James Brighton Society, Chapter 2: Pages 11-12

Page 11, 6 Panels- Avalon Arms, Georgetown section of Washington D.C. Panel 1: We move to an over-the-shoulder shot of Ms. Randolph, showing the back of her as she moves with a good pace toward the entrance a minute later. Officer Jones, a white man in his early 40s with a pumpkin shaped head, notices the young woman coming toward him, lets out a noticeable sigh, and starts to walk back to his car. Panel 2: Cut to a close-up of the Officer a few seconds later standing in between the entrance to the apartment (visible in the background) and his car which isn't visible in the panel view. His body exudes the type of body language usually visible with a 10-year-old going to church when they don't want to. OFFICER JONES [annoyed, to Det. Randolph]: The Mechas are almost done with the apartment sweep. There isn't much else left to do than wait for Freddy to pop down with the results. Panel 3: Cut back to the good Detective standing in front of the Officer. You can see her billy club strapped in a holster to her left, a lone sliver of black that stays the same color while the rest of her uniform slowly collects patches of white as a result of the snow. In the background, you can also see parts of buildings across the street from them. DET. RANDOLPH [looking for clarification, angry; to Officer Jones]: Then why the hell did you even call the APB? Panel 4: We move back to the beat cop in a similar setting as the one in Panel 2. The layout widens out slightly to take in his car, which is visible on the right side of the panel view. He shrugs dismissively at the question he was offered. His body starting to shift in that direction as he gets ready to step back inside as he speaks. OFFICER JONES [shrugs]: Probably just for an extra body for the report. Don't worry, sweetheart, you'll get 'em next time... Panel 5-6: Same setting/layout as the previous panel. A few seconds later, just as Mr. Jones is about to open the passenger side door to his cruiser to wait, he's stopped by the sudden appearance of the Detective's long billy club that appears as a sudden barrier, stopping the man in his tracks. In Panel 6, he turns his attention squarely toward the reader (the Detective off-panel, in real terms) with consternation. DET. RANDOLPH [Off-Panel, Panel 6]: Bullshit, Lester! Page 12, 7 Panels- Avalon Arms, Georgetown section of Washington D.C. Panel 1: Cut to a shot of the good Detective standing a handful of feet away from the beat cop. Her extendable metal billy club firmly in her hands, sprawled out at the bottom of the panel in front of the cop. The young woman has a look of mild annoyance, trying to jump over another hurdle placed in front of her. DET. RANDOLPH [Cont., to Officer Jones]: Just give me 10 damn minutes to search the scene, see if there's anything human eyes can pick up on. After that, I'll leave you and the CWs alone and file the report. Panel 2-3: A two-part set of panels that cut back to the Officer over the course of a minute. The setting and layout behind him is similar to what we saw at the end of the previous page. In Panel 2, he looks at Ms. Randolph in ponderous thought for a few beats. Then, in Panel 3, he shrugs and moves back toward his car. The billy club lifting up like the barrier of a parking garage, welcoming the man's decision. OFFICER JONES [apathetic under his breath, looking for it to end; Panel 3]: Damn broad... OFFICER JONES [Cont.; Panel 3, Bubble 2]: Alright alright, you can go up there! Before you whip out those blasted waterworks... Panel 4: Cut to an interior shot of the building's lobby a few minutes later. We see the good Detective quickly moving through the posh area in the direction of the elevators that can be seen upstage in the center of the panel view. OFFICER JONES [Off-Panel]: Don't get your hopes up you'll find anything, though. It's basically trashed to all hell from what I saw with the Mechas. Panel 5-7: A three-part set of panels that focus squarely on a set of elevator doors that are similar to the ones we saw in the previous panel. The differences lie in the rest of the setting, which looks similar to the hallway where Mr. Brennan's apartment was in that was visible in Chapter 1. The doors remain closed and mostly silent, save for the sounds of commotion off toward the right of each panel's view. In Panel 7, the doors to it open and we see Tasha standing in the doorway looking outward.