The Boo-Ya! #2: Pages 21-23

Page 21, 6 Panels- Situation Room, NATO's ETA Division/Café, Brussels Belgium/just outside Moltrasio Italy Panel 1: We move back to Advisor #2 a split second after the action of the last panel of the previous page. The background is similar to when we last saw him in Panel 5 of the previous page. He pushes back his chair in the beginning of the process to stand back up. There's a look of slight befuddlement on his face as he tries to piece together one final thread of information. ADVISOR #2 [to Commander Weber]: What if the fugitives break out before they arrive? Panel 2: Back to the Commander a moment later. She looks on in Advisor #2's direction with her arms crossed behind her back. Her body straightened out in a commanding-type posture. A slight groan exiting her lips just before she's set to give her answer. You can partially see the door leading out of the room in the background around the left side of the panel view. COMMANDER WEBER [to Advisor #2]: Don't worry, Richard. We'll cross that bridge if and when it comes up. Right now... Panel 3: Cut to a screenshot taken an hour after the ladies of the Boo-Ya! had broken out of the jail cell. It's a shot of the outside of the police department building in Moltrasio, taken from security footage. You can see three figures emerging from the hole in the wall, fitting (at least in an outline sense) the physical characteristics of our three heroines. Underneath the image, you can see a news graphic from the state news agency ANSA with the words "CHAOS AT MOLTRASIO POLICE OFFICE" written in Italian. There's also a rolling news crawl underneath said graphic. COMMANDER WEBER [Cont., Off-Panel]: We have a date with history to keep! Panel 4: We pull back slightly a minute later, though we're in the same setting and layout that was in the previous panel. You can see the outline of the television where we saw the broadcast from earlier, which has now transitioned to the tail end of the security footage that was partially seen in Panel 3. This time, with the Madam crushing the camera with one slash of her sword. Meanwhile, around the bottom of the panel view, you can see the action of what appears to be a cafe somewhere. The noise and partial view of a busy morning rush seen taking place at the same moment. Panel 5-6: Cut to a shot on ground level of the kitchen area a couple of seconds later. You can see a large amount of commotion in Panel 5 coming from the three chefs working hard to fill the orders coming from the morning rush. All as Italian pop music plays from the speakers, stretching from Panel 5 to Panel 6. Also in Panel 6, you can see one of the chefs appears through the rectangular window with plates of food in front of him. He rings the bell to signal the waiter that has appeared in the left of the panel view. CHEF [to the Waitress, translated from the rythmically pleasant (and occasionally fascistic) Italian; Panel 6]: Order up! Table 8! Page 22, 6 Panels- Cafe, just outside Moltrasio Italy Panel 1: Same setting/layout as the last panel of the previous page. A handful of beats after the command from the chef, we see the waitress come into view from the left of the panel view dressed in full formal uniform. She grabs the tray filled with plates of food with her right hand, giving a nod to the chef who turns back toward the grill. Panel 2-4: A three-part set of panels that centers aroud the same waitress (the back of her at least), following her as she carries the food to the intended table. With each preceding panel, we see another different section of the cafe and the customers busily in their own worlds and their own conversations. The music above them playing as it has since we got to this scene. Panel 5: Same setting/layout as the previous panel. The waitress takes a turn to the right in the direction of her table, ready to deliver its contents as always. In the left of the panel view, sitting at a booth near the windows, we see a woman wearing a nondescript gray hoodie can be seen at a table sipping a cup of coffee. Panel 6: Close-up on the mysterious woman's face a few moments later. She lifts her head up in the direction of the TV screen off-panel. We see that it's in fact Private Robin Cartwright, bruised and dusty in complexion as if she'd been caught up in a whole lot of conflict and shenanigans leading up to this moment. The cup just beginning to touch the tabletop as the news of the breakout continues on the TV. PRIVATE ROBIN CARTWRIGHT [to herself, a little surprised]: Ha! If they really look like that... Page 23, 1 Panel- TV in the Cafe, just outside Moltrasio Italy Panel 1: A full-page panel showing the same type of graphic layout from ANSA that was seen back in Page 21. The main crux of the news though shows three distinct artist's renderings of the Madam, Nessa and Staehlia. They're each made in a way that is distinctly svelte and fitting of the conventions of Western beauty, except for the Madam who is drawn with more of a chubbier physical structure. PRIVATE ROBIN CARTWRIGHT [Cont., Off-Panel]: I'm Gina fracking Torres! END OF ISSUE 2