Also naturally, I didn't win.
Anyhow the sign up was pretty much "give us your work, we own it even if you don't win" but they were okay with writers showing it around as long as we weren't making money from it. If I ever have some extra cash, I'd love to rework it to remove the proprietary stuff and have a real artist do it justice.
For now, it's just a script.
I meant to post it back then but...life.
So, here it is. It's basically a story about a relic called the "Blood Sword" and the bits about Sara Pezzini are there to conform to the rules of the contest. Sara Pezzini is the main character in Top Cow's best known property, Witchblade and the contest required the story to be include at least an appearance by her. It's called "To The Sticking Place" which is wonderfully ambiguous line from MacBeth. The story has nothing to do with MacBeth but the line is part of Lady MacBeth's admonition to her less than brave husband to suck it up and do the deed. It's appropriate.
Hopefully you won't get too confused by the descriptions of panels and such. This is a script meant to be used by an artist to create the pages, so it's pretty detailed as to layout. I'm sure you'll manage.
Enjoy and feel free to comment!
To The Sticking Place
Page 1
6 Panels
Page split approximately in half vertically. Left side panel is panel 1.
Panel 1
A woman’s (Sara Pezzini) hand slams open a door to reveal a long haired punk in a Grateful Dead t-shirt sitting at a table with a crystal ball on it. He looks relaxed, not at all startled by the slamming door. What we can see of the door shows a sign offering "Futures Revealed". By the surroundings and trappings, he’s a fortune teller, but by his look and demeanor, an atypical one.
SFX WHHH-SLAM
PUNK
You know you can’t destroy it even if you do find it, right?
Right side is 5 equal panels down the page. Details with dialogue below.
Panel 2
Sara Pezzini’s eyes, scowling.
SARA PEZZINI
What ever happened to letting the cop threaten the con artist and break his ball to get answers?
Panel 3
Punk’s full face, slight smile.
PUNK
If you break my ball, you won’t be able to see what I have to show you.
Panel 4
Pezzini’s hand, holding the crystal ball.
SARA PEZZINI
I came here because I hear you know where I can find the Blood Sword.
I don’t need hocus pocus, just a location.
Panel 5
Punk, still slight smile, hands steepled in front of him.
PUNK
No hocus here. No pocus either. Especially if you break my ball.
Tell me, Sara, do you know much about quantum physics?
Panel 6
Pezzini, glaring at the punk, holding the crystal ball, a vague image (blurry version of page 2 panel 1) within.
PUNK, off camera.
No? Short version: Infinite alternate realities branching from every decision we make.
Take a look at what could be…
Page 2
5 Panels
The rest of the story takes place about 75 to 100 years in the future. Most of the settings look similar to modern reality. The story takes place on a militarily run civilian water/power plant in James Bay, Canada. Outdoor shots are of a snowy/icy landscape, any buildings are functional but not elaborate, reflecting a working outpost, not a showpiece. No need to "Buck Rogers" the tech or weapons. Guns and paper still work in the future. No computers or phones on the desks though. The "future" aspect will be shown with implanted screens about 4 inches by 3 inches on the inner left forearm of everyone. Most everyone’s arms are to be covered so as not to make this too "in your face" but any bare left arms should be shown with this implant.
Panel 1
Top 3rd of page. Two men fighting a mock sword fight in full kendo armour. Bamboo swords, fast, painful looking. The man on the left is winning, the panel should infer he is the superior fighter. He is taller than his opponent, but also overweight. The smaller man is average size, in good shape. The fight occurs in the office of Colonel Baxter, so the background is a normal looking door, a picture of a future president on the wall, military looking surroundings reflective of upper brass army. A katana and a wakizashi sit in a stand on the Colonel’s desk at all times. This is very important as the blades will be needed later on.
SFX
SHH-WHACKK
Figure on the left (This is COLONEL BAXTER)
I was told you would be here next week.
I don’t like surprises, Major.
It’s my understanding that you come to the military by way of civilian law enforcement.
So, why you, why here and why now?
Panel 2 and 3 are middle third of page, split equally.
Panel 2
Man in civilian clothes, (not a suit, street clothes) standing at a desk with various reports on it, back to the two men fighting from panel 1, figure on the left still dominating the bout. The civilian clothed (short sleeves, show implant with blank screen) man is Major Albright. He has a file folder in his hand with "Eyes Only" stamped on it in red. We don’t have to see an angle that shows both words, just enough to know he’s got a super-secret file. This guy is tough looking, large and fit, mid to late 30s, dark hair, dark
eyes, square jaw, looks like he could be related to Sara Pezzini and/or Jackie Estacado, perfect soldier type but he’s in civilian clothes and his hair is shaggier than any soldier.
SFX (in background, related to kendo bout)
CRRAACK
MAJOR ALBRIGHT
Sir, I come from a long line of cops.
Dissidents, spies and saboteurs have more in common with criminals than soldiers.
My Father was stationed at the Embassy in Ottawa until I was 15.
I went to school there until just before we were invited in.
I blend.
Panel 3
Close on the desk. Several files visible, similar to the one in the major’s hand, mostly unreadable type, but a couple have pictures we can see. One is a partial bloody hand print. One is a dark haired girl’s face, clearly beaten badly, features blurred by bruising. The major appears to be moving the files around to look at them. If his left arm is visible, we see the blank implanted screen.
Figure on the left again (COLONEL BAXTER), off camera.
Major, I run a tidy little operation here.
My workers are happy, efficient and well behaved.
There are no dissidents, spies or saboteurs here.
I make damned sure of that, every day.
Panel 4 and 5 Bottom 3rd of the page, split the same as panels 2/3
Panel 4
Kendo fight is over, both men removing helmets. Man on right is revealed to be Asian. This is our hero but he is not shown in that light yet. Man on left (Colonel Baxter) is an African American, amiable but slightly crazed looking, greying at the temples, slightly plump features. Something like a middle aged James Earl Jones with a crazy glint in his eye
MAJOR ALBRIGHT, off camera
The Pentagon seems to disagree with you, Colonel.
Frankly, so do I.
There is an alarming pattern of action in the Northern Protectorate recently and the way I see it, all roads lead right here.
Panel 5
Colonel Baxter accepting a towel handed to him by his opponent.
COLONEL BAXTER
Nonsense, Major. The Canucks rolled over years ago.
They’re with us. Take Kodama here.
He’s been my valet and sparring partner for years.
His father is a hydraulic engineer helping us fill our quotas for water and power all over the Northern Protectorate.
He’s in Yellowknife these days, right Jun?
KODAMA
Yes, Colonel. Transferred up from the Niagara installation last month.
COLONEL BAXTER
And you and he are both natural born Canucks, "eh"?
KODAMA
Mom rooted for the Jays, Dad bleeds blue, even if they aren’t called "Leafs" anymore.
Page 3
Splash Page with 5 Inset Panels
Splash page, with about 2/3 Major Albright’s face dominating the top left side of the page, background of the Canadian Parliament buildings flying a "new" Canadian flag, a red and white striped flag as the regular Canadian flag with a blue star replacing the red maple leaf. The Peace Tower and left side of the building frames the Major’s face. This page tells the "up to now" story in a quick succession of small panels hovering above the background on the right side of the page, moving down the page as the major tells the story. Boxed dialogue near each image, all from MAJOR ALBRIGHT.
Boxed dialog near top of Peace Tower, beside "new" Canadian flag, no extra image.
MAJOR ALBRIGHT
Your Canuck house boy notwithstanding, you and I know that it’s not that simple.
It’s been almost a generation since we were "invited" in by the Canucks to "help manage" their natural resources.
Panel 1
Molotov cocktail being thrown at U.S. tank by a man wearing a Toronto Maple Leafs hockey jersey
MAJOR ALBRIGHT
As you know, despite the invitation, there was some early resistance.
Panel 2
A map of North America with the U.S. filled in with an American flag while Canada is filled in with the Canadian flag with a five pointed blue star replacing the red Maple Leaf. This is the "new" Canadian flag referred to above and seen throughout the story.
MAJOR ALBRIGHT
Our hosts agreed that outlawing certain cultural symbols and rounding up the most violent opposition was the right course of action.
Panel 3
Prison camp behind razor wire. U.S. and "new" Canadian flags flying. Prisoners uniforms marked with "new" Canadian flags with a five pointed star where the Maple Leaf normally sits.
MAJOR ALBRIGHT
Not only did resistance die down, but we gained a cheap source of labor for installations like this one.
The model has worked all over the Northern Protectorate.
Most of the original detainees have since died. We thought the engagement was over.
We were wrong."
Panel 4
Wider shot of the beaten girl from the file on page 2. She lies in a pool of blood, clothes ripped, rape inferred.
MAJOR ALBRIGHT
The attack on this girl from Thunder Bay has sparked a powder keg.
It seems that the Canucks don’t think that demoting and transferring the five accused soldiers to the harsher environment of your facility is enough punishment.
Panel 5
Riot in progress, U.S. military in riot gear responding. It should be obvious that the protestors are outmatched and the riot geared personnel should appear organized and disciplined in the face of the protest, confident in their superiority. The protestors all wear maple leaf symbols, either Toronto Maple Leafs jerseys/jackets or white shirts/jackets sporting the red maple leaf.
MAJOR ALBRIGHT
While I don’t disagree with the sentiment, the response has been…disproportionate.
All over the Northern Protectorate, protests and riots.
We even had a small bomb go off in Ottawa and we’ve had two deadly attacks on military personnel in the last few months.
The Pentagon wants this nipped in the bud before it becomes a full scale resistance movement.
Page 4
5 Panels
Four panels in a square at the top of the page, fifth panel across the remaining space at the bottom.
Panel 1
Colonel Baxter, towel around his neck and still wearing his kendo armour, pulls back a curtain to reveal the courtyard below. Three flags fly. A large "new" Canadian flag flanked by two American flags, their flagpoles lower than the center one.
COLONEL BAXTER
There have been no riots here, Major.
No protests, no attacks and certainly no bombs.
MAJOR ALBRIGHT
Exactly.
Every major city, every resource processing center, every military installation. Except this one.
Why do you think that is, Colonel?
Surely your reputation for extreme worker discipline should put you at the top of the hitlist, no?
Panel 2
Colonel Baxter and the major face each other, the Colonel looks angry, slamming his palm on the desk. Both men are on the far side of the desk, the chair is empty. The window, curtains closed, is in the background. Kodama still in kendo armour is putting the kendo swords and helmets away in a case beside the window.
SFX
CLAAK (hand slamming)
COLONEL BAXTER
Are you accusing me of something, Major?
MAJOR ALBRIGHT
Your worker discipline doesn’t concern me, sir. Not my bailiwick.
I think that there’s a good reason why your operation has largely been spared.
I think that it all starts here.
Someone is organizing it and I think it’s all rooted in this girl’s attack.
COLONEL BAXTER
So if it all starts here, why haven’t there been riots and protests here?
That makes no sense.
Panel 3
Close on the Major
MAJOR ALBRIGHT
You mean aside from the worker’s abject terror at what your reaction might be?
Whatever group or individual is behind this knew that it would stand out if there was one major operation that went violence free while the rest of the Protectorate erupted.
They’re drawing our gaze to the eye of the storm.
Sometimes the action you don’t take is as important as the one you do.
COLONEL BAXTER, off camera
So you showed up early.
To get the lay of the land, so to speak.
MAJOR ALBRIGHT
Exactly. If they know I’m here, things are likely to heat up in a hurry.
What we’ve seen so far has just been a prelude.
There’s a lot more trouble on the horizon.
Even if I’m wrong about the leadership being here, it’s a pretty good bet that James Bay is due for its share of that trouble sooner rather than later, fear of reprisal or no.
I plan to stop it before it starts.
Panel 4
Kodama is shown from behind as he draws back the curtain on the window that the Colonel had recently looked out of. The two officers still face each other in the foreground. Kodama still wears most of the kendo armour.
KODAMA
Sir?
Panel 5
The Colonel and the Major look out in horror through the window in a reverse angle shot. Our hero peeks out from the side of the drawn curtain. Reflected in the glass are the three flags in the courtyard. The two American flags are burning while the "new" Canadian flag has a massive red handprint over the blue star. The print is sloppy, dripping but unmistakably a handprint in red paint.
COLONEL BAXTER
Do you have a plan B?
Page 5
9 Panels
Page is laid out as 8 equal panels 4 down 2 across but bottom two panels are a single panel 7 with two smaller panels inset .
We are going to meet all 5 of the rapist soldiers in the next few pages. Harris, Phipps, Wong, Perkins and Chavez. Wong and Chavez should be Asian and Hispanic looking, respectively, Harris is African-American, Phipps is Caucasian with dark hair, Perkins with blond. All are clean cut, powerful examples of soldiery. They are also the true villains of the piece.
Panel 1
Night scene. A lone figure in ninja-esque garb flips over a wall into a military compound. He is entirely in black with a dark red hand print on his mask. Only his eyes are not covered by the mask. Two swords stick up above his back, the one on the left is a normal katana, the right is the Blood Sword.
Panel 2
A man’s hand (Major Albright) holding the previously seen picture of the beaten girl.
MAJOR ALBRIGHT
These five soldiers that the army sent here, they’re a handful of trouble.
They’ve got enough connections between them that the brass had an easier time transferring the lot of ‘em to you rather than break them up after…this.
She was the fifth one we know of. The first to die.
Panel 3
The ninja with his back to the wall at the edge of an open door. Light and laughter spill out from within, several men and women, all soldiers, can be seen drinking and laughing.
Panel 4
The major tosses the picture onto the Colonel’s desk. The major is still dressed as a civilian, the Colonel has changed into camouflage fatigues appropriate to his rank. Both men remain dressed this way throughout the rest of the story.
MAJOR ALBRIGHT
All this violence, all this unrest, thanks in no small measure to these five assholes.
All of a sudden we have this "Red Hand" popping up all over the Northern Protectorate.
The Canucks are using it instead of the maple leaf, some sort of symbolic protest.
It has a similar visual signature to the leaf, five fingers to symbolize the five victims, easy to slap up anytime, anywhere and it has a sort of Zorro-esque feel to it.
Panel 5
Reverse angle from panel 3, ninja’s hand tosses in a flash bang grenade shown bouncing a couple of times, reflected in the FX
SFX
clunk-tink-tink
Several room occupants shout "GRENADE!" simultaneously.
Panel 6
Colonel Baxter sitting at his desk
COLONEL BAXTER
Sure, we’ve seen this "red hand" here and there, but nothing big or splashy until you showed up this morning.
I know you think we’re the eye of the storm, but couldn’t it just be that James Bay is so isolated, so far removed from the rest of the Protectorate that we’re just too far away to bother with?
MAJOR ALBRIGHT, off camera
No. He’s here.
I can smell it.
Panel 7
Ninja carries an African-American man (Harris) on his shoulder out of the barracks, smoke billowing from the door behind him.
Inset into panel 7 small panel 8 and 9.
Panel 8
SFX
SLAP
His left hand slaps the wall beside the door
Panel 9
Hand pulling away to reveal dripping red hand print
Page 6
5 Panels
Four horizontal panels. The top one is split into two.
Panel 1
Kodama shown on the screen inset into Colonel Baxter’s arm. Kodama looks panicked.
KODAMA
Sir! There’s been an attack!
Panel 2
Colonel Baxter and Major Albright, facing each other over the Colonel’s desk, we can still see Kodama’s face in the Colonel’s arm screen.
COLONEL BAXTER and MAJOR ALBRIGHT simultaneously shouting
WHAT?!
Panel 3
The barracks room seen over the shoulder of the Colonel and Major, shadowed in the foreground. Everyone is alive but all are wounded and bleeding, medics are working on patients on tables and the floor.
Panel 4
Outside the barracks we see the two officers, our hero in the background. Colonel Baxter grabs the nearest walking wounded soldier. The soldier is between the two men, concealing the handprint seen in the next panel.
COLONEL BAXTER
What happened here, soldier?
SOLDIER
Somebody threw a flashbang.
Then they took Harris!
He was here playing cards with us but he’s gone!
Panel 5
The Colonel and the Major share a knowing look as the Colonel shoves the soldier out of frame, the bloody handprint on the wall between them revealed.
MAJOR ALBRIGHT
One of our five assholes.
Page 7
4 Panels
Panel 1
Colonel angrily turns to Kodama as he and the Major still stand in front of the barracks.
COLONEL BAXTER
Kodama. Tell the captain of the M.P.s. what the private there told me about Harris.
Get a picture of Harris distributed.
Maybe he’s hiding in a latrine somewhere.
If he is, have him brought to me.
Panel 2
Kodama up close, Major Albright in background
KODAMA
Yes sir.
MAJOR ALBRIGHT
And if he’s not hiding in the crapper?
Panel 3
Close on Colonel, his eyes narrowing coldly
COLONEL BAXTER
You find him. And whoever took him.
Then you get to see where I get my reputation.
Panel 4
Back of Colonel as he stalks away from the barracks, Kodama is rushing off in the distance, soldiers running purposefully in all directions in the distance. Major Albright is still looking at the red hand print, thoughtfully.
COLONEL BAXTER
Major, walk with me.
Page 8
4 Panels
4 horizontal panels, backgrounds on all four stay static as the two men walk along, followed by the figure on the roof
Panel 1
Colonel and Major walk, viewed from a distance, low buildings all around as they walk. Unseen by them a figure walks stealthily along the roof as they walk and talk.
MAJOR ALBRIGHT
What’s on your mind Colonel?
COLONEL BAXTER
Swords. Those men were attacked with swords. Not guns, not knives.
More precisely, sword, singular.
Panel 2
Same as panel one, walking further along, the figure still follows in rooftop shadow.
MAJOR ALBRIGHT
And you know this…how?
COLONEL BAXTER
I spent my early career in Japan, Major.
I studied with some of the best katana experts in the world in those days.
I know a sword cut when I see one.
Those men were attacked by a swordsman.
Maybe more than one, but I’d bet just one man.
MAJOR ALBRIGHT
Damn.
Panel 3
Same as above, further along the walk.
COLONEL BAXTER
You’re not here for any cabal mastermind, are you Major?
MAJOR ALBRIGHT
No. Although part of my mandate is rooting out the Resistance leadership, it’s far, far worse than that.
Someone in the Resistance has found the Blood Sword.
Panel 4
Same as above three, the two officers are no longer walking and the lurking figure is gone.
COLONEL BAXTER
The Blood Sword?
The Blood Sword is a myth.
The Japanese Excalibur.
MAJOR ALBRIGHT
I wish it were, Colonel. It’s very, very real.
At least two attacks in the last few months on U.S. installations, massive casualties, all sword cuts, all lethal.
Best I can tell it’s the work of one man.
COLONEL BAXTER
So, why didn’t your guy kill everyone in that room? That’s the story, as I’ve heard it.
Draw the Blood Sword and it won’t allow itself to be sheathed again until its bloodlust is sated.
Everyone in that room would be dead if you’re right.
MAJOR ALBRIGHT
I don’t know, sir. It doesn’t fit the pattern.
Page 9
8 Panels
Page equally divided in 3 horizonally. Top and bottom panels span page, middle section is four panels slashed diagonally to give a sense of quick motion, last 2 panels inset into bottom panel
Panel 1
Several men (soldiers, various races/sizes including Phipps, the dark haired Caucasian rapist) showering. Steam clouds all around, only portions of each man are visible.
Panel 2 - 5
Ninja clad hero slashes into frame, taking out all but one, non-fatally. Fast strikes, men falling in the steam, blood spurting, each panel shows a man fewer than before until only the one remains. Blood Sword still sheathed over right shoulder. He uses only the regular katana.
SFX
Sh-kkk Ai-eeee, THUNK, Aaahhkk (sword effects and screams, alternately)
Panel 6 (bottom of page spanning page)
Katana wielding hero has last remaining showering soldier (Phipps, dark haired Caucasian) on his knees (steam strategically covering his nudity) with the katana point under his chin.
SFX
Aaaaiieee Ahgggg (men screaming, unseen in the steam)
Panel 7-8 inset into 6, same look as last panel on page 5
Panel 7
SFX
SLAP
His left hand slaps the wall of the shower
Panel 8
Hand pulling away to reveal dripping red hand print
Page 10
7 Panels, two inset into panel 2
Panel 1
Soldier (Wong, Asian) in bed with two girls, oblivious to the ninja figure entering through a window.
Panel 2
Girls covering themselves as they run from the room, the soldier still on the bed and the ninja with his katana point under his chin
Panel 3-4 inset into 2, same look as last panel on page 5
Panel 3
SFX
SLAP
His left hand slaps the wall
Panel 4
Hand pulling away to reveal dripping red hand print
Panel 5
Colonel Baxter and Major Albright are talking in Baxter’s office. Albright is showing Baxter the files on the Blood Sword attacks. Gruesome pictures, many casualties in two separate incidents. Folders labelled "Niagara" and "Yellowknife".
COLONEL BAXTER
So you say all this was one man, with the Blood Sword.
And now he’s here.
MAJOR ALBRIGHT
The sword injuries in the barracks would seem to back me up.
COLONEL BAXTER
That’s just it. Those wounds were precise. Surgical.
Enough to disable, but all of those soldiers will recover.
Your Blood Sword should have dismembered every man and woman in that room.
MAJOR ALBRIGHT
So he’s not using the Blood Sword for some reason.
It’s still him. I can feel it in my gut.
Panel 6
Baxter tapping on his wrist screen. He’s making a call, show a keypad image on screen
FX
tip-tap-tap
COLONEL BAXTER
You’ll forgive me if I don’t consult your gut while I try to recover my soldier.
Panel 7
Albright, leaning over the desk as the Colonel makes his call.
MAJOR ALBRIGHT
Soldiers, plural. He’ll take all five within the day.
Colonel Baxter speaking to a female captain on his wrist, Hispanic woman
COLONEL BAXTER
Captain Lopez, lock it down. As of five minutes ago, curfew is in effect.
All non-military personnel are to be in their quarters and accounted for.
Announce it on the P.A. now. Detain anyone found in violation of curfew, starting immediately.
Page 11
11 Panels, last two inset into panel 10
Panel 1
Two men (soldiers) boxing. These are the last two of the five soldiers on our hero’s list, Perkins (Caucasian, blonde) and Chavez (Hispanic).
Captain Lopez announcing the curfew on the P.A. in the gym
CAPTAIN LOPEZ ON P.A.
Curfew in effect…
Panel 2
More boxing, different angle, punch lands
CAPTAIN LOPEZ ON P.A.
All non-military personnel to be in quarters by 1930 hours…
Panel 3
Ninja clad, red hand masked, two swords on his back figure flips into the ring.
CAPTAIN LOPEZ ON P.A.
Those found in…
Panel 4
Both men turn, startled.
CAPTAIN LOPEZ ON P.A.
Violation…
Panel 5-9 small panels, fast motion, impacts,
Leg sweep, chop to chest, kick to knee, roundhouse kick to faces of both men in same motion.
CAPTAIN LOPEZ ON P.A. spread over 4 panels
Will Be Forcibly Detained
Panel 10
Ninja dragging both men out of ring.
CAPTAIN LOPEZ ON P.A.
Repeat, curfew now in effect…
Panel 11-12 inset into 10, same look as last panel on page 5
Panel 11
SFX
SLAP
His left hand slaps the canvas of the boxing ring.
Panel 12
Hand pulling away to reveal dripping red hand print
Page 12
9 Panels
Panel 1
Colonel Baxter and Major Albright oversee a barracks to barracks search for the missing soldier. A sign overhead indicates the search is happening in the "Worker’s Quarter" to let us know that this is the Canadian workers housing area. The barracks are set on each side of an unpaved snowy lane, obviously large enough to house lots of men in each and the line stretches on for a good distance, at least a dozen barracks on each side. As they watch some soldiers search, the Colonel’s arm screen squawks to life under his uniform.
UNNAMED VOICE ON COLONEL BAXTER’S ARM SCREEN
Sir! Another soldier has been reported missing.
COLONEL BAXTER
Who?
UNNAMED VOICE ON COLONEL BAXTER’S ARM SCREEN
Private Phipps, sir.
Panel 2
Major Albright turning to Colonel Baxter. Searching of barracks continues in the background.
MAJOR ALBRIGHT
It won’t be long before he has all five.
COLONEL BAXTER
Then what?
MAJOR ALBRIGHT
Nothing good.
Panel 3
Colonel Baxter speaks into his arm screen. Now we see Captain Lopez on the screen.
COLONEL BAXTER
Captain Lopez, secure privates Wong, Perkins and Chavez immediately.
All three are to be in protective custody as soon as you can lay hands on them.
CAPTAIN LOPEZ from the arm screen
Sir! My men are on it.
Panel 4
Pull back from panel 1, longer shot showing 4 soldiers each at a different barracks door.
SOLDIER 1
Sir! You need to see this!
SOLDIER 2
Sir!
Soldier 3
Sir! Contraband!
Soldier 4
Sir!
Panels 5-8 inset each near one of the above speaking soldiers. In each frame, a soldier’s hands hold a crude "new" Canadian flag with a red hand print over the blue center star.
Panel 9
Tight on a grim looking Major Albright
MAJOR ALBRIGHT
Like I said, nothing good.
Page 13
6 Panels
Panel 1
Five soldiers (the five captured by the ninja) all kneel in a semi-circle. Phipps (Caucasian, dark hair) is the only one to speak and should be at the center. The other four can be in any order. Each has a katana laid across his knees. Five shadowed figures behind the men hold guns on them.
Panel 2
Reverse angle of panel 1 from just behind the five kneeling men, now we see the ninja (Kodama) with the hand print on his mask facing the five men. His two katanas are still sheathed above either shoulder.
KODAMA
You have each been given a weapon with which you will you will defend yourselves.
More consideration than you gave any of your victims, I think.
Panel 3
Close on man at the middle position, Phipps.
PHIPPS (Caucasian, dark hair)
Defend ourselves?
Why?
Panel 4
Close on masked ninja Kodama.
KODAMA
So that your deaths will not dishonour me.
You are all guilty of murder and deserve nothing less, but I will not kill unarmed men.
Panel 5
Close on Phipps again.
PHIPPS
Murder? We had some fun with a little slut and things got a bit rough.
She wanted it. She just couldn’t handle it. Shit happens, man.
Panel 6
Close on Kodama, unmasked but hand still in motion with the mask in it. Rage is building on his face but he isn’t quite as nasty looking as he gets on the next page.
KODAMA
She was my sister.
Page 14
Splash page
Kodama drawing the Blood Sword, what little can be seen of the five men shows fear on their faces. Kodama is snarling in righteous rage.
KODAMA
This is the Blood Sword.
Once it is drawn, it cannot be sheathed until it has sated its appetite for blood.
The five men with guns behind you are gone.
It is just the five of you, me and the Blood Sword now.
May you die more honourably than you lived.
Page 15
8 Panels
The big fight. There is no dialogue. This should be violent in the extreme. When the Blood Sword strikes, blood sprays from the wound in a big arc that follows the sword path. Kodama uses the Blood Sword correctly, two handed. His opponents are not as good, obviously. They use their swords one handed and look awkward using them. It really doesn’t matter which soldier is in which panel, the artist can use them wherever feels right. Phipps, the obvious ring leader dies last. Sword motions taking the blades out of panel would probably work in some spots here.
Panel 1
Kodama parries a blow while kicking another soldier in the gut
Panel 2
Solid sword hit to the neck of one of the soldiers, arterial spray, one down.
Panel 3
Kodama dodges a blow from a wildly swung sword by bending almost impossibly far backwards
Panel 4
Motion from panel 3 becomes a backflip and Kodama kicks the panel 3 soldier in the face as he flips
Panel 5
Sword strike stabs soldier through the chest, 2 down.
Panel 6
Upwards diagonal slice, seen from behind soldier slashes victim 3 open, blood spray, 3 down
Panel 7
Backwards under arm stab of victim 4 as he tries to sneak up as victim 3 falls. 4 down.
Panel 8
Kodama makes a snarling "come hither" with motioning finger to Phipps.
Page 16
3 Panels
2 Panels at top of page, large 3rd panel full page width at bottom
Panel 1
Baxter and Albright are talking in Baxter’s office. Both men are standing in front of his desk, Baxter’s hand rests on the katana on its stand on the desk.
COLONEL BAXTER
He’s had all five of them for nearly a day.
What’s his play?
MAJOR ALBRIGHT
I expect we’ll find out.
I also expect we won’t like it.
Panel 2
Captain Lopez bursts in, the two men turn toward her in surprise.
CAPTAIN LOPEZ
Colonel! In the courtyard!
Panel 3
Similar to the moment when the Colonel and Major saw the burning flags. This time, in front of the now empty flagpoles (tops of the two flanking poles should appear charred, if we can see them) there lie 5 bodies.
The five dead men are laid out on the snowy ground in a grotesque parody of the red hand symbol, each man a finger, their dripping blood pooling into a misshapen palm.
MAJOR ALBRIGHT, quietly, under his breath.
I hate it when I’m right.
Page 17
6 Panels
Panel 1
Major Albright looks around the Colonel’s office. The Colonel is still looking out his window at the horror show in the courtyard.
MAJOR ALBRIGHT
Colonel? Where’s your valet?
COLONEL BAXTER
Kodama? I haven’t seen him all day.
You don’t think…
Panel 2
Albright is running out the door.
MAJOR ALBRIGHT
I do.
Panel 3
Albright kicks down a door. We see a figure in the shadows, sitting in the lotus position with a sword across his knees.
SFX
KERRR-RUNNNCH
Panel 4
Albright and the lotus position seated Kodama face each other.
MAJOR ALBRIGHT
She was your sister, wasn’t she?
KODAMA
She was. And she deserved justice that your military would never serve.
Panel 5
Close on Albright
MAJOR ALBRIGHT
You used the Blood Sword. For justice. I think that might be a first.
Panel 6
Close on Kodama, peaceful look on his face.
KODAMA
Perhaps.
Page 18
Splash page plus 5 floating, borderless panels
Splash page shared with page 19. The two pages each show half a person, Kodama’s Father mirrored with Kodama himself, sitting in the lotus position, Blood Sword across their knees. When viewed as a whole, the two pages should appear to be one man sitting, his right side (page 18) the older and his left (page 19) the younger.
Kodama’s Father sits in the lotus position, Blood Sword across his knees. All the dialogue is in boxes, all from Kodama. The panels indicated are floating around the page without borders.
Panel 1
Ancient samurai warrior (Kenshin Kawakami) wields the Blood Sword in battle.
KODAMA
The Blood Sword was once held by my great ancestor, Kenshin Kawakami.
Panel 2
Patrick Gleason stabbing Angelus with the Blood Sword
KODAMA
For many, many generations it has fallen from hand to hand, usually to a bloody end.
Panel 3
An older Japanese man (Kodama’s Grandfather) opening a sword case holding the Blood Sword. His face alights with wonder. The case is engraved "Always With Honour".
KODAMA
My Grandfather received the Blood Sword from an anonymous benefactor many years ago.
There was a single instruction engraved on the case.
Panel 4
Kodama’s Father cutting down a room full of soldiers.
KODAMA
My Father received the sword when my Grandfather died last year.
By then, Father was a leader in the resistance.
He thought the Sword would help the cause.
Panel 5
Kodama’s Father looks around in horror and a room full of dead soldiers, the scene we saw earlier in a photograph on page 10.
KODAMA
He used it once by choice.
The horror was beyond measure.
He vowed never to use it again.
Page 19
Splash page plus 5 floating borderless panels
Spash page reflecting page 18 with Kodama’s left side shown sitting in lotus position with the Blood Sword across his knees.
Panel 1
Kodama, similar to previous panel of his Grandfather, opening the case with the Blood Sword inside.
KODAMA
After he was forced to use the Sword again in self-defense, he sent it to me.
I was to keep it secret and safe.
Panel 2
The bruised and beaten girl we saw on page 2 and 3.
KODAMA
When Keiko was killed, I thought about using it.
I wanted revenge so badly.
But no one here deserved to die for someone else’s crime.
The price was too high.
I could only hope that the military would give my sister justice.
Panel 3
The five rapists standing before a review panel.
KODAMA
In a way, they did.
They sent the bastards here.
Panel 4
The flag burning from page 4.
KODAMA
By then, my Father had the "Red Hand" campaign rolling.
We agreed that I would mete out justice, knowing that such an act would likely
lead to both of us being captured.
Panel 5
Major Albright kicking in the door.
KODAMA
That is a price worth paying.
Page 20
8 Panels
Panel 1
Albright pushes Kodama (still in his ninja outfit, minus the two swords that Albright holds) into Colonel Baxter’s office.
MAJOR ALBRIGHT
As we suspected, sir. Kodama has confessed to everything.
Panel 2
Colonel Baxter, furious and crazed looking, draws the katana from his desk.
COLONEL BAXTER
Traitor! I trusted you! I thought you were my friend!
You killed five of my men! For what?!
Panel 3
Kodama, still held from behind by Albright, faces the Colonel.
KODAMA
You occupy my home, take my family’s livelihood and my country’s bounty while forcing us to work for you.
Your men kill my sister and you call a reprimand and a little frostbite "Justice"
and you can stand there and ask "Why"?
Panel 4
Baxter lunges at Kodama, katana swinging.
COLONEL BAXTER
I’ll show you justice you little shit!
MAJOR ALBRIGHT
NO!
You can’t kill an unarmed man!
Panel 5
SFX
Swwwisshhh
Albright pushes Kodama to one side as Baxter’s katana spits the space between them.
Panel 6
Baxter presses the attack, Kodama desperately scuttling backwards as the sword swings and misses, thunking into a chair.
SFX
KER-CHUNK
Panel 7
Kodama is cornered. Baxter raises the katana for the killing stroke.
Panel 8
Exactly the same as above but the blade of the wakizashi protrudes bloodily from the Colonel’s chest.
SFX
shhhk
COLONEL BAXTER
Whhaahh?
Page 21
4 Panels, 4th inset in panel 3, see below
Panel 1
Albright cradles the dying Baxter, Kodama still on the floor.
COLONEL BAXTER(whispering, dying breath)
Why?
MAJOR ALBRIGHT
Because I have a sister too.
Panel 2
Same position as panel 1 but Albright is now looking at Kodama
MAJOR ALBRIGHT
I’m sorry, Kodama. This wasn’t part of the plan.
I didn’t realize he was that unstable.
KODAMA
My Father did. That’s why I’ve been his valet all these years.
My job was to protect the workers from his excesses.
I had many chances to kill him with the Blood Sword,
but so many others would have had to die if I had…
Panel 3
Albright viewed through the office door as he leaves, hands bloody, pauses at the door, Kodama behind him, both swords now sheathed over his shoulders.
MAJOR ALBRIGHT
Sometimes the weapon you don’t use is as important as the one you do.
Panel 4
Reverse angle, Kodama still in the same position, Albright at the door, hand slapping the wall.
Panel 5 (inset, lower right of panel 3)
Albright’s hand pulls away to reveal a bloody red hand print.
MAJOR ALBRIGHT
My mom rooted for the Jays, too.
Page 22
5 Panels
Panel 1
Sara Pezzini gazes into the crystal ball, the punk in the Grateful Dead t-shirt on the other side of the table. A hazy image of the red hand print can be seen in the crystal ball.
SARA PEZZINI
So…if I get the Blood Sword, none of that happens?
PUNK
Maybe. Maybe not.
Panel 2
Sara leaning in to the punk
SARA PEZZINI
That’s not an answer.
Panel 3
Punk leans back, feet up, hands behind his head, slight smirk, Sara still leaning over the table
PUNK
I never said I had an answer for you.
SARA PEZZINI
So why show me all that about the Blood Sword?
It might or might not fall into the hands of a righteous man who uses it only for good.
In the future.
Maybe.
Panel 4
Change angle so we see Sara’s stunned, angry reaction over the shoulder of the punk, still with his hands behind his head.
PUNK
This wasn’t about what you will or won’t do with the Blood Sword if you find it.
When you leave here, go two blocks North, turn right and go in the third door on the North side of the street.
You won’t find the Blood Sword, but you’ll meet a man who knows where to find it.
SARA PEZZINI
Why didn’t you tell me that earlier?
I could have been tracking the Sword instead of watching your light show!
Panel 5
Sara’s back as she leaves the shop, same angle as panel 4, punk still in same position.
Punk, quietly, obvious that Sara doesn’t hear him.
PUNK
Hrmf.
Most people would be grateful for the chance to meet their great-great grandson.
END
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