James Brighton Society, Chapter 2: Pages 3-4

Page 3, 7 Panels- D.C. Metro Police Precinct Office, Georgetown section of Washington D.C. Panel 1: Cut to an exterior shot of the precinct parking lot minutes later when the main transit box of the public dirigible finally lands on the street nearby. There are a few houses and businesses that can be visible in the background. You can see in the center of the shot the steady stream of bodies start to exit the SkyTrans, including the good Detective who is partially visible amongst it all. Panel 2-3: We move to an action shot in the next two panels a short time later. It starts in Panel 2 with a side shot following our heroine as she passes the metal gates that separate the building off-panel left with the sidewalk. The full-scope of her uniform is visible here which conforms to the standard dress of female officers of the time with the conical hat on her head. You can see some of the passengers that she was riding with walk away upstage and out of view amongst the snowy scene. In Panel 3, a few moments after, we see a collection of cars and personal Steampunk-y flying crafts parked in the background as she passes by. Panel 4: Cut to a wider shot of the lot a few seconds later, showing the scope of the cars in the lot as our heroine approaches the front steps that are visible in the bottom of the panel view. You can see some officers leave one of their cars with perp in tow, looking at the woman with a mix of disgust and mistrust that Ms. Randolph has heard before in this position. Panel 5: We move to a shot from ground level a second later, showing the Detective’s back as she ascends the staircase toward the glass and wood entrance doors. You can see a beat cop, at the same moment, exiting the building. A heavy-set man with a thin dusting of hair still on his head, he gently touches the top of the handle of his gun without a great deal of thought to it. Panel 6-7: A pair of panels that show the two of them as they pass each other moments later. The cop is seen in Panel 6 sending Tasha an immensely distrustful glare. In turn, we see the young woman look on from her periphery as she passes by. The specific emotion that she’s exhibiting at that moment not readily visible at that point in time. OFFICER [under his breath, Panel 6]: Merry Christmas, you burrito eating whore... DET. RANDOLPH [little louder, Panel 6]: Merry Christmas... DET. RANDOLPH [thought caption, Panel 7]: [chuckle] Backwards pedazo de mierda gringo…thinks I don’t speak English. Page 4, 6 Panels- D.C. Metro Police Precinct Office, Georgetown section of Washington D.C. Panel 1: We move to an interior shot of the station seconds later as Tasha formally enters the building. You can see the door half-open on its way to closing behind her as she crosses the front desk, which is visible in the course of the panel view on the right side. You can also see the very empty area at that moment, populated by a few officers walking partially into view on the left side. DET. RANDOLPH [Cont., thought caption]: Probably thinks I'm related to Speedy Gonzalez or some other bullshit…another annoying byproduct of living in the "greatest country on Earth," I guess. Panel 2-3: Cut to a shot of the front desk that we saw partially in Panel 1. We see, standing behind it, OFFICER NATHAN REESE working on some paperwork placed in front of him. He is a black man who’s around the same age as our heroine with green eyes and a warm, Sidney Poitier-like smile. It’s not till we get to Panel 3 that the officer notices her friend coming by and flashes that aforementioned smile. OFFICER NATHAN REESE [to Tasha, smiling; Panel 3]: Tasha! Merry Christmas, chica… Panel 4: Cut to a shot from behind the desk of the Detective standing in front of it. Her right hand touches the top of the hardwood, flashing her own warm smile of friendship. You can see, in the background, the rest of the station and its lack of action at that moment as she speaks. You can even see some snow collect on one of the windows nearby. DET. RANDOLPH [to Officer Reese, pointing behind her]: Merry Christmas, Nate…how's it going? Please tell me there's a good case I can sink into, or at least something confiscated from a Wino or two that I can chug to make the shift go quicker. Panel 5-6: A two-part set of panels that cut back to the good Officer in the same setting and layout as what we saw in Panel 3. In Panel 5, he chuckles deeply and shakes his head in regards to his friend’s request. The smile that he had has, at this point, faded toward a simple stoic grin. In Panel 6, he starts to bend down and search for something that happens to be hidden out of view there. OFFICER REESE [Panel 5]: Sorry, no go. But I do have something that may satisfy the latter wish, depending on your taste in alcohol. OFFICER REESE [Cont., Panel 6]: You know Detective Pence?