James Brighton Society, Chapter 5: Pages 17-18
Page 17, 6 Panels- Charles Briggs' Office, Hart Senate Office Building, Washington D.C.
Panel 1: Cut to a shot of Mr. Briggs in a similar setting and layout to what we saw in the second-to-last panel of the previous page. He looks over in Grem's direction as he takes his first steps toward him. He hangs up the phone and paces over to the left of the desk, following the Irishman's every move.
CHARLES BRIGGS [confused, to Grem]: Who the hell are you?
Panel 2: We move back to an action shot of Grem a second later. He's, at this point, four steps from the somewhat opened doorway. The glow of light form the hallway coming in to the office behind him in the background.
GREM [confident, to Charles]: The name, boyo, is Grem Allen. You've got some info that...
Panel 3: Back to Briggs in a similar setting and layout to what we saw at the top of the page. He stops his forward movement, remaining stationary to the left side of the desk. His look shifting to one of full annoyance, flashing a sneer in the direction of our hero. You can see his right hand touching the edge of the desk just above one of the upper drawers.
CHARLES BRIGGS [interjecting]: How do you know my name?
Panel 4: Cut back to Grem in a similar setting and layout to what we saw in Panel 2. The door in the background remains in the same position as it was then. The lone difference being that he's stopped his forward movement, standing now in the middle of the room. His arms are behind his back; a wide smile comes across his face as he speaks.
GREM: I'm a friend of someone who's been trying to get ahold of you, Chucky. Ya may know her- Tasha Randolph. We both have a mutual enemy, the James Brighton Society, that we're investigating.
Panel 5: Same setting as the previous panel. The layout shifts toward a close-up of the immortal Irishman's face just as the grin has faded toward one of a stoic, intimidating glare in the direction of the government worker. Though his words still hold a touch of charm and flair to them as he speaks.
GREM [Cont.]: So, for your sake, I'd get to talking about what you know. 'Cause the second option is something you're not gonna find..."kind."
Panel 6: Same setting/layout as Panel 4. His question is immediately stopped by a bullet emanating from Mr. Briggs' direction hitting the base of his suit. His body is jarred back slightly as a result of the blast, though there's no sign that it's broken the skin or drawn blood.
Page 18, 5 Panels- Charles Briggs' Office, Hart Senate Office Building, Washington D.C.
Panel 1: Same setting/layout as the last panel of the previous page. A couple of seconds have elapsed since then, and he looks up in the Chief of Staff's direction. As he speaks, you can hear the sound of the hard leather handle of his Fragarach hitting his right hand as it moves up from its holster on his foot.
GREM [to Charles]: That was a deep fried rack of stupid, especially against an armored hide!
Panel 2-3: A two-part set of panels that moves to a side shot. Each panel connected toward a single action shot. The first half, in Panel 2, sees Mr. Allen taking off toward the desk, absorbing two more gunshots and leaping over the third. In Panel 3, we see him slam the man to the wall forcefully, knocking the weapon from his hand.
Panel 4: Cut to a shot of the two of them moments later. Grem's blade pressed up against the base of Charles' neck in a show of forceful intimidation to his point. The look on Mr. Briggs' face, however, is one where he doesn't seem to get the particular memo. His eyes are already looking over to the direction as if waiting for someone.
GREM [forceful, with a growl]: Now, you slimy pissant, what is the JBS planning to do with the Magog? CHARLES BRIGGS [chuckles, to Grem]: The Cleansing, Mr. Allen. That's what they're doing. GREM [Bubble 2]: Cleansing? Cleansing of what?! CHARLES BRIGGS [Bubble 2]: A celebration of a new world on a New Year that will rise from the ashes of its impurities, its evils.
Panel 5: We move to a close-up on the government worker's face a few moments later. A smile coming over his face at that moment, seeing the shadow from the doorway that will soon free him from this constrainment.
CHARLES BRIGGS [Cont.]: Too bad you won't be alive to see it.