going.

Blue: Run a search on Charted Planet 11376.

Computer: 11376. Searching …

Computer: Blue, that planet is in Aryan Separatist Space! We can’t get to it!

Blue: You let me worry about that. Just tell me what you’ve got on it.

Panel 2: A flashback to many years earlier. We see an archaeological dig on Planet 11376. The planet has many artificial structures; bridges, buildings and temples. But it’s a dead world. There is no life on the surface. Everything is covered with an orange-colored dust. The archaeologists have star ships and equipment, etc.

Caption (Computer): Okay. There were several archaeological expeditions to Planet 11376 before the Aryan Revolution. They found the ruins of a sprawling civilization that apparently destroyed itself after achieving nuclear status. Nothing unique at all.

Caption (Blue): And the treasure?

Caption (Computer): Nothing on the network about it. I’m not even sure what it is.

Panel 3: A shot of the present moment. The BoonPax is descending upon Planet 11376. The planet is covered with an orange colored desert.

Panel 4: Interior of the BoonPax. Blue is looking at her monitor.

Blue: They probably had to drop everything and run once the Aryan’s declared their independence. They didn’t have time to take any artifacts.

Blue: Gimme the coordinates of the last official dig.

Panel 5: Blue’s monitor shows an electronic grid laid over Planet 11376. There is a blinking crosshair at one particular point, indicating the coordinates of the last official archaeological dig. Blue is pointing her finger at the blinking crosshair.

Computer: Here it is, Blue. The last known dig site before the Revolution.

Blue: Set the Gravity Manipulators to formation B. I’ll bet what we’re looking for is down there.

PAGE TEN

Panel 1: The BoonPax is hovering just beside a mountain range on Charted Planet 11376.

Blue: Keep ‘er low, Computer. I want to find out where they landed.

Computer: I’m reading an electrical hum just beyond this mountain range. It’s likely that the Aryan landed there.

Blue: Set all three Gravity Manipulators to full power.

Panel 2: The BoonPax is creating a space-time bubble around itself, rendering the ship invisible. Here, half the ship has already phased out of the visible light range.

Computer: We’re going invisible?

Blue: Yeah. I just hope that the Aryan’s A.I. is off, or we’ll be detected in seconds.

Panel 3: Angle on previous panel. The BoonPax is completely invisible now.

Panel 4: Just beyond the mountain range, we find a spacecraft parked in the desert. It is the same clunky Aryan ship that attacked Blue. There is a massive, dust covered temple carved right into the side of a mountain. There are many footprints leading from the ship to the temple. The Aryan crew is inside the temple. Of course, the BoonPax is hovering over this scene, but it is still invisible.

Computer: That’s him alright.

Blue: Does he have a crew?

Computer: Yes. I’m reading at least fifteen living heat signatures. All of which are in the temple.

Blue: Then the ship’s empty.

Panel 5: Interior of the BoonPax. Blue is at the controls.

Blue: Give me a cutting laser. Target their Grav Manipulators.

PAGE ELEVEN

Panel 1: The still invisible BoonPax fires a thin, cutting laser beam in to one of the Aryan ship’s three Gravity Manipulators.

Blue: Let’s see if they can chase us without any lift.

Panel 2: Suddenly, a violent explosion hits the right side of the BoonPax. Blue winces in shock. Note: The BoonPax is visible again.

SFX: BOOOOMM!!

Blue: What the hell?!

Computer: Blue, we’re under attack!

Panel 3: A second clunky Aryan star ship phases in to visibility as it blasts the BoonPax from behind.

SFX: FZZZZOOO! FZZZOOO!!

Computer: From behind!

Panel 4: Interior of the BoonPax. Blue pulls back hard on the controls.

Blue: Damn it! Another Aryan ship! How the hell did he get past your sensors?

Computer: He must have stayed at a considerable distance until the last possible second.

Panel 5: The BoonPax flies past the second Aryan ship and veers off to the left.

Blue: We won’t have time to ask him! Evasive action! Give me full weapons!

PAGE TWELVE

Panel 1: The BoonPax fires machine guns, missiles, and lasers at the second Aryan ship.

SFX: BRRRRAATT-TAT-TAT-TAT!! FZZZZZZOOO!! BRRRRRRRRT!!

Panel 2: Amazingly, the second Aryan ship flies between all the lasers, guns and missiles.

Computer: Astounding! He actually evaded your fire!

Panel 3: Interior of the BoonPax. Blue is at the controls. She looks really pissed.

Blue: Yeah, he’s good.

Panel 4: The second Aryan ship is flying in the foreground. The missiles that the Aryan ship just dodged are flying away in the far background.

Blue: But he doesn’t know—

Panel 5: A close-up on the BoonPax’s missiles—the ones the Aryan ship dodged—making a U-turn in mid-air.

Blue: –That those missiles are heat-seakers!

PAGE THIRTEEN

Panel 1: The missiles are chasing the second Aryan ship.

Computer: He’s on the run!

Panel 2: Interior of the BoonPax. A shot of Blue’s weapons monitor. On the monitor, we see the second Aryan ship being chased by the missiles. Blue is also firing her guns at the second Aryan ship.

Blue: Leaving so soon? Why—we haven’t even danced yet!

SFX (guns): BRRRRRRATT-TAT!!

Panel 3: The crew from the first Aryan ship emerges from the mountain temple. The men are carrying a large treasure chest. They are surprised to see the battle raging above them.

SFX: BRRRATTT-TAT-TAT-TAT!!! FZZZZOOOO!!! FZZZZOOOO!!

Panel 4: The BoonPax’s guns hit the second Aryan ship, causing several small explosions on the hull and sending the ship in to a spin. The missiles crash in to a nearby mountain.

SFX: BBRRRRRTTT!!! BOOOM! BOOM! KA-BOOOM!!

Computer: Direct hit!

Blue: She’s spinning out!

Panel 5: Interior of the BoonPax. Blue is flying in for the kill.

Blue: Time to clip her wings!

PAGE FOURTEEN

Panel 1: The BoonPax is diving towards the spinning second ship. Meanwhile, the first Aryan ship has come up behind the BoonPax. It fires at the BoonPax, hitting the hull near the stern (back of the ship).

SFX: BRRRRRRAATTT!!! BAM! BAM!

Blue: Damn it! The other ship’s back in the air!

Panel 2: Interior of the BoonPax. Blue is rattled by the impact on her ship’s hull.

Panel 3: Interior of the first Aryan ship. Rutger, the ship’s captain, is talking to his crew.

Rutger: We have what we came for. Kill this bitch so we can go.

Crewman #1: Yes Captain!

Panel 4: The Aryan ship chases the BoonPax in to the ruins of an alien city, complete with skyscrapers, etc. The city is also covered in an orange dust.

Crewman #1 (Aryan ship): She’s headed in to the city!

Panel 5: Interior of the BoonPax. Blue is speaking to her computer.

Blue: Computer, set Grav Manipulators to Formation A.

Computer: Thank God! We’re headed in to orbit.

Blue: No. We’re staying right here.

Computer: But Formation A is for interstellar travel! It’s much too fast for—we’ll hit the buildings!

Blue: Let me handle that.

PAGE FIFTEEN

Panel 1: The first Aryan ship is right behind the BoonPax.

Crewman #1 (Aryan ship): We’ve got her now sir!

Blue: Now!

Panel 2: Angle on previous panel. Except, the BoonPax appears to have winked out of existence. Only a small dot remains where the ship once was.

Crewman #1 (Aryan ship): Wha—where’d they go?!

Rutger: Invisible?

Crewman #1 (Aryan ship): No sir! We’re not reading them!

Panel 3: A bird’s eye shot from above the city. Looking down, we see the first Aryan ship, still in the same spot as the previous panel. We also see a trail starting from the point where the BoonPax vanished (in front of the Aryan ship). The trail zig-zags through the city streets and ends several blocks away. There, we see the BoonPax is hiding behind a gigantic alien statue, waiting to ambush the Aryan ship. Note: This trail is not actually visible to the characters. It just indicates to the reader the incredibly rapid movements of the BoonPax.

Rutger (Aryan ship): Stay on this course.

Panel 4: The interior of the BoonPax. Blue is looking at her monitor, watching the first Aryan ship get closer.

Blue: That’s it. Come in to my parlor. So’s I can bite yer head off, widow style.

Panel 5: Suddenly, there is an explosion. The gigantic alien statue topples over—falling right on the BoonPax.

SFX: KA-THOOM!! KKRREEEEEEKK!!

Computer: Oh my God! Blue!

Blue: Get us out–!

PAGE SIXTEEN

Panel 1: The BoonPax is trapped beneath the gigantic statue! Dust from the statue’s impact is flying everywhere.

Computer: Blue! Are you alright?!

Blue: Yeah. How ‘bout you?

Computer: Minor damage. Mostly superficial. Any idea what happened?

Panel 2: Interior of BoonPax. Blue checks her now slightly damaged monitor. The second Aryan ship emerges from the cloud of dust.

Blue: I’m guessing he had something to do with it.

Computer: The second ship?

Blue: None other than.

Panel 3: A close-up on Blue’s monitor. The second ship’s pilot is talking to her. It is Dr. James Demissie! He is still alive!

Computer: He’s sending us a priority message.

Dr. Demissie: Hello, Blue.

Blue: D-doctor Demissie?! You’re alive?!

Dr. Demissie: Yes. I hate for it to end this way. I really do. I only needed a witness, you see. Someone to watch me “die.” Then I could be free.

Panel 4: Exterior shot. The first Aryan ship has arrived on the scene. The two ships have Blue completely surrounded.

Blue: So that’s what I was? A witness to tell your story? A story about a phony treasure and an innocent doctor murdered by Aryan thugs?

Dr. Demissie: The treasure is real, Blue. We found it—my friends and I.

Blue: What is it? The secret of life or something?

Panel 5: A split panel. On the left side is a furious Blue. On the right is an emotionless Dr. Demissie.

Dr. Demissie: No, no. It’s far more pedestrian than that. Ancient ceremonial statues—carved of pure platinum. A fortune. I only get a small cut. But the Aryans have offered me a long term opportunity.

Blue: I guess money makes strange bedfellows. But why pull me in? Why did you have to “die?”

Dr. Demissie: Suffice it to say, “I owe much to many,” and leave it at that.

PAGE SEVENTEEN

Panel 1: Interior of Dr. Demissie’s ship. The Doctor is talking to Blue. Blue’s face is on his monitor.

Blue: Okay, Jimmy. You win.

Blue: Know what? I just love these unnecessary expositional conversations. Can you guess why?

Dr. Demissie: Why?

Blue: Because—

Panel 2: Interior of the BoonPax. A close-up on Blue’s face.

Blue: They give me time to think of an ending.

Panel 3: Exterior shot. The still trapped BoonPax fires off a single escape pod. The pod flies right past the other two ships and heads for the upper atmosphere.

SFX: POW! WHOOOSH!

Rutger (first Aryan ship): She’s in that escape pod! Shoot her out of the sky!

Crewman #1 (first Aryan ship): Yes sir!

Panel 4: The first Aryan ship is firing at Blue’s escape pod while chasing it in to the upper atmosphere. Demissie’s ship hasn’t moved however.

SFX: FZZZZO! FZZZOO!! BRRRRT!!

Dr. Demissie: Wait you idiots!

Panel 5: Interior of Dr. Demissie’s ship. He’s looking at the trapped BoonPax on his monitor. There, he sees Blue sneaking out through a hatch in her ship’s underbelly.

Dr. Demissie: What do you take me for, woman? I am not your fool.

PAGE EIGHTEEN

Panel 1: Blue is outside her ship. She is dragging a large, heavy rocket launcher behind her. Dr. Demissie’s ship is up in the sky.

Blue: Ungh! Never thought I’d have to use this baby again.

Panel 2: Interior of Dr. Demissie’s ship. He sees Blue on his monitor. She has the rocket launcher on her shoulder. She is pointing it directly at him.

Caption (Blue): Rather let the computer fire the rockets.

Dr. Demissie: What’s this? You’re gonna fire that thing? You can barely lift it.

Panel 3: A close up on Blue’s determined face.

Blue: Oh well. Lil’ elbow grease never hurt nobody.

Panel 4: Blue fires two rockets at Demissie’s ship and falls backwards. Demissie easily dodges her rockets.

SFX: FSSSSSSS!! FSSSSSS!!

Blue: Ack!

Panel 5: Interior of Demissie’s ship. He is looking at his monitor. His expression is saying, “So what?”

Dr. Demissie: Easily averted! What else you got?

PAGE NINETEEN

Panel 1: Outside, a close-up on Blue’s face.

Blue: Two words, Jim. Heat. Seekers.

Panel 2: The two rockets have made a U-turn in the sky and slammed in to the stern (rear) of Dr. Demissie’s ship. Two large explosions rip through the ship’s hull.

SFX: BOOOOMM!! BOOOOOOMM!

Dr. Demissie: Oh God no!!

Panel 3: Dr. Demissie’s ship crashes and explodes in to several large chunks. Blue is watching the ship crash.

SFX: BOOM! BOOM! BOOM! KA-THOOMM!!

Panel 4: Blue is headed back to the BoonPax. She is dragging her rocket launcher.

Blue: Computer, do you read me?

Computer: Loud and clear, Blue.

Blue: Tell me you’ve finished cutting through that statue.

Computer: Just finishing up now.

Panel 5: Blue is re-entering the hatch at the bottom of her ship.

Blue: Good. That other ship must have gotten to that pod by now. And I’m sure they won’t be too happy with what I’ve done to the good doctor, here.

PAGE TWENTY

Panel 1: The BoonPax bursts through the gigantic statue. Having been cut by a laser, the statue easily splits in to two large pieces. The BoonPax is flying straight up in to the air.

SFX: KRAK-BOOM!

Computer: We’re clear!

Panel 2: The BoonPax is racing through space.

Blue: Good. Set a course for home.

Panel 3: The BoonPax is approaching the partially terra-formed planet Mars. Parts of Mars now look like Earth, but much of it is still red sand.

Caption: Mars.

Panel 4: On the surface of Mars. The BoonPax is parked at a docking station. Note: Blue lives in the BoonPax.

Blue: Home sweet home.

Panel 5: Interior of the BoonPax. Blue is making some dinner for herself.

Blue: Sheesh! I never did get to finish eating. I’m famished! Turn on the t.v. while I make some dinner.

Computer: Sure thing Blue.

PAGE TWENTY-ONE

Panel 1: Blue is watching t.v. while she eats a spoonful of food.

Computer: What channel?

Blue: Try the news.

TV News Announcer: Mars Action News. You hear it fourth!

TV Anchor #1: We’ve got an update on that Pump City explosion this afternoon. It appears that the Aryan vessel was targeting one person in particular—noted physicist, Dr. James Demissie, of Earth.

Panel 2: Surprised at what she’s heard, Blue spits out the food. (A spit-take.)

SFX: SPIT-TEWWW!!

Blue: Physicist?! I thought he was an archaeologist!

Computer: Eww. I hope you’re going to clean that up.

Panel 3: Blue is thinking really hard; remembering something that Dr. Demissie told her. There is an image (a memory) of the Doctor speaking above her head.

Blue: Why would a bunch of Aryan thugs need a physicist?

Dr. Demissie: No, no. It’s far more pedestrian than that. Ancient ceremonial statues—carved of pure platinum. A fortune. I only get a small cut. But the Aryans have offered me a long term opportunity.

Panel 4: A close up on Blue’s memory of Dr. Demissie. (The same memory as the previous panel.)

Computer: What is it?

Dr. Demissie: I only get a small cut. But the Aryans have offered me a long term opportunity.

Panel 5: An extreme close-up on the same memory of Dr. Demissie. (Focus on his mouth.)

Computer: What is it, Blue?

Dr. Demissie: A long term opportunity.

PAGE TWENTY-TWO

Panel 1: Blue looks frightened.

Blue: Jesus! That’s what he meant! That’s why they needed him! Why they needed the treasure!

Computer: What, Blue?! I don’t understand!

Panel 2: Blue slams her fist against something. She looks pissed.

Blue: Damn it! I should have taken out both ships!

Panel 3: Blue leans against something. Maybe a table or counter.

Blue: A nuke. The bastards are building a nuke. We took out their physicist. But they’ve got enough platinum to buy another.

Panel 4: Blue has her head lowered.

Computer: My God! What should we do, Blue?! Call the Feds?

Blue: I don’t know. But I know what they should do.

Panel 5: Blue looks up. She has tears in her eyes. She looks really pissed.

Blue: Pray. They’d better pray I don’t see them again.

END

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