B'JESUS - Comic Novel Script

Si
B'JESUS
&
" TWO WRONGS MAKE A RIGHT "
gn
- PART TWO -
ifi
Graphic Novel Script
by
c
Christopher Templeton
an
THIS SCRIPT IS FOR YOUR

OWN PERSONAL USE
DO NOT COPY OR ELECTRONICALLY DISTRIBUTE

tV
THIS SCRIPT TO A 3RD PARTY
A WGA COPYRIGHT REGISTERED SCRIPT NO: 1563913

OI
D
SIGNIFICANT VOID
www.significantvoid.com
+ 44(0)7901 918042 (UK)
ii.
Si
gn
MAIN CHARACTERS
ifi
B'JESUS
MARLENE KAMISH
c
MICHAEL ALVAREZ
"SUNSHINE" RODRIGUEZ
an
HERBERT QUELLE
PEZ
VEGA
BOBBY KILDUNNE
tV
OI
D
GRAPHIC PAGE FORMAT
STORY WRITTEN IN A 9 PANEL 2 X 2 GRID WITH PANELS MERGED

AT THE APPLICABLE MOMENTS.
Si
FRONT PAGE
SELECTED IMAGE OF B’JESUS TO BE AGREED TOWARDS THE END OF

THE STORY/ILLUSTRATION PROCESS.
B’JESUS
gn
And The
THE ART OF LIVING
1 PAGE ONE - SPLASH PAGE 1

ifi
THE CHARACTER OF B’JESUS APPEARS ON A ROOFTOP. HE HAS
JUST BEEN BORN ON EARTH DURING A STORM. HE SQUATS, ALMOST
FOETAL LIKE, ON THE EDGE OF A BUILDING PRECIPICE, HIGH
ABOVE AN URBAN SETTING, SURROUNDED BY PIGEON SHIT, TV
DISHES, DISTANT CRANES, DOMES, SPIRES AND VENTS. HOME.
c
CAPTIONS
Outside in the night - the rain came down.
Like a bucket full of nails in a cardboard town.
an
At the height of the storm the wind went slack.
And out of the sky fell something black.
Up on the roof with the pigeon shit.

Blown from the fires of a bottomless pit.
tV
Crooked as the stone on a poor man’s grave,

You could end up like him if you ever misbehave.
2 PAGE TWO - THREE PANELS - THREE INTEGRATED STRIPS 2
PANEL ONE: (PANELS 1-3 INTEGRATED) A SHARK OF A CAR IN

SHOCKING GREEN SPEEDS INTO A TOWN THAT SITS IN THE MID
OI
DISTANCE. A SIGN ‘WELCOME TO JOLIET - PRISON CITY’ IS

CLEARLY VISIBLE. PUMPED UP ARMS HANG OVER THE OPEN
WINDOWS. A GANG CAR. NO DIALOGUE.
CAPTION
Joliet, east side, October 15, 1984
D
PANEL TWO: (PANELS 4-6 INTEGRATED) MICHAEL ALVAREZ, 17

SITS ON THE STOOP OF A ROUGH HOUSE FRONTAGE IN A ROUGH
PART OF TOWN. SKETCHING. NO DIALOGUE.
PANEL THREE: (PANELS 7-9 INTEGRATED) FROM THE INSIDE OF
THE CAR LOOKING ONTO THE STOOP WITH THE SILHOUETTES OF
THE TWO FRONT SEAT GANG MEMBERS IN THE FOREGROUND FRAMING
ALVAREZ ON THE STOOP (THERE ARE TWO GANG MEMBERS IN THE
FRONT TWO AT THE BACK).
Si
TRIKI DIALOGUE
What's happening, ese?
ALVAREZ DIALOGUE
Nada. Just drawing.
gn
TRIKI DIALOGUE
Here, let me see that.
3 PAGE THREE - SEVEN PANELS 3
PANEL ONE: GROUND LEVEL. ALVAREZ STANDS BY THE CAR WITH

ifi
TRIKI LOOKING AT HIS SKETCH. WE NEVER QUITE SEE THE GANG.
OMINOUS AND HIDDEN BY WINDSCREENS. LARGELY UN-
ESTABLISHED. DIALOGUE COMING OUT OF THE CAR VOID.
TRIKI DIALOGUE
c
Damn, vato! You're good! Ey, you
can sketch my next Tat! Una buena
feria.
an
ALVAREZ DIALOGUE
Really?
TRIKI DIALOGUE
Súbete. Let’s talk about it.
PANEL TWO: CLOSE ON THE DARKENED WINDOW OF THE HOUSE

tV
BEHIND ALVAREZ. WE DON’T SEE A FIGURE. JUST THE DIALOGUE

BUBBLE. IT IS ALVAREZ’S MOTHER.
ALVAREZ’S MOTHER
¡Miguel! Ya vamos a cenar!*
CAPTION
* Michael! Dinner's ready!
OI
PANEL THREE: CLOSE ON TRIKI ALTHOUGH HE IS DARKENED BY

THE SHADOWS OF THE CAR AND ABSTRACTED BY THE WINDOW ARCH
OF THE WINDOW.
TRIKI DIALOGUE
Pfff¡ Un niño de mamá!*
D
CAPTION
* Pfff! A mama's boy!
PANEL FOUR: CLOSE ON ALVAREZ AND THE HORROR OF BEING
CALLED A MAMA’S BOY. A LARGE BEAD OF SWEAT APPEARS HIS
FACE. NO DIALOGUE.
PANEL FIVE: THE BEAD OF SWEAT FALLING INTO THE DARKNESS

Si
OF A GUTTER. NO DIALOGUE.
PANEL SIX: TOP DOWN AERIAL VIEW OF THE CAR, THE PAVEMENT
AND THE BUILDING. THE BACK CAR DOOR IS OPEN AND ALVAREZ
APPEARS TO BE ABOUT TO STEP INSIDE.
gn
ALVAREZ DIALOGUE
¡Ahora vuelvo! *
CAPTION
* I'll be right back!
ALVAREZ’S MOTHER DIALOGUE

?
ifi
PANEL SEVEN: (PANELS 7-9 INTEGRATED) A WIDE ASPECT OF THE
FRONT INSIDE OF THE CAR WITH ALL FIGURES NOW REVEALED
LOOKING THROUGH THE WINDSCREEN. ALVAREZ SITS IN THE
MIDDLE AT THE BACK BETWEEN KIP AND FLACO. TRIKI IN THE
c
FRONT DRIVING. NEXT TO HIM QUDDUS WHO IS AFRICAN
AMERICAN. THE REST ARE LATINO. AT THE BOTTOM OF THE FRAME
DEAD CENTRE A DASHBOARD JESUS FIGURE WITH HAND RAISED IN
BENEDICTION TO THE GROUP. A BROWN BAG IS DISCERNIBLE
an
SITTING ON THE BACK WINDOW SHELF.
TRIKI DIALOGUE 1
This is my clica, boy. Kip. Flaco.
The tanned one is Quddus. He
doesn't speak Spanish.
tV
TRIKI DIALOGUE 2
If you cruise with us, you gonna
get the best pussy. You in a
clica?
ALVAREZ DIALOGUE
No?
OI
4 PAGE FOUR - SEVEN PANELS 4
PANEL ONE: (PANELS 1-3 INTEGRATED) OUTSIDE A DOUGHNUT

STORE WITH LARGE PLASTIC DOUGHNUT ON THE ROOF. TWO
POLICEMEN EXIT WITH COFFEE. THE YOUNGER ROOKIE COP IS
JUAN CARLOS. THE OTHER RAY MURRAY. HARD, MEAN COP IN HIS
D
LATE 40S.
JUAN CARLOS DIALOGUE

Are you OK to drive boss?
MURRAY DIALOGUE
What are you talking about, JC?

Come on, Ray! I can smell your
Si
breath from here!
MURRAY DIALOGUE
Hey JC. It's bad enough I gotta
damn greaser as a partner! And *
you’re telling me how to do my job
gn
as well?
PANEL TWO: CLOSE ON JUAN CARLOS LOOKING AWAY AND SAYING

TO HIMSELF.

Ass hole.
ifi
PANEL THREE: CLOSE ON RAY MURRAY. THROUGH THE CAR WINDOW
THERE ARE LONG WALLS WITH LATINO GRAFFITTI. HE IS
DISGUSTED BY IT.
MURRAY DIALOGUE
c
Look at this town! Filled with
these damn mojado beaners! This
country is going to hell!
an
PANEL FOUR: (PANELS 4-6 INTEGRATED) SAME ASPECT AS PANEL
SEVEN ON PAGE THREE. FRONT OF THE GANG CAR.
TRIKI DIALOGUE
...I say to this guy: 'Man! Triki
Ballena don't take no shit!'
That's when I took out the 9mm.
tV
KIP
Yo! Yo! Wait a second! You got a
9mm?
TRIKI
¡A huevo! It’s behind you! In the
bag!
OI
PANEL FIVE: THE FRONT EXTERIOR OF THE POLICE CAR WAITING

AT A TRAFFIC LIGHTS. PEDESTRIANS CROSSING IN FRONT. NO
DIALOGUE.
PANEL SIX: CLOSE ON QUDDUS IN FOREGROUND, FLACO IN THE

BACK SEAT IN THE GANG CAR.
D
QUDDUS DIALOGUE
Oh Shit! A police car!
FLACO DIALOGUE
¡Puta madre!
PANEL SEVEN: GANG CAR. SIMILAR ASPECT TO COP CAR ON THE
OTHER SIDE OF THE STREET. FRONT ASPECT. WAITING AT A
TRAFFIC LIGHT. PEOPLE CROSSING. MUM WITH PRAM. KIDS.
TRIKI DIALOGUE IN THE PANEL BUT WITHOUT SEEING TRIKI.
DIALOGUE BOX DIRECTED FROM THE ROOF OF THE CAR.
Si
TRIKI DIALOGUE
¡Tranquilos, tranquilos!...
5 PAGE FIVE - FIVE PANELS 5

gn
PANEL ONE: (PANELS 1-3 INTEGRATED) TWO SHOT FRONT ASPECT
OF RAY AND JUAN CARLOS WITH RAY BALANCED HARD LEFT OF
FRAME (PERHAPS SLIGHTLY ABSTRACTED) AND JC ON THE RIGHT
(PERHAPS SLIGHTLY ABSTRACTED). SYMMETRIC. DIALOGUE RANGES
BETWEEN THEM IN STACKS.
MURRAY DIALOGUE
ifi
Look! See that Black guy in the
car packed in with the Latinos?

You want to pull them over because
c
there's a Black guy in a Latino
car?
MURRAY DIALOGUE
an
Watch and learn, boy-chick. I’ve
got everyone’s rap sheet locked in
the old memory bank.
PANEL TWO: CLOSE ON RAY WITH THE RADIO PIECE.
MURRAY DIALOGUE
tV
Suzy? Ray here. We have a possible

Code 9 heading South along Draper
Avenue. *
PANEL THREE: CLOSE ON RAY’S FACE WITH CROOKED, EVIL GRIN.
PANEL FOUR: RED LIGHT ON THE ROOF OF THE POLICE CAR

BURSTS INTO ACTION.
OI
PANEL FIVE:(PANELS 7-9 INTEGRATED) WIDE FRONT ASPECT OF

GANG CAR WITH ALL MEMBERS FREAKING OUT, MAYBE ONE MEMBER
FROM THE BACK ROW LEANING FORWARD TO SEE WHAT THE COP CAR
IS DOING.
TRIKI DIALOGUE
D
Flaco, ¿qué están haciendo? Flaco!*
CAPTION
* Flaco, what are they doing?
Flaco!
FLACO DIALOGUE
¡Carajo!
QUDDUS DIALOGUE
Oh man! I wish you mother fuckers
Si
would speak English!
KIP DIALOGUE
What do we do with the bag?
TRIKI DIALOGUE
gn
How the fuck should I know?
ALVAREZ DIALOGUE
Give the bag to me!
6 PAGE SIX - SEVEN PANELS 6

ifi
PANEL ONE: CLOSE ASPECT OF TRIKI.
TRIKI
Ha! What are you going to do?
Stupid kid!
c
PANEL TWO: CLOSE ASPECT OF THE WHEELS OF THE GANG CAR AS
THEY SPIN AND BURNS WITH CLOUDS OF SMOKE.
an
PANEL THREE: CLOSE ASPECT OF SPEEDOMETER AS IT HITS 70
MPH.
PANEL FOUR: REAR ASPECT OF POLICE SIREN IN FOREGROUND

WITH GANG CAR SPEEDING IN THE DISTANCE.
PANEL FIVE: CLOSE ASPECT OF ALVAREZ WITH WRY SMILE

tV
PERHAPS SLIGHTLY ABSTRACTED.
ALVAREZ DIALOGUE
Listen to me idiots. There's five
of us and only two of them. If you
pull up hard and we all scatter -
chances are they won't chase the
guy with the bag...
OI
PANEL SIX: CLOSE ASPECT OF TRIKI WITH PALPABLE RELIEF ON

HIS FACE.
TRIKI
Chavos! Our boy has a plan! OK.
I’m gonna hit the brakes in five
D
and then we all run like shit in

different directions! OK?
PANEL SEVEN: (PANELS 7-9 INTEGRATED) SIDE ASPECT OF THE
GANG CAR AND THE POLICE CAR RACING IMMEDIATELY BEHIND IT
IN A HIGH SPEED HOT PURSUIT WITH SIRENS. DUST EVERYWHERE.
DIALOGUE FROM THE POLICE CAR.
Si
MURRAY DIALOGUE
Huh! I know what they’re up to! OK
JC! Let's see if you can run as
fast as those mojado beaners
across the border. *
gn
(thought bubble)
Ass-hole...
7 PAGE SEVEN - SEVEN PANELS 7
PANEL ONE: CLOSE ASPECT TRIKI’S FOOT ON THE ACCELERATOR.

ifi
PANEL TWO: RAY MURRAY WITH THE LOOK OF A PREDATOR.
PANEL THREE: BACK OF THE GANG CAR. DIALOGUE COUNTDOWN

ABOVE THE ROOF.
c
ALL
5 - 4 - 3 - 2 - OK! LET’S DO THIS!
an
PANEL FOUR: (PANELS 4-6 INTEGRATED) ARIEL TOP DOWN ASPECT
OF THE GANG CAR SWERVED AT AN ANGLE WITH THE EDGE OF THE
COP CAR BEHIND IT. THE DOORS OF THE GANG CAR ARE OPEN.
GANG MEMBERS ARE SPILLING OUT. WE SEE TRIKI, ALVAREZ AND
QUDDUS.
PANEL FIVE: CLOSE ASPECT OF ALVAREZ LOOKING FOR AN

tV
ESCAPE.
PANEL SIX: ALVAREZ SPIES AND ALLEY IN THE DISTANCE.
PANEL SEVEN: ALLEY LOOKING UP WITH ALVAREZ RUNNING DOWN

WITH THE BAG IN HIS HAND TOWARDS US. IN THE FAR DISTANCE
THE FIGURE OF RAY MURRAY.
OI
8 PAGE EIGHT - SEVEN PANELS 8
PANEL ONE: ALVAREZ RUNS INTO THE FACE OF A LARGE BRICK

WALL. IT’S A DEAD END.
ALVAREZ DIALOGUE
!
D
PANEL TWO: ALVAREZ POV LOOKING UP. A WALL TOO HIGH TO

CLIMB.
PANEL THREE: CLOSE ASPECT ALVAREZ TURNS HIS HEAD.

PANEL FOUR: FULL ASPECT OF RAY MURRAY WHO NOW STANDS
BEHIND ALVAREZ.
MURRAY DIALOGUE
Ha, boy! You're one sad-looking
Si
fuck. Guess you were just born
luckless.
PANEL FIVE: CLOSE ASPECT OF GUN HOLSTER AS RAY UN-

HOLSTERS HIS .357 MAGNUM. NO DIALOGUE.
gn
PANEL SIX: CLOSE ASPECT OF PANIC STRICKEN ALVAREZ. HIS
ARMS ARE RAISED.
YOUNG ALVAREZ DIALOGUE

Look! Look! I give up, I give up!
PANEL SEVEN: CLOSE ASPECT OF RAY WITH A PREDATORY GRIN.

ifi
MURRAY DIALOGUE
Compadre. You're in no position to
bargain!
PANEL EIGHT: (PANELS 8-9 INTEGRATED) CLOSE ASPECT OF A

c
HAND AND A GUN RAISED JUST INCHES FROM THE FACE OF
ALVAREZ. NO DIALOGUE.
an
9 PAGE NINE - SEVEN PANELS 9
PANEL ONE: TOP DOWN POV OF THE TWO MEN AT THE END OF THE
ALLEY. WE RISE UP THE RIGHT HAND BUILDING IN THE ALLEY IN
THREE STAGE TO FINALLY REVEAL B’JESUS WHO IS WATCHING
EVERYTHING. PASSING WINDOWS, FLOWER POTS, HANGING
LAUNDRY.
tV
CAPTION
Up on the roof is a
twisted soul...
PANEL TWO: GETTING HIGHER, STAYING ON THE SAME VERTICAL

LINE UP.
OI
CAPTION
Cinder for a heart and
two eyes like coal...
PANEL THREE: ALMOST AT THE ROOFTOP, PERHAPS WE SEE THE

EDGE OF B’JESUS’S HAND ON THE EDGE OF THE CORNICING AT
THE RIM OF THE ROOF EGDE.
D
CAPTION
Smile on his face like a
furnace door...
PANEL FOUR: (PANELS 4-6 INTEGRATED) IT’S B’JESUS! WE SEE
HIM CROUCHED OVER THE SCENE BELOW ANTICIPATING EVERY
MOMENT.
CAPTION
Si
He knows every treachery and
just what it is for.
B’JESUS
I think this little story need an
ending...
gn
PANEL FIVE: CLOSE ASPECT OF THE BAG WITH THE GUN DROPPING
TO THE FLOOR BY ALVAREZ’S FEET. ALVAREZ’S HAND IS OPEN AS
IT HITS THE GROUND. NO DIALOGUE.
PANEL SIX: CLOSE ASPECT AS ALVAREZ’S HAND INSTINCTIVELY

GRASPS THE BARREL OF THE .357 MAGNUM. NO DIALOGUE.
ifi
PANEL SEVEN: CLOSE ASPECT OF RAY MURRAY’S SHOCKED FACE
LOOKING STRAIGHT AT THE READER AS IF LOOKING AT ALVAREZ.
MURRAY
You have got to be dickin' me boy!
c
10 PAGE TEN - FIVE PANELS 10
an
PANEL ONE: (PANELS 1-3 INTEGRATED) LOW ANGLE LOOKING UP
AT B’JESUS LOOMING TALL, PEERING DOWN FROM THE EDGE OF
THE ROOF. THE SKY IS GETTING DARK AND FORBODING.
B’JESUS
Brave Boy!
tV
PANEL TWO: (PANELS 4-6 INTEGRATED) THIS PANEL REPRESENTS

CONSECUTIVE ACTION OF THE SAME IMAGE IN 3 STAGES OF THE
TWO MEN STRUGGLING WITH THE GUN AS IT RISES ABOVE BOTH
THEIR HEADS.
CAPTION 1
The bullet and barrel swing
violently between two realities.
OI
CAPTION 2
Barrel holding on to the bullet
for dear life.
CAPTION 3
Good guy or bad guy?
D
Sings the barrel of the gun.
PANEL THREE: CLOSE ASPECT OF B’JESUS IN CONTROL OF THE

MOMENT.
B’JESUS
The bullet is ready and restless,
man. AHHH! I need to nudge this
moment along.
Si
PANEL FOUR: CLOSE ASPECT AS THE GUN FIRES.
PANEL FIVE: CLOSE ASPECT OF ALVAREZ IN TOTAL SHOCK AS THE

GUN FIRES.
gn
11 PAGE ELEVEN - FIVE PANELS 11
PANEL ONE: (PANELS 1-3 INTEGRATED) TOP DOWN HIGH WIDE

VIEW. RAY MURRAY IS FLAT OUT WITH A BULLET SQUARE IN THE
MIDDLE OF HIS HEAD. A SLOW BLOOD TRICKLE SPILLS INTO THE
ALLEY. ALVAREZ IS OVER HIM WITH DROOPING SHOULDERS, THE
GUN STILL SMOKING IN HIS HAND. THE GUN BAG BESIDE HIM.
ifi
CAPTION
The bullet chooses living matter!
And the softest target at that!
The brain of the pistol - wielding

c
Police Officer!
PANEL TWO: ASPECT OF B’JESUS LOOKING DOWN ON THE SCENE.

an
B’JESUS
That'll teach you to carry guns.
PANEL THREE: CLOSE ASPECT OF GUN HANGING DOWN, POINT TO

THE GROUND, LOSE IN ALVAREZ’S HAND.
CAPTION
tV
The gun speaks.
THE GUN
I only do as I am held.
PANEL FOUR: INTERIOR OF RAY MURRAY’S BRAIN WITH A BULLET

LODGED INSIDE WITH AN ENGRAVED CHANNEL WHERE IT HAS
ENTERED.
OI
CAPTION
Brain said nothing.
It would have said: ‘I AM THE
LAW!’
PANEL FIVE: CLOSE ASPECT STILL LOOKING FROM THE GROUND UP

D
TO B’JESUS WITH EYES OPEN IN SYMPATHY AND SCRATCHING HIS

HEAD IRONICALLY.
B’JESUS
BOY! That’s got ta hurt!
PANEL SIX: (PANELS 8-9 INTEGRATED) BACK ON ROOF LEVEL
LOOKING DOWN ON B’JESUS NOW WITH HIS BACK TO US WALKING
AWAY ALONG THE ROOF. HE’S SINGING. HIS LONG COAT BLOWING
IN THE HIGH WINDS ON THE ROOF TOP.
Si
B’JESUS
Take a look at the lawman,
Beating up the wrong guy,
Oh man, I wonder if he'll ever
know? *
gn
CAPTION
* David Bowie, ‘Life on Mars’.
12 PAGE TWELVE - SEVEN PANELS 12
PANEL ONE: CLOSE ASPECT ALVAREZ’S FACE IN DEEP SHOCK AND

PANIC. MACRO OF MICHAEL’S EYE WITH THE OFFICE’S DEAD BODY
ifi
REFLECTED IN HIS CORNEA PERHAPS.
DESCRIPTOR
This couldn't be happening to him! *
c
PANEL TWO: WIDE ASPECT OF THE ALLEY WITH MURRAY’S OFFICER
HAT IN A POOL OF BLOOD IN THE HARD FOREGROUND WITH JC IN
THE DISTANCE AT THE OPENING OF THE ALLEY WITH AN (!)
EXCLAMATION ABOVE HIS HEAD.
an
TOP DESCRIPTOR
By the time JC had reached the
scene, Alvarez had long
disappeared.
BOTTOM DESCRIPTOR
tV
He had to run...
PANEL THREE: EVENING DUSK HAS DESCENDED SO STREET LIGHTS

ARE VISIBLY ON. ALVAREZ IN MEDIUM SHOT IN A POOL OF LIGHT
RUNNING THROUGH A SIDE STREET.
DESCRIPTOR
...he had to run home.
OI
PANEL FOUR (PANELS 4-6 INTEGRATED): WIDE ASPECT OF THE *

HOUSE FRONT AND STREET. AS PER THE OPENING PAGES AND
PANELS. ALVAREZ STANDS AT THE STEPS OF HIS HOME FRONT IN
SILHOUETTE. IT IS NIGHT NOW AND THERE IS A GLOW FROM THE
WINDOWS WHICH CAST HIM IN RELIEF. WE CAN MAKE OUT THE
D
SILHOUETTE OF HIS MOTHER AT A STOVE THROUGH ONE OF THE

WINDOWS. PERHAPS HIS FATHER IN ANOTHER WATCHING TV.
DESCRIPTOR
From that moment on, the
authorities declared a hunting
season for Michael Alvarez...
Si
PANEL FIVE: CLOSE ASPECT OF A REWARD POSTER ON A POLICE
STATION WALL WITH A PICTURE THAT IDENTIFIES MICHAEL
ALVAREZ. IT READS TOP DOWN:
WANTED FUGITIVE
gn
FOR THE SLAYING OF A
CHICAGO POLICE OFFICER
(IMAGE OF ALVAREZ)
MICHAEL “JUNIOR” ALVAREZ

ifi
APPROACH WITH CAUTION
$5,000
REWARD
c
DESCRIPTOR
...and a $5,000 reward.

an
PANEL SIX: MEDIUM ASPECT OF MICHAEL’S FATHER, SLIGHTLY
BALD HEADED, PAUNCH AND HISPANIC LOOKING IN HIS LATE 50S,
HAS JUST CLOSED THE BACK BONNET OF HIS CAR. THE SOUND FX
“CLUNK” COMES FROM THE LOCK OF THE BOOT. HE HAS HIS BACK
TO US AND IS LOOKING SLIGHTLY OVER HIS SHOULDER AS IF TO
ENSURE THAT NO ONE IS LOOKING.
tV
DESCRIPTOR
Fearing for his life, Michael’s
father decides to smuggle the
young man to Nuevo Leon, in
Mexico...
PANEL SEVEN: ALVEREZ IN THE DARK BOOT OF THE CAR WITH A

OI
SMALL TORCH LIGHTING HIS FACE. MAYBE HE RESTS HIS HEAD ON

A SPARE TYRE. HIS KNEES ARE DRAWN TO HIS CHEST TO SHOW
HOW CRAMPED THE SPACE IS.
DESCRIPTOR
...where he could be safe with
family members.
D
13 PAGE THIRTEEN - THREE PANELS 13
PANEL ONE (PANELS 1-3 INTEGRATED): THE FRONT YARD OF A

MEXICAN FARM IN THE SONORA DESERT.
TWO ELDERLY MEXICAN GRANDPARENTS STAND ON THE STOOP OF
THE FARMHOUSE IN SHOCK, THE GRANDMOTHER WITH HER HANDS TO
HER MOUTH. HARD FOREGROUND ARE TWO ROUGH LOOKING US
BOUNTY HUNTERS WITH HEAVY GUN BELTS AND AMMO, MAN-
HANDLING MICHAEL ALVAREZ AWAY. MICHAEL’S BODY IS LIMP AS
Si
IF HE IS BROKEN. HE HAS BEEN ROUGHED UP AND HIS HANDS ARE
TIED BEHIND HIS BACK. THE BOUNTY HUNTERS WEAR WRAP AROUND
SHADES AND LEATHER VESTS SHOWING ARM TATTOOS. THEY ARE
ANGLO-SAXON, NON MEXICANS.
TOP DESCRIPTOR
gn
The refuge lasted only eight
months. On April 19th, 1985
Michael Alvarez was illegally
arrested by rogue agents, bounty
hunters...
BOTTOM DESCRIPTOR
...and smuggled across the border.
ifi
Back into the USA.
PANEL TWO (PANELS 4-6 INTEGRATED): EXTERIOR OF A LARGE

COUNTY COURTHOUSE WITH LOOMING IONIC PILLARS AND THE US
FLAG FLYING PROUDLY FROM ITS ROOF.
c
TOP DESCRIPTOR
On December 3rd 1985 Michael
Alvarez stood trial for Murder at
an
Joliet's Will County Court.
PANEL THREE (PANEL 7-9 INTEGRATED): ON THE HARD LEFT OF

FRAME, A MEDIUM REVERSE ASPECT OF MICHAEL IN THE COURT
ROOM WITH HIS BACK TO US, DARKENED, HANDS TIED BEHIND HIS
BACK. IN THE REST OF THE PANEL SPACE A JURY OF EIGHT, ALL
DISTINCTLY CAUCASIAN. LOOKING MEAN AND SATISFIED AT THE
tV
VERDICT.
BOTTOM DESCRIPTOR
Only four days later, he was
sentenced by an all-white jury to
death...by lethal injection.
OI
14 PAGE FOURTEEN - SEVEN PANELS 14
PANEL ONE (PANELS 1-3 INTEGRATED): RIVER-SCAPE OF THE

THAMES WITH ICONIC BUILDINGS OF BIG BEN AND PARLIAMENT
AND OTHER FAMILIAR BUILDINGS IN THE BACKGROUND. A DISTANT
FIGURE IS DISCERNIBLE CENTRE PANEL, SITTING PRECARIOUSLY
ON THE EDGE OF AN EMBANKMENT WALL, FEET DANGLING INTO THE
D
RIVER SIDE. IT IS B’JESUS (WITH BLESS CIRCLING ABOVE HIS

HEAD) READING A NEWSPAPER.
TOP DESCRIPTOR
LONDON 1995.
PANEL TWO: MEDIUM CLOSE ASPECT OF THE NEWSPAPER (’THE *
GUARDIAN’) WITH B’JESUS’S TELL-TALE MOHICAN RISING ABOVE
THE TOP OF THE PAPER. A SMALL TEXT BLOCK IS LEGIBLE -
‘MIDNIGHT HOUR FOR COP KILLER’ AND A MUG SHOT OF MICHAEL
ALVAREZ. *
Si
B’JESUS
(Thought Bubble)
The article was a short, kind of
stubby text block, hidden amongst
the bloody cascade stories.
gn
PANEL THREE: MOVING CLOSER INTO THE FACE OF B’JESUS AS WE
HEAR HIS THOUGHTS.
B’JESUS
(Thought Bubble)
Bomb-vests. Human self-detonation.
Huh!
ifi
PANEL FOUR: EVEN CLOSER INTO THE FACE OF B’JESUS AS WE
HEAR HIS THOUGHTS.
B’JESUS
c
(Thought bubble)
Stories about fanatical old men
making decisions... *
an
PANEL FIVE: CLOSER ON B’JESUS AS HE SHOWS MORE ANGER IN
HIS EYES.
B’JESUS *
(1st Thought bubble)
...about wars that play with the
lives of CHILDREN...
tV
B’JESUS
(2nd Thought Bubble)
...who look you in the face as if
to say...
PANEL SIX: MEDIUM ASPECT OF 8 YEAR OLD BOY IN RAGS IN A

WAR ZONE (ALEPPO SYRIA) LOOKING STRAIGHT AT THE READER
OI
WITH OUTSTREACHED ARMS.
BOY
“ Why weren’t you there to help?
“... *
PANEL SEVEN: TOP DOWN ASPECT OF B’JESUS MEDIUM ASPECT

D
WITH THE RIVER FLOWING AT HIS FEET. PERHAPS AN ASPECT OF

‘BLESS’.
B’JESUS
I was little one - only it wasn’t
my time. Shit...
15 PAGE FIFTEEN - FIVE PANELS 15
PANEL ONE (PANELS 1-3 INTEGRATED): WITH EARTH IN THE
DISTANCE, WE ARE IN DEEP SPACE. THE TINY FIGURE OF
B’JESUS CATAPULTS HIMSELF AWAY FROM THE DIRECTION OF
Si
EARTH TOWARDS A DISTANT SHINING STAR. ‘BLESS’ SPEEDS
ALONG BESIDE HIM SHAPED LIKE AN ARROW LIKE BIRD AT VERY
HIGH SPEED.
TOP DESCRIPTOR
...Makes you want to jump planet.
gn
PANEL TWO: CLOSE ASPECT OF B’JESUS STILL SPEEDING THROUGH
DEEP SPACE LOOKING DIRECTLY AT THE READER.
B’JESUS
Am I Right?
PANEL THREE: A REDRAW OF THE SAME PANEL 4 PAGE 9 WITH

ifi
REVERSE OF B’JESUS LOOKING DOWN UPON THE SCENE OF ALVAREZ
AFTER HE HAS JUST SHOT OFFICER MURRAY 10 YEARS BEFORE.
TOP DESCRIPTOR
Ten years earlier...
c
PANEL FOUR: SAME PANEL 4 PAGE 9 SCENE BUT CLOSER ASPECT
OF B’JESUS MAYBE WITH ‘BLESS’ ON HIS SHOULDER.
an
TOP DESCRIPTOR
Fact is. I was there. Bless and I
both saw what happened...
PANEL FIVE (PANELS 7-9 INTEGRATED: WIDE ASPECT OF B’JESUS

WHERE WE LEFT HIM ON THE THAMES ON THE EDGE OF THE RIVER,
PERHAPS A REVERSE ASPECT. ‘BLESS HOVERS’ OVER. B’JESUS
tV
SITS HARD LEFT OF THE WIDE PANEL WITH THE RIVER SCAPE
RANGING INTO OPEN SPACE ON THE RIGHT FOR THREE THOUGHT
BUBBLES TO BE SPACED.
B’JESUS
(Thought bubble One)
Why hadn’t the authorities figured
this one out?
OI
B’JESUS
(Thought bubble Two)
Seventeen when convicted? Twenty
eight now? Waiting TEN years on
the ‘row’ to die?
D
B’JESUS
(Thought bubble Three)
Christ, me. What a mind-fuck.
16 PAGE SIXTEEN - FIVE PANELS 16
PANEL ONE (PANELS 1-3 INTEGRATED): WIDE HIGH ASPECT OF
B’JESUS STROLLING AWAY ALONG THE RIVER EMBANKMENT WITH
PURPOSE, THROWING THE NEWS PAPER INTO A PASSING BIN.
Si
TOP DESCRIPTOR
I suddenly had an idea...
PANEL TWO: MEDIUM ASPECT. BIZARRO INSIDE A CLASSIC

BRITISH PUBLIC PHONE BOOTH, RECEIVER TO HIS EAR. HE IS
gn
TALKING TO THE LEFT OF THE FRAME.
TOP DESCRIPTOR
I had one lead from the paper. The
name of MARLENE KAMISH, MICHAEL'S
Defense Attorney in Chicago.
PANEL THREE (PANELS 5+6 INTEGRATED): WIDE ASPECT OF THE

ifi
CHICAGO SKYLINE.
TOP DESCRIPTOR
DOWN TOWN CHICAGO 1995.
c
PANEL FOUR: DOWN AT STREET SIDE LEVEL AND ONE OF THE
CITY’S TALL EARLY 1900S WEATHERED OFFICE BUILDINGS. NOT
PLUSH. PRETTY RUN DOWN.
an
PANEL FIVE (PANELS 8+9 INTEGRATED): MEDIUM ASPECT.
MARLENE KAMISH SITTING AT HER DESK IN HER MESSY OFFICE
WITH PAPERWORK EVERYWHERE. LATE 50S, SHORT IN STATURE AND
WEARING PENNY LOAFERS. SHE HAS THE RECEIVER TO HER RIGHT
EAR AND SHE’S SPEAKING TO B’JESUS. IN THE BACKGROUND *
LOOKING INTO A FILING CABINET IS SUNSHINE RODRIGUEZ - HE
HAS HALF AN EAR TO THE CONVERSATION.
tV
TOP DESCRIPTOR
MARLENE and ‘SUNSHINE’ RODRIGUEZ,
Attorneys of Law.
MARLENE
I can't begin to pronounce your
name, honey. It sounds like you
OI
said “B - WHAT?”
17 PAGE SEVENTEEN - SEVEN PANELS 17
PANEL ONE: SAME AS PANEL 2 PAGE 16 ACCEPT ‘BLESS’ IS SEEN

LANDING ON THE ROOF OF THE BOOTH. B’JESUS IN THE PHONE
D
BOOTH IN CONVERSATION WITH MARLENE TALKING TO THE LEFT OF

FRAME. THE PHONE IS BEING HELD TO HIS LEFT EAR.
B’JESUS
B’JESUS!
PANEL TWO(PANELS 2+3 INTEGRATED): SAME PANEL AS PANEL 5
PAGE 15 - ONLY EXPRESSIONS ON THE FACES OF MARLENE AND
SUNSHINE ARE DIFFERENT. MARLENE IS STILL IN CONVERSATION
WITH B’JESUS AND SUNSHINE IS AT THE FILING CABINET BUT
HIS HEAD IS FULLY TURNED AND HE’S INTERJECTING WITH A
Si
QUIP AND A SMILE OVER HER SHOULDER. *
MARLENE
Well Mr. B’Jesus. I’m sorry . You
misunderstand. We're at the end of
the legal road with MICHAEL...
gn
SUNSHINE
In prison, we used to say: ‘it
ain't over 'til the fat lady pulls
the switch’.
PANEL THREE: CLOSER ASPECT OF MARLENE’S FACE IN

CONVERSATION WITH B’JESUS. SHE IS ORIENTED SLIGHTLY AS IF
ifi
SHE IS TALKING TO THE RIGHT OF FRAME.
MARLENE *
...Things are different over here
in the States.
c
PANEL FOUR: MEDIUM CLOSE ASPECT OF B’JESUS IN THE PHONE *
BOOTH WITH SPACE FOR TWO THOUGHT BUBBLES.
an
B’JESUS
(Thought bubble One)
I let her talk. Felt that Marlene
had heard all the best words
before. I caught that in the
weariness of her breath... *
tV
(Thought bubble Two)

The BJ way is to keep her talking.
Let her think it’s the end - while
I thought, not quite.
PANEL FIVE: MEDIUM CLOSE ASPECT OF MARLENE’S FACE IN

CONVERSATION LOOKING MORE SERIOUS.
OI
MARLENE
Look. Illinois is the Death State
of America. We're at the stage
where quite frankly, talking to
someone called B’JESUS over in
Great Britain is about as crazy as
D
it gets!
PANEL SIX: CLOSE ASPECT OF B’JESUS’S MOUTH IN

CONVERSATION.
B’JESUS
Marlene, listen to me. Let me run
the campaign from London. Let’s
renew the campaign at the eleventh
hour. While the bad boys blocking
Si
the front door, we’ll come through
the back.
PANEL SEVEN (PANELS 8+9 INTEGRATED): CLOSE ASPECT OF

MARLENE’S FACE IN HARD FOREGROUND WITH HER FACE HALF
ABSTRACTED BY THE LEFT OF THE PANEL FRAME. SUNSHINE IS
gn
STILL IN THE BACKGROUND AT THE FILING CABINET. SPEECH
BUBBLES FILL THE RIGHT OF THE FRAME.
MARLENE
(First voice bubble)
You'd get along with ALVAREZ. I
can tell.
ifi
(Second voice bubble)
In a sense, you believe in his
innocence, the way I did... *
(Third voice bubble)

c
...you know Mr. B’Jesus, I have
the honour to represent someone of
remarkable talent and bravery...
an
18 PAGE EIGHTEEN - FIVE PANELS 18
PANEL ONE (PANELS 1-3 INTEGRATED): HIGH ASPECT OF THE

ILLINOIS STATE PENITENTIARY HIGH SECURITY PRISON. THE
CORNER OF ANOTHER BUILDING ENTERS THE PANEL FRAME RIGHT
WHERE B’JESUS WILL SIT IN A LATER PANEL. IT’S EMPTY FOR
tV
THE TIME BEING. A PENITENTIARY COURTYARD IS VISIBLE WITH

INMATES MILLING AROUND ON THE GROUNDS. IN A CORNER THERE
IS A GROUP OF THREE FIGURES NOT CLEARLY DISCERNIBLE BUT
SPEECH BUBBLE EMANATE FROM THEM. ILLUSTRATOR NOTE: SEE
PANEL 4 PAGE 19 WHICH IS SIMILAR ASPECT.
INMATE ONE
This him? ALVAREZ?
OI
INMATE TWO
That’s him. The fresh meat.
INMATE ONE
Hubba Hubba! I'm planning a
special kind of hell for you boy!
D
PANEL TWO: ALVAREZ THROUGH THE BARS OF HIS CELL SITTING

ON HIS LOW METAL BED TO THE LEFT OF FRAME WITH A STRAIGHT
BACK AGAINST THE CELL WALL. NOTE: PANEL TWO, THREE AND
FOUR ARE SEPARATE BUT PART OF THE SAME ASPECT AND
SEQUENCE.
IN THE FIRST PANEL (TWO) HE IS 18, IN THE SECOND (PANEL
THREE) HE IS OLDER, 25. IN THE THIRD (PANE FOUR) HE IS
OLDER STILL, 30. HE IS VISIBLY AGING IN EACH AND LOOKING
MORE WORN DOWN, HIS BACK SLOWLY ARCHING WITH THE WEIGHT
OF TIME ON HIS SHOULDERS AWAY FROM THE PRISON WALL. IN
Si
PANEL TWO WE ARE AT A MEDIUM CLOSE ASPECT AND WE SLOWLY
CREEP IN CLOSER WITH EACH PANEL.
TOP DESCRIPTOR
...The fact that Officer MURRAY
had been drinking, that MICHAEL
gn
was abducted from Mexico - none of
these facts were strongly argued.
My boy didn't stand a chance.
PANEL THREE: WE CLOSE IN ON ALVAREZ HE IS 25 NOW.
TOP DESCRIPTOR
To SUNSHINE and I, it was a
ifi
obvious case of self-defense.
PANEL FOUR: CLOSE ASPECT OF ALVAREZ, HE IS 30 AND

UNRECOGNIZABLE.
c
TOP DESCRIPTOR
But it’s been TEN years now...
WE DON’T SEE THE GUARD BUT A VOICE BUBBLE ENTERS THE

an
PANEL FRAME FROM THE LEFT OF FRAME.
PRISON GUARD ONE - WES

Alvarez! To the gate!
PANEL FIVE: (PANELS 7-9 INTEGRATED): THIS PANEL IS AN

INTEGRATION OF TWO LOCATIONS. IN THE FOREGROUND ON THE
tV
HARD LEFT STANDS A PRISON GUARD WITH HIS BACK TO US AND

ABSTRACTED BY THE LEFT FRAME OF THE PANEL. THEN ALVAREZ
WHO IS NOW STANDING WITH SLOPED SHOULDERS FACING THE
READER BUT LOOKING AT THE GUARD. HE HAS A BEARD SHADOW
AND SUNKEN EYES. THE PRISON GATE HAS BEEN MOVED OPEN. THE
GATE OF THE CELL EXTENDS INTO THE NEXT SCENE TO THE RIGHT
OF THE FRAME WITH THE OFFICE OF MARLENE AND SUNSHINE
BEHIND THE BARS, ALMOST AS IF THEY ARE WITH HIM. FIRST *
OI
MARLENE AND THEN SUNSHINE NOW STANDING DIRECTLY BEHIND

HER AND ABSTRACTED BY THE RIGHT END OF THE FRAME IN A
SIMILAR WAY TO THE PRISON GUARD ON THE LEFT OF THE PANEL
FRAME.
MARLENE
(First speech bubble)
D
It's a very difficult case that

has been going on for far too long
now. *
MARLENE
(Second speech bubble)
And I confess. We're at our lowest
point. MICHAEL would send you his
love simply for calling and
Si
caring...
MARLENE
(Third speech bubble)
...He feels singularly blessed to
have anyone care about him and his
gn
circumstances.
19 PAGE NINETEEN - FOUR PANELS 19
PANEL ONE (PANELS 1-3 INTEGRATED): MARLENE AND B’JESUS IN

CONVERSATION. ANOTHER INTEGRATED FRAME OF TWO SEPARATE
SCENES. B’JESUS CLOSE ASPECT ON THE LEFT OF PANEL FRAME
ifi
IN HIS PHONE BOOTH PHONE TO LEFT EAR, MARLENE ON THE
RIGHT OF THE PANEL FRAME IN HER OFFICE WITH PHONE ON HER
RIGHT EAR. THEY’RE BOTH IN PROFILE FACING EACH OTHER. THE
SCENES GRADUATE BETWEEN EACH CONNECTED BY A MIDDLE
STRETCH OF ‘COSMOS’ WITH DISTANT STARS AND PLANETS.
c
LENDING THE SENSE OF A COSMIC CONNECTION BETWEEN THEM.
THEIR DIALOGUE CASCADES DOWN TOP TO BOTTOM OF THE PANEL
IN THE COSMIC STRETCH OF THE PANEL.
an
B’JESUS *
(Bubble One)
You said “talented?”
MARLENE (V.O.)
(Bubble Two)
Well yes. I think so. We can send
tV
you his some examples of his work

from the ‘row’. He sketches. *
B’JESUS
(Bubble Three)
You don’t need to. I’ve seen them.
MARLENE
OI
(Bubble Four)
I’m sorry???
B’JESUS
(Bubble Five)
Yeah! I have this omni-conscience
thing going for me, don’t worry
D
about it.
B’JESUS
(Bubble Six)
Say Marlene. Do they accept
postcards on death row? *
PANEL TWO: HIGH OVER HEAD ASPECT OF MARLENE AND SUNSHINE
WHO STILL STANDS OVER HER IN THEIR OFFICE.
MARLENE
Well, yes. I think so.
Si
Thank you. OK. Good-bye
SUNSHINE
What is it?
MARLENE
gn
I think he says, he wants to send
a postcard to Michael, on the row.
PANEL THREE: CLOSE ASPECT OF SUNSHINE TAPPING HIS

FOREHEAD WITH A LOOK OF ‘TOLD YOU SO’ ABOUT HIM.
SUNSHINE
Well that’s just plain ‘loco’.
ifi
I told you not to take the call.
Who does the guy think he is? Some
sort of Jesus Christ?
PANEL FOUR (PANELS 7-9 INTEGRATED): IT’S NIGHT AND IT’S

c
SHEETING DOWN WITH RAIN. HIGH ASPECT OF THE ILLINOIS
STATE PENITENTIARY HIGH SECURITY PRISON AS IN PANEL 4
PAGE 18. IT CAN BE THE SAME ILLUSTRATION. ONLY NOW
B’JESUS SQUATS ON THE CORNER OF THE BUILDING THAT ENTERS
an
THE PANEL FRAME RIGHT WITH AN UMBRELLA IN HAND SHIELDING
HIMSELF FROM THE ELEMENTS. HE’S COME TO VISIT ALVAREZ.
THE COURTYARD IS NOW EMPTY AND HARD SPORTS LIGHTS SPILL
ONTO THE OPEN SPACES AND OVERLAP EACHOTHER. THE
DESCRIPTOR CAN BE PLACED WHERE CONVENIENT AND AESTHETIC.
IT’S A FULL LONG STANZA. THE ONLY RULE IS THAT DESCRIPTOR
DOESN’T COVER B’JESUS. ILLUSTRATOR NOTE: SEE PANEL 4 PAGE
tV
18 WHICH IS SIMILAR ASPECT AND COULD EVEN BE THE SAME

BASIC ILLUSTRATION.
DESCRIPTOR
Up on the roof where the ill wind blows,
With his burnt black umbrella,
His soot stained clothes,
Tied to the storm with a rope of sin,
OI
He could cause a lot of trouble,

If you let him in,
He could sell you underground,
And steal you from your skin.
20 PAGE TWENTY - EIGHT PANELS 20

D
PANEL ONE: MEDIUM ASPECT OF ALVAREZ IN HIS CELL. SQUAT ON

HIS BED, EYES CLOSED, HIS BACK LEANING AGAINST THE NARROW
WALLS OF THE DEATH ROW CELL.
PANEL TWO: CLOSE ASPECT OF ALVAREZ’S FACE. HIS EYES ARE
NOW OPEN, STARTLED BECAUSE HE SENSES A PRESENCE.
PANEL THREE: FULL BODY ASPECT OF B’JESUS IN THE CELL WITH

BLESS ON HIS LEFT ARM (NOTE: HE LATER PUTS HIS RIGHT HAND
Si
ON ALVAREZ’S SHOULDER).
B’JESUS
What's happening, ese?
PANEL FOUR(4+5 INTEGRATED): MEDIUM WIDE ASPECT. ALVAREZ

gn
AND B’JESUS BOTH IN THE PANEL FRAME, ALVAREZ TO THE LFFT
SIDE STILL SITTING ON HIS CELL BED, B’JESUS TO THE RIGHT
FACING HIM STANDING SO THEY BALANCE THE PANEL FRAME. A
TOILET ON THE GROUND IN THE MIDDLE. NO CELL WINDOWS. JUST
WHITEWASHED BRICK WALLS. DIALOGUE RANGES DOWN THE MIDDLE
OF THE PANEL. BLESS MIGHT BE SITTING ON THE TOILET RIM OR
STILL BE ON B’JESUS’S ARM.
ifi
ALVAREZ
Oh! It’s you again¡ Cabrón!
B’JESUS
¿Cabrón por qué? Come on, make my
c
day.
ALVAREZ
¡Vete al carajo! I shouldn’t have
an
let you in my head...
PANEL FIVE: CLOSE ASPECT OF ALVAREZ FACE LOOKING

DESPONDENT LIKE HE’S GIVEN UP THE FIGHT. WE DON’T SEE
B’JESUS BUT SEE HIS REPLY BUBBLE.
ALVAREZ
tV
...You know, they are going to

kill me soon. And I'm innocent!
B’JESUS
(Reply Bubble)
Yeah, well shit happens. You're
just a pobre diablo...
OI
PANEL SIX: CLOSE ASPECT OF B’JESUS LOOKING DOWN AT

ALVAREZ WITH A LOOK OF HEAVY IRONY ON HIS FACE. HE’S NOT
JOKING WHEN HE SAYS HE CAN TAKE THE COSMOS WITH HIM!
B’JESUS
Now if I gave up, I’d take the
whole cosmos down with me.
D
PANEL SEVEN: MEDIUM ASPECT WITH BOTH ALVAREZ AND B’JESUS,

ALVAREZ HOWEVER IS MORE REVEALED IN FRAME, B’JESUS IS
SLIGHTLY ABSTRACTED. B’JESUS HAS PLACED HIS RIGHT HAND ON
ALVAREZ’S SHOULDER IN CONSOLATION.
B’JESUS
Listen. You need to do something,
man. The heavens are emptying of
stars for you.
Si
ALVAREZ
!Chinga a tu madre!*
BOTTOM DESCRIPTOR
* No shit!
gn
PANEL EIGHT: CLOSE ASPECT OF ALVAREZ’S FACE FROM A HIGH
ANGLE LOOKING DOWN AS IF THE READER IS B’JESUS POV.
ALVAREZ IS ANGRY NOW. B’JESUS’S REPLY BUBBLE IS IN FRAME
WITHOUT US SEEING HIM.
ALVAREZ
Anyway! What are you talking
about? You can’t buy me time? My
ifi
time is over. MICHAEL ALVAREZ IS
DEAD!
B’JESUS
(Reply Bubble).
c
No, amigo. I can. But now it's
your turn to make a life from the
extra time I’m going to give
you...
an
21 PAGE TWENTY ONE - SEVEN PANELS 21
PANEL ONE (PANELS 1-3 INTEGRATED): WIDE GENERAL VIEW OF

LONDON. A DISTANT FIGURE DROPS FROM THE SKIES WITH BLESS
SPEEDING BEYOND. IT’S B’JESUS.
tV
TOP DESCRIPTOR
1995 BACK IN LONDON...
PANEL TWO: B’JESUS STRUTS ALONG CARNABY STREET TOWARDS US

AS IF HE IS TALKING TO US. BLESS CIRCLING IN THE SKY
ABOVE HIM. HE’S HEAD AND SHOULDER ABOVE THE CROWD BUT AS
IT’S CARNABY STREET LONDON IN THE 1990S, HE DOESN’T STAND
OI
OUT PARTICULARLY AS THERE ARE OTHER MEN AND WOMEN AROUND

HIM WITH MOHICANS AND PUNK OUTFITS. A LOT OF ‘ATTITUDE’
DRESSING.
TOP DESCRIPTOR
I’m in the uplift/down lift game.
But YOU know that already. Yeah. I
D
make people rise and fall.
BOTTOM DESCRIPTOR
And I needed to make this pobre
diablo rise. I needed to get that
guy to paint.
PANEL THREE: MEDIUM FULL BODY ASPECT OF B’JESUS STANDING
OUTSIDE A TOURIST SHOP WITH HIS BACK TO US. A CAROUSEL OF
POSTCARDS STANDS TO ONE SIDE OF HIM. PERHAPS HE IS
SLIGHTLY ABSTRACTED SO WE CAN SEE THE CAROUSEL AND THAT
HE’S OUTSIDE A TOURIST SHOP WITH TINY LONDON TOY BUSES
Si
AND ‘KEEP CALM AND CARRY ON’ T-SHIRTS.
PANEL FOUR: CLOSE ASPECT OF B’JESUS’S FACE AS HE QUIZES

OVER THE CARDS. LOW ANGLE LOOKING UP WITH HIS HEAD TILTED
TO ONE SIDE QUESTIONINGLY. PERHAPS BLESS DISTANT IN THE
SKY ABOVE HIM.
gn
B’JESUS
MMMMM...
PANEL FIVE: CLOSE ASPECT OF B’JESUS’S HAND AS HE SNATCHES

A POSTCARD FROM THE CAROUSEL RACK WHICH HAS THE TITLE “3-
D POSTCARDS”. VOICE BUBBLE ENTERS FRAME WITHOUT SEEING
HIM.
ifi
B’JESUS *
This will do... *
PANEL SIX: CLOSE ASPECT OF B’JESUS’S HAND AS HE SNATCHES

c
A PAIR OF CARDBOARD 3-D GLASSES FROM THE CAROUSEL RACK.
VOICE BUBBLE ENTERS FRAME WITHOUT SEEING HIM.
B’JESUS
an
...and I like these...
PANEL SEVEN: MEDIUM CLOSE ASPECT OF B’JESUS. HE HAS PUT

ON THE CRAZY 3-D GLASSES AND IS LOOKING STRAIGHT AT THE
READER WITH A WRY SMILE ON HIS FACE BECAUSE HE KNOW HE
LOOKS A LITTLE GOOFY.
tV
B’JESUS
Life? Well, it’s all just a matter
of perspective. *
22 PAGE TWENTY TWO - SEVEN PANELS 22
PANEL ONE (PANELS 1-3 INTEGRATED): THIS IS ANOTHER PHASED

OI
PANEL CONNECTING TWO SEPARATE SCENES INTO A SINGLE PANEL.

ON THE LEFT SIDE OF THE PANEL A TIGHT CLOSE UP OF THE
BACK OF THE POST CARD AND 3-D GLASSES THAT B’JESUS IS
ABOUT TO SEND ALVAREZ. WE ONLY SEE HALF OF THE POSTCARD
WITH THE ADDRESS AND PART OF THE GLASSES - WE’LL SEE THE
OTHER HALF OF THE CARD WITH THE MESSAGE IN A LATER PANEL.
THE ADDRESS IN HANDWRITTEN SCRAWL: ‘MICHAEL ALVAREZ,
D
DEATH ROW, ILLINOIS STATE PENITENTIARY, USA’. THIS

GRADUATES TO A MEDIUM WIDE ASPECT OF A CORRIDOR OF ROW OF
DEATH ROW CELLS WITH PRISON OFFICER HUBERT QUELLE WITH A
HANDFUL OF LETTERS WALKING TOWARDS THE READER BUT LOOKING
DOWN AT HIS LETTERS AND SORTING THROUGH THEM.
HUBERT QUELLE IS IN HIS MID 60S AND LOOKING FORWARD TO
RETIREMENT SHORTLY. SEE EDWARD JAMES OLMOS FOR VISUAL
REFERENCE.
TOP DESCRIPTOR
Si
I sent the postcard and 3-D
glasses to Death Row, Illinois
Penitentiary, USA. Not an address
you write to every day.
PANEL TWO: MEDIUM ASPECT OF HUBERT QUELLE FROM THE DEATH

gn
CELL LOOKING OUT SO HE’S ABSTRACTED BY PRISON BARS.
QUELLE
ALVAREZ, you've got mail. From
London!
PANEL THREE: MEDIUM CLOSE UP OF ALVAREZ, FROM INSIDE THE

CELL, AS HE LOOKS UP WITH INCREDULITY FROM HIS BUNK. HE
ifi
HARDLY GETS POST, LET ALONE POSTCARDS FROM LONDON.
ALVAREZ
What’s that QUELLE? London? Show
me!
c
PANEL FOUR: CLOSE ASPECT OF HUBERT QUELLE WEARING THE 3-D
GLASSES WITH A WRY SMILE.
an
QUELLE
Yeah! A postcard and it comes with
its own pair of 3-D glasses!
PANEL FIVE: MEDIUM CLOSE ASPECT FROM OUTSIDE THE CELL OF

ALVAREZ’S HANDS REACHING THROUGH THE BARS WITH BOTH HANDS
AND GRABBING THE POSTCARD AND THE GLASSES FROM QUELLE. WE
tV
DON’T SEE EITHER ALVAREZ OR QUELLE BUT BOTH DIALOGUE

BUBBLES COME FROM THEIR DIRECTION.
ALVAREZ
Hey!
QUELLE
SHIT! Never seen one of those
OI
before.
PANEL SIX: MEDIUM ASPECT OF ALVAREZ IN WONDER, SITTING ON

HIS BUNK, BACK AGAINST THE WALL, WEARING THE GLASSES AND
LOOKING UP, HOLDING THE CARD IN OUTSTRETCHED ARMS IN
FRONT OF HIM. A SMILE AND A LOOK OF WONDER ON HIS FACE.
D
TOP DESCRIPTOR
London. Could have been the planet
Zog for all ALVAREZ knew - but the
curious card was an interruption,
a distraction, a spark...
PANEL SEVEN: CLOSE ASPECT OF THE LOWER HALF OF ALVAREZ’S
FACE, THE BOTTOM OF THE 3-D GLASSES AND HIS SMIRKING
MOUTH, AS IF THE SPARK HAS IGNITED HOPE IN HIM, A KNOWING
ENIGMATIC SMILE.
Si
TOP DESCRIPTOR
...A spark that brings life to a
Frankenstein - or to a man killing
time on death row.
gn
23 PAGE TWENTY THREE - SEVEN PANELS 23
PANEL ONE: CLOSE ASPECT OF THE POSTCARD. THIS TIME WE SEE

THE LEFT SIDE AND WHAT B’JESUS HAS WRITTEN. IN LARGE
WORDS, HE HAS WRITTEN THE SINGLE WORD ‘PAINT!’ WITH A AN
UNDERLINE FLOURISH.
TOP DESCRIPTOR
ifi
On the back, I had written a
single word.
PANEL TWO: CLOSE UP OF THE TOP OF ALVAREZ’S FACE WITH THE

3-D GLASSES LOOKING LIKE A HIPPY ON A DRUG HIGH.
c
ALVAREZ
Yeah. Oh yeah!!! *
an
Aspect of the cell with QUELLE looking on.
PANEL THREE: THE DEATH ROW CORRIDOR LOOKING DOWN, WIDE

ASPECT AND OUTSIDE ALVAREZ’S CELL. QUELLE IS STILL
STANDING LOOKING INTO MICHAEL’S CELL FINISHING THE
CONVERSATION. WE CAN’T SEE ALVAREZ BUT HIS VOICE BUBBLE
COMES FROM HIS DIRECTION FROM INSIDE THE CELL.
tV
QUELLE
Are you all right ALVAREZ?
ALVAREZ
(Voice Bubble)
QUELLE. I need your help.
OI
PANEL FOUR (PANELS 4-6 INTEGRATED): WIDE ASPECT OF THE

INTERIOR OF THE CHIEF WARDEN’S OFFICE. THE WARDEN
BALANCED THE RIGHT OF THE PANEL FRAME SITTING BEHIND A
DESK, ALVAREZ STANDS AT A DISTANCE FROM THE DESK ON THE
LEFT OF THE PANEL FRAME WITH A PRISON OFFICER STANDING
IMMEDIATELY BEHIND HIM HOLDING HIS ARM. ALVAREZ IS ALSO
SHACKLED WITH HIS HANDS CUFFED BEHIND HIS BACK. THE
D
DIALOGUE BETWEEN THEM RANGES DOWN THE MIDDLE OF THE

EXTENDED PANEL.
WARDEN
You say you want some paints and
brushes?
ALVAREZ
Yeah.
WARDEN
Ever painted before?
Si
ALVAREZ
I’ve sketched.
WARDEN
Sketched? HMMM.
gn
WARDEN
OK. I'll give you this privilege.
Would be damn unchristian if I
didn't offer a condemned man his
last piss. *
PANEL FIVE: WIDE ASPECT CORRIDOR IN THE BUILDING. QUELLE

ifi
AND A SECOND PRISON OFFICER WALK TOWARD THE READER.
QUELLE HOLDS A LARGE WHITE EMPTY CANVAS, THE OTHER
OFFICER A BOX OF OILS AND A HANDFUL OF VARIOUS PAINT
BRUSHES. *
c
TOP DESCRIPTOR
Later...
PANEL SIX: MEDIUM ASPECT OF THE TWO GUARDS POV FROM

an
INSIDE THE CELL LOOKING OUT SO THE TWO GUARDS ARE
ABSTRACTED BY BARS AND ONLY HALF OF BOTH THEIR FIGURES.
QUELLE
All right, you know the drill.
Stand back. Turn your face against
the wall, back facing the cell
tV
door. *
PRISON GUARD ONE

Hey ALVAREZ! Rate yourself as some
kind of 'DiCaprio'?
PANEL SEVEN: CLOSE ASPECT OF QUELLE’S FACE LOOKING TO THE

SIDE AT HIS FELLOW PRISON OFFICER.
OI
TOP DESCRIPTOR
ALVAREZ'S fight for life had
begun...
QUELLE
'Da Vinci', you fuck-wit. Don’t
D
mind him ALVAREZ. Enjoy.

24 PAGE TWENTY FOUR - FIVE PANELS 24
PANEL ONE (PANELS 1-3 INTEGRATED): CARS ON THE MASSIVE
DAN RYAN EXPRESSWAY DRIVING AWAY FROM DOWNTOWN CHICAGO
WHICH RISES IN THE DISTANCE. ONE CAR IS PROUD AND
Si
ISOLATED.
TOP DESCRIPTOR
LATER ON THE DAN RYAN
EXPRESSWAY...
gn
PANEL TWO: CLOSE ASPECT OF MARLENE’S FACE OF
DETERMINATION AS SHE DRIVES THE CAR. *
MARLENE
I don't know what to expect. This
Mr. B’Jesus comes out of nowhere,
sends a whacky holiday postcard
and all of a sudden, MICHAEL'S
ifi
painting like a crazy, one-eared
Dutchman.
PANEL THREE (PANELS 5+6 INTEGRATED): FRONT MID ASPECT OF

MARLENE AND SUNSHINE IN THE FRONT OF THE CAR OVER THE
c
BONNET OF THE CAR. MARLENE IS DRIVING LOOKING CONCERNED
AND DETERMINED, SUNSHINE IS LOOKING RELAXED, SMOKING
PROFUSELY AND LOOKING OUT OF THE WINDOW.
an
SUNSHINE
...How many paintings has he
completed?
MARLENE
The Warden says two.
tV
SUNSHINE
They're either very, very bad or
very, very good. When did he
start?
MARLENE
Less than a week ago...
OI
PANEL FOUR: CLOSE ASPECT OF SUNSHINE NOW LOOKING FORWARD.

HE HOLDS THE FAG IN HIS HAND IN A SLIGHTLY GANGSTER LIKE
POSE ALTHOUGH HIS FACE HAS TURNED TO ONE OF CONCERN.
SUNSHINE
Shit, he’s panicking! OK. Here we
go again...
D
PANEL FIVE (PANELS 8+9 INTEGRATED): ASPECT FROM THE

INSIDE OF THE CAR LOOKING OUT AT THE STATE PENITENTIARY
SIGN IN FRONT OF THEM READING: ‘STATE OF ILLINOIS -
DEPARTMENT OF CORRECTIONS’ WITH A CORRECTIONAL BRANDING
ICON.
28 INT - PENITENTIARY INTERVIEW ROOM - DAY (1995) 28
ALVAREZ and MARLENE at a table in the interview room.
QUELLE and SUNSHINE in the background.
Si
MARLENE
Are you OK?
ALVAREZ
Yeah.
gn
MARLENE
Michael?
ALVAREZ
It’s OK. I feel OK. Better than
I've felt in a long time.
SUNSHINE
ifi
You look good man.
MARLENE
He’s not just saying it. You do
look better.
c
ALVAREZ
Yeah. I'm painting now.
an
MARLENE
So I've heard.
ALVAREZ
I want you to see them.
MARLENE
tV
I'll make a point to.
ALVAREZ
I want you to have them after...
MARLENE
Shhh. You're innocent. Remember
that.
OI
ALVAREZ
Yeah. I'm ready. Go ahead.
MARLENE
The prosecution are shaping up for
an execution again.
D
ALVAREZ
What are they saying?
MARLENE
You'll hear the same garbage as
before. You know the strap line:
'Cop-Killer'. I'm telling you this
so you can prepare.
Si
ALVAREZ
I know. I understand.
MARLENE
(to QUELLE)
gn
Can I see the paintings now?
IRONICAL LOOK FROM QUELLE.
29 INT - PENITENTIARY BOILER ROOM ENTRANCE - DAY (1995) 29
QUELLE, MARLENE & SUNSHINE outside a boiler room

ifi
entrance.
QUELLE
They're in there. What can I say,
we're fresh out of Exhibition
c
space.
(Second bubble)
You need to prepare yourself. The
paintings. They're special.
an
Miraculous.
30 INT - PENITENTIARY BOILER ROOM - DAY (1995) 30
MARLENE and SUNSHINE stand in front of the two paintings.

tV
MARLENE
Sunshine.
SUNSHINE
Yes?
MARLENE
Get these paintings out of here.
OI
Get them out somehow. Anyhow.
SUNSHINE
Fuck! They’re good!
31 EXT - PENITENTIARY CAR PARK - DAY (1995) 31

D
Sunshine crudely slots the last painting into the back of

the car.
32 INT - HIGHWAY MARLENE'S CAR - DAY (1995) 32
Marlene and Sunshine stare ahead impassively.
Si
33 EXT - CHICAGO INTERSTATE - DAY (1995) 33
HIGH SHOT of freeway as Marlene’s car can be seen.
DESCRIPTOR
All life is to do with tension and
gn
paradox. This gives value to
things...
34 EXT - BJ’S LAIR - DAY 34
B’JESUS’s lair in a high rise London mansion block.

ifi
DESCRIPTOR
...Tension is very important in
stories and in all art there has
to be harmony.
c
A taxi pulls up.

an
SUNSHINE gets out with two covered paintings.
DESCRIPTOR
tV
As I planned all along, the two

magic paintings came into my care.
37 EXT - MANSION BLOCK - DAY (1995) 37
LONDON. Sunshine steps out of a black London cab and

walks into Esterhazy’s mansion block carrying canvases
OI
under his arm.
38 INT - BJ’S LAIR - DAY (1995) 38
B’JESUS stands in front of the two canvases, SUNSHINE at

his side.
D
39 INT - BJ’S LAIR - DAY (1995) 39
Esterhazy speculating upon an off screen object. CAMERA
slowly TRACKS to introduce Sunshine. The two Alvarez
paintings are resting on a sofa but remain unrevealed.
Si
SUNSHINE
What do you think?
B’JESUS
Not surprised. Saw him work on
gn
these.
SUNSHINE
What? Really?
B’JESUS
Yea. I have this omni-conscience
thing, ah - never mind.
ifi
SUNSHINE
What are you? Some kind of wizard?
B’JESUS
c
Anyone with half an eye open could
tell he's got something.
SUNSHINE
an
Yeah. Do you think they'll make
any difference?
ESTERHAZY
This one will. The sort of
painting that could win a man his
life back.
tV
SUNSHINE
I thought so too. So, what now
wizard?
ESTERHAZY
We’ve got a miracle to work. What
you say we go hunt us some art
OI
galleries?
40 EXT - LONDON STREET - DAY (1995) 40
SUNSHINE and B’JESUS wading along a London Street.

D
41 EXT - PICTURE GALLERY - DAY (1995) 41
WIDE ASPECT of a fancy London gallery.

42 INT - PICTURE GALLERY - DAY (1995) 42
SUNSHINE and BIZAROO JESUS have set up the paintings in
the marbled foyer of the TUC exhibition hall.
Si
43 INT - PICTURE GALLERY - DAY (1995) 43
An attractive Anglo-Spanish woman in her 30s, Pez carries

a piercing, intelligent demeanor.
gn
PEZ
Hi.
SUNSHINE
Hi.
PEZ
(looking at the
ifi
painting’s
signature)
MICHAEL ALVAREZ. I've not heard of
him.
c
SUNSHINE
No. No one has. We're here to make
him known or make his situation
known.
an
PEZ
Is he in some kind of - terminal
situation?
SUNSHINE
You're good! Yeah. Actually, he's
tV
on Death Row. In the States.
PEZ
The colors. Very Mexican.
SUNSHINE
He's Mexican-American.
OI
PEZ
You're doing the right thing.
Encouraging the art.
SUNSHINE
Well, this campaign, it’s kind of
our last hope.
D
PEZ
Campaign? He's still alive then?
SUNSHINE
Yes. Ten years on the row.
PEZ
Do you need to move fast?
SUNSHINE
Like there's no tomorrow.
Si
Literally.
PEZ
Has a court ever seen any of his
paintings?
gn
SUNSHINE
No. No. This has all happened very
quickly over the last few weeks.
Thaks to that freak over there.
B’JESUS waves with a smile from the distance.
PEZ
ifi
You only need to look at the
paintings to see that they've got
the wrong guy.
SUNSHINE
c
He is innocent. Illegally
arrested, wrongfully convicted.
PEZ
an
So what happens now?
SUNSHINE
(candidly)
Get him a re-trial. He is the real
thing and he is innocent.
tV
PEZ
Do you know anything about press
events?
SUNSHINE
Nuh.
PEZ
OI
Well, I do. Be at this address

tomorrow morning at 9 a.m. Sharp.
Pez grabs gives him a card.
PEZ
Ciao!
D
SUNSHINE
Hey! But what’s your name?
PEZ
Call me Pez!
SUNSHINE
Yeah, like that’s your real name.
44 EXT - PRESS BUILDING - DAY (1995) 44

Si
Establishing shot of large press building like the BBC.
45 INT - PRESS BUILDING - DAY (1995) 45

gn
SUNSHINE and B’JESUS on the steps in front of the
building speaking to PEZ. SUNSHINE holds the paintings
under his arm.
PEZ
Have you two ever run a press
conference before? Never mind,
there's no time.
ifi
(Second bubble)
Cover the paintings. Keep them

c
covered until the end. Focus on
the facts. Express the innocence.
Got it?
an
CLOSE on SUNSHINE.
SUNSHINE
OK. I’m there.
tV
The room is packed with radio and TV journalists from all

the News Channels.
OI
SUNSHINE
I feel like I'm about to be
crowned.
B’JESUS
D
If you are, I want my colonies

back. OK. You’re on your own now.
SUNSHINE
Really.
B’JESUS
You got this!

Si
SUNSHINE set up the painting and takes the microphone. A
series of frames that form his big speech.
SUNSHINE
It was an extraordinary adversity
gn
that MICHAEL ALVAREZ has had to
endure. I wouldn't wish it on
anybody.
We should value MICHAEL’S

paintings for what they are. A
miracle.
ifi
We mustn't fall into the trap of
saying this man is special because
he's gifted.
MICHAEL ALVAREZ has been fearfully
close to execution and death for
c
many, many years.
We are completely convinced that

the prosecution is aware of his
an
innocence and have attempted to
execute him to cover up.
There is no arguing about the

facts. In a case like this, where
a Chicago Policeman has been
killed by a teenage 'Chicano' -
tV
you can expect an uphill struggle.
Next week in Chicago, MARLENE

KAMISH will argue that his actions
were made in self-defence.
And here today, in London, we

start the fight for Alvarez’s
OI
life, staring at the stone cold

faces of his executioners.
He uncovers the paintings.

D
Gasps and looks of disbelief from the audience. One says

“Oh my god!”. B’JESUS is sitting behind him and smiles to
himself.
SUNSHINE
Any questions?
Si
A battery of hands are raised by journalists.
52 EXT - POLICE CAR STREET CHICAGO - NIGHT (1995) 52
From the DARKNESS. A Chicago police car curb crawling

gn
with dimmed lights.
53 INT - POLICE CAR STREET CHICAGO - NIGHT (1995) 53
Two Officers inside with mischief on their minds.

ifi
A police car outside Marlene’s ground floor apartment

block.
c
55 INT - KAMISH APARTMENT - NIGHT (1995) 55
Marlene’s face, phone receiver in hand, lit by the

an
flicker-glow of a TV screen.
MARLENE
...I know. I know! I'm watching it
now. It's incredible. The news
just broke...
tV
Another aspect.
MARLENE
...go and celebrate. And send my
gratitude to Mr. B. Jesus and that
OI
woman who you’re pretending you

don’t have the hots for. OK. Good
night!

D
Marlene switches the TV off.
The phone rings.

MARLENE answers in the dark. VOICE of the Police Officer
is from the Police Car outside.
Si
MARLENE
Hello.
POLICE OFFICER 1
Hello.
gn
MARLENE
OK. Whom am I speaking to?
POLICE OFFICER 1 (V.O.)

It's me, an old friend. Don't hang
up. If you do, I'll send somebody
around.
ifi
MARLENE
What do you want?
POLICE OFFICER 1
I was just wondering if you were
c
still alive.
MARLENE
Don't worry about that.
an
POLICE OFFICER 1
Smart bitch aren't we?
MARLENE
In this town, you have to be.
tV

When the Spic's cooked, we'll come
to get you. We'll come play some
games with you.
MARLENE
You can threaten me as much as you
want - in the end you'll lose.
OI

Is that what you think? Hubba,
hubba, hubba. Jewish bitch.

D
The Police car circles and speeds off.

61 EXT - COURTHOUSE ENTRANCE - DAY (1995) 61
Two Police Officers guard the entrance of the courtroom.
News reader on the front steps.
Si
NEWSREADER
In a surprise judgment today, the
Illinois Supreme Court decided on
a six-to-one vote to grant the
Death Row artist MICHAEL ALVAREZ a
re-trial, faulting the original
gn
1984 trial judge's instructions to
the jury...
62 EXT - HOUSES OF PARLIAMENT - DAY 62

ifi
Exterior of the Houses of Parliament.
63 INT - PARLIAMENT VOTING CHAMBER - DAY (1995) 63

c
A standing MP giver a speech..
MEMBER OF PARLIAMENT
America is clearly at war with
an
itself - and not only on the
subject of MICHAEL ALVAREZ.
Liberty as we all know cannot
flourish in a country that is
permanently on a war footing with
its own people.
tV
64 INT - PARLIAMENT VOTING CHAMBER - DAY (1995) 64
Another aspect.
MEMBER OF PARLIAMENT
It’s why we, on this side of the
House stand in solidarity with
OI
MICHAEL ALVAREZ today....
65 INT - PENITENTIARY CORRIDORS - DAY (1995) 65
Prison office corridor with bubble coming out of room.

D
WARDEN (O.O.V)
...I don't give a flying fuck what
anyone says!
66 INT - PENITENTIARY OFFICE - DAY (1995) 66
The Chief Prison Warden berates Prison Officer Herbert
Quelle.
Si
WARDEN
What I'd like to know is how the
paintings just waltzed out of a
high security penitentiary
building and without so much as a
reach around?
gn
Another aspect,
Why are they touring around

England like a fucking tribute
ifi
band on a world tour! Huh?

c
Another aspect.
WARDEN
And how is it that I hear about it
an
on TV through a bunch of pansy-
faced British politicians with
dicks for tongues!

tV
Another aspect.
WARDEN
Get the paints out of his cell.
Don't leave him a pot to piss in.
70 INT - PENITENTIARY WALKWAYS - DAY (1995) 70

OI
Death cells with an inmates shouting.
INMATE THREE SUB TEXT

¡No le saques, pinche Don't mess with me, pig!
tira!...
D
71 INT - PENITENTIARY WALKWAYS - DAY (1995) 71
Hench PRISON GUARD, WES walking past.

PRISON GUARD ONE
Shove it up your ass, RODRIGUEZ.
72 INT - PENITENTIARY ALVAREZ'S CELL - DAY (1995) 72

Si
Alvarez painting.

gn
WES arrives.
PRISON GUARD ONE - WES

You wet pussy ALVAREZ.

ifi
He dispense gratuitous blows to the body and smashes
through the canvas.

c
ALVAREZ broken on the floor.
PRISON GUARD ONE

an
Cute. I don't know whether to
fight him or to fuck him.
76 EXT - CHICAGO INTERNATIONAL AIRPORT - DAY (1995) 76
Planes glide down.

tV
77 INT - ARRIVALS - DAY (1995) 77
Sunshine and Pez pass through arrivals.

OI
They meet with MARLENE.
Leaving the airport.

D
MARLENE
Where’s B’Jesus?
SUNSHINE
He didn’t come, said he’d be
along.
MARLENE
Si
Mysterious man that one.
SUNSHINE
Yea! Weired Hombre. But I gotta
lot of respect for him.
gn
Look PEZ. I don’t know your real
name, but thank you, you’re an
angel. No time for sentimentality.
There's no time to lose.
SUNSHINE
ifi
What’s going on?
MARLENE
The prosecution have put together
a new team.
c
SUNSHINE
Have they picked the prosecutor?
an
MARLENE
Yeah. It’s ‘Cowboy Bob’.
PEZ
Only in America. ‘Cowboy Bob?’.
Really?
tV
MARLENE
Actually, ‘Cowboy Bob’ is a
‘she’. Bobby Kildunne.
It’s a trademark name because the

woman has a certain kind of
‘frontier’ dress sense.
OI
Perhaps counter image in the same frame of COWBOY BOB.
Her nick name is the ‘Queen of

Death’. She’s prosecuted a hundred
capital sentences, put 53 men on
the row.
D
I should know. I defended many of

them.
PEZ
How many ‘went down’?
SUNSHINE
Thirty. She believes that it’s her
patriotic duty to pursue the death
sentence.
Si
MARLENE
We need a big-hitter.
PEZ
Do you have anyone in mind?
gn
A look from MARLENE.
SUNSHINE
Vega! Dammit! You’ve got VEGA!
MARLENE
We’re not there yet. We want him.
We ain’t got him.
ifi
PEZ
Who's VEGA?
MARLENE
c
An old friend, he's lecturing at
the University, heads the legal
faculty. He’s the top enchilada.
an
80 EXT - AIRPORT ROAD - DAY (1995) 80
Marlene’s jalopy again on the highway.
DESCRIPTOR
PEZ, KAMISH and SUNSHINE RODRIGUEZ
tV
were three points of a compass

coming together. I just needed one
more compass point and the magic
could begin...
81 EXT - UNIVERSITY OF CHICAGO - DAY (1995) 81

OI
University campus. Sign 'UNIVERSITY OF CHICAGO' and

outlying buildings.
82 EXT - UNIVERSITY OF CHICAGO - DAY (1995) 82
The group of three work the counter flow as students

D
during swop-out.
83 INT - UNIVERSITY OF CHICAGO ENTRANCE - DAY (OMIT) 83
A corridor of Lecture rooms with MARLENE, PEZ and
SUNSHINE.
Si
84 INT - LECTURE HALL - DAY (1995) 84
John Vega lecturing to a rapt student audience. The hall

is packed.
gn
85 INT - LECTURE HALL - DAY (1995) 85
The group stand at the back of the hall.
86 INT - LECTURE FLOOR - DAY (1995) 86

ifi
John Vega. 50s, tall, Latino.
VEGA
...And Americans justify the death
penalty because they assume
c
they’re executing the right guy.
The fact is that for every seven

executions, one of those prisoners
an
will have been retrospectively
proven innocent.
One in seven!
VEGA
tV
There's the case of ROLANDO

CRUZ...
IMAGE of Ronaldo Cruz flashes on to the projected screen.
VEGA
...who the State freed after
twelve years on Death Row for the
OI
1983 murder and rape of ten-year-

old MARIA SANCHEZ.
SHOCKING IMAGE of a battered young body flashes.
VEGA
The State charged CRUZ with the
D
murder although police had in

their custody a repeat sex
offender BRIAN DUGGAN.
IMAGE of RFLP Analysis graph.

VEGA
We made the connection easily with
a DNA test.
How does this happen?

Si
At CRUZ's first trial a forensic
expert, claimed that she could
tell a person's ethnicity from the
imprint of a shoe.
gn
Like only Latinos wear Nike Cortez
sneakers!
Laughter from the students.
VEGA
But you're laughing, when you
should be crying.
ifi
An immediate investigation
followed after the DNA lead and
led to criminal charges and of
course the identification of the
c
actual killer BRIAN DUGGAN, who
finally confessed to the crime.
So that's it. Your Eldrich Cleaver

an
essays, on my desk, Monday. Mon-
day. Gettit?
Students exit. The Group appear.
VEGA
MARLENE? Is that you? No. No.
tV
Don't come near me.
The Group appear.
MARLENE
This man broke my heart in Law
School. You're all witnesses, he
owes me.
OI
VEGA
Is this about ALVAREZ?
MARLENE
You know he's innocent JOHN.
D
VEGA
No. I don't know that.
MARLENE
Give me a chance, we only have a
week. It's the case you've always
been waiting for.
Si
SUNSHINE
Especialmente para la vida de los
Mexicano-Americanos.
VEGA
Yo no tomo partido, amigo. No
gn
creas que ya me conoces!
MARLENE
SUNSHINE means well, John.
VEGA
Did he really produce those two
paintings?
ifi
PEZ
They're miraculous.
VEGA
c
Hm. I hear they are. El naranja es
el color de la muerte.
Vega climbs the stairs, toward the exit.

an
PEZ
Why’s he going? What did he say?
SUNSHINE
I’m not sure. I think he said
something about “Orange”? For
tV
Mexicans - well, it’s the color of

death.
MARLENE
It’s OK SUNSHINE. I know VEGA.
We’re good.
OI
87 EXT - CHICAGO SUBURBS - NIGHT (1996) 87
DESCRIPTOR
Chicago suburbs...
A suburban Chicago street and house.

D
88 INT - DINING ROOM - EVENING (1996) 88
Quelle at the dining table with his wife Barbara.

BARBERA
Don't tell me you're bored with me
after 35 years Herbert Quelle.
QUELLE
Si
Sorry Barbera. Got things on my
mind.
BARBERA
Have we decided yet?
gn
QUELLE
Note sure. Jim bawled me out again
for letting the paintings.
Everyone's getting jittery over
the re-trial tomorrow.
BARBERA
Those paintings didn't just walk
ifi
out the front door. You gave them
a push. I know you.
QUELLE
Barbera. I want to go all the way
c
on this one but I can't do it
without you.
BARBERA
an
“All the way”, Herbert. That's
what you said to me when we first
met.
QUELLE
It might mean testifying in court.
tV
BARBERA
Jenny's baby is due in four
months, we could buy that
Winnebago we’ve always promised
ourselves and just drive until we
both drop.
QUELLE
OI
Barbara, there's going to be one

helluva freak show outside the
courthouse. It'll be hard.
BARBERA
I know.
D
89 EXT - CHICAGO SKYLINE - NEXT DAY (1996) 89
Downtown Chicago. It’s raining again.

90 EXT - CHICAGO STREETS - DAY (1996) 90
Armored vehicle and police convoys. Alvarez’s escort to
the courthouse.
Si
91 INT - POLICE VAN - DAY (1996) 91
Alvarez cuffed and book-ended by two Police Officers. One

is Wes who has the look of a sadist.
gn
92 EXT - COURTHOUSE ENTRANCE - DAY (1996) 92
Out on the front steps. A press carnival with satellite

trucks and live on-air reporting. Up on the roof we can
make out the figure of B’JESUS.
CLOSE aspects to draw his character with each two lines.

ifi
DESCRIPTOR
Tight black lips, on his tongue a
tinker’s curse.
c
B’JESUS
B’Jesus.
DESCRIPTOR
an
Little black book full of victims
for the hearse.
B’JESUS writes the name ‘COWBOY BOB.
B’JESUS
Tight black hat to keep away the
tV
flies.
Round black bone-rimmed spectacles
to hide his beady eyes.
Tight black gloves keeps his flesh

upon his hands.
Long black socks kept in place
OI
with rubber bands.
Tight black tape where his skin

has mortified.
Raven colored overcoat to keep the
stench inside.
D
93 EXT - COURTHOUSE ROOF - DAY (1996) 93
CLOSE ON B’JESUS.
B’JESUS
Ah! Here’s my boy!
94 INT - SPRINGFIELD COURT ROOM - DAY (1996) 94

Si
Marlene and Vega are in counsel with Alvarez.
JUDGE
Is counsel ready. Ms. Kildunne?
gn
COWBOY BOB
Yes your honour.
JUDGE
You may begin.
COWBOY BOB
ifi
Your Honour, counsel, members of
the jury. You are going to hear
testimony and evidence in this
case that will prove that on the
c
24th April 1984, Mr. Michael
Alvarez shot and murdered Police
Officer Ray Murray.
an
The evidence is going to show that
the defendant, in his guilt, left
the scene of the crime and
supported by family members,
escaped from the United States and
crossed the border into Mexico,
where he remained for seven
tV
months, again shielded by other

family members.
We will be asking the jury in the

final analysis of the those facts,
for the original verdict of murder
in the first degree to be
sustained and binding.
OI
JUDGE
Counsellor, have you a prepared an
statement?
VEGA
Yes, your honour.
D
JUDGE
You may begin.
VEGA
No. No legal case is ever that
simple and the complexity of this
case, is why we’re now sitting in
Court.
Si
And anyway, when has life ever
been simple? When the evidence is
subjected to the proper scrutiny -
you will notice that the
contradictions surrounding this
gn
case, will pile up before your
eyes.
The tensions that exist between

the Hispanic community and the
Chicago police force, are well
documented. For many, many years
now, the case of MICHAEL ALVAREZ
ifi
has become labeled as ‘just one of
those typical Chicano youth
crimes’ a crime that got out of
hand.
c
Isn't that what everybody's
thinking? Well, like I said. The
case is not that simple. Life is
not that simple.
an
Yes you’re right. Something is
very wrong here and I can assure
you, we will get to the bottom of
this. Together.
MIX TO:
tV
95 INT - SPRINGFIELD COURT ROOM - LATER (1996) 95
DESCRIPTORS
Later...
COWBOY BOB
OI
...In that very moment, MICHAEL

ALVAREZ announced his deadly
verdict - with a bullet! He now
becomes a cherished member of the
gang. Rises straight to the top. A
“Cop Killer”!
D
VEGA
Objection your honour. Defence is
stating opinion not fact. I object
to the characterisation of my
client as a “Cop-Killer”.
JUDGE
I’m going to sustain your
objection. The Counsellor’s words
will be stricken from the record.
Si
DESCRIPTOR
Later...
COWBOY BOB
...Well really, if MICHAEL ALVAREZ
had been beaten so badly and was
gn
fearful of approaching any Joliet
authorities, he could have walked
into any police department outside
the county and requested a mug
shot to prove the beating.
After the all, I think there were

23 County Sheriff offices at the
ifi
last count!!!
VEGA
Objection, your honour! The
counsellors last statement is
c
entirely argument. Is the
prosecution so naive to think that
all authoritarian establishments
represent de facto “safe houses”.
an
JUDGE
Your reasoning Mr. Vega?
VEGA
May I remind the prosecution that
my client had just been beaten up
tV
by a police officer with a record

of violence! And he's going to
walk into a building with over
1000 police officers under just
one roof? I don’t think so!
JUDGE
Thank you Mr. VEGA. Objection
OI
sustained. Continue Ms. Kildunne.
COWBOY BOB
Your honour. My point, if the
defence will allow me, is this: if
MICHAEL ALVAREZ really was the
victim here, why on God's green
D
earth did he flee? Why did he

flee? In my experience, only the
guilty have something to hide.
Only cold-blooded killers run
away.
VEGA
Objection! Your Honour!
JUDGE
Ms. Kildunne, any point pressed
Si
this far becomes tedious. To your
point Mr. VEGA, to your reply
please.
VEGA
The pathologist's report clearly
gn
indicates that the defendant’s
actions were an act of self-
defense. The gun was not wholly in
MICHAEL’S hands. There was a
struggle...
ifi
96 INT - SPRINGFIELD COURT ROOM - LATER (1996) 96
DESCRIPTOR
That afternoon...
c
VEGA
I would like to call to the stand
MICHAEL ALVAREZ.
an
JUDGE
Please approach the stand MR.
ALVAREZ.
COURT STEWARD
Do you swear to tell the truth,
the whole truth and nothing but
tV
the truth, so help you god?
ALVAREZ
I do.
VEGA
With regard to your actions, the
ones which 'resulted' in the death
OI
of a Police Officer MURRAY. Do you

think they were wrong?
ALVAREZ
Yes, sir. I know they're wrong.
VEGA
D
What were your feelings at the

time?
ALVAREZ
It was the worst day of my life. I
know how all this looks, but I
didn't do it. I just panicked. I
was young and got frightened. I'm
Si
different now.
VEGA
OK. OK. So what you're saying to
me is that you're different.
Reformed. No longer a 'gang-man'.
gn
ALVAREZ
I was never really in the gang.
Sure I lived in a rough part of
town. I always kept to myself. You
know, in my neighborhood you had
to compromise all the time.
ifi
VEGA
That’s right. You didn’t have a
police record. Thank-you.
COWBOY BOB
c
Objection your honour. The
counsellor’s entire statement is
argument.
an
JUDGE
Sustained. Explain Ms. Kildunne.
COWBOY BOB
OK. Let’s not hide the fact that
there is a dead man in the middle
of all this fine rhetoric from the
tV
Defence. Clearly, the overriding

point is that officer RAY MURRAY
was killed in the line of duty and
there is no question about who was
responsible for that killing.
JUDGE
To the bench. Both of you please.
OI
Cowboy Bob and Vega approach.
JUDGE
Left of field Ms. Kildunne. I will
not tolerate distraction.
D
COWBOY BOB
Sorry. Yes your honour.
VEGA
Your honour, I’ll take that five
minute recess please as my witness
is not in the courtroom just now.
Si
COWBOY BOB
Your Honour I object, the Defense
is introducing a surprise witness!
JUDGE
Who is this witness?
gn
VEGA
Prison officer Hubert Quelle. From
the Illinois State Penitentiary. A
death row guard.
JUDGE
I will allow this witness. Ms.
ifi
KILDUNNE. You opened up the issue
of the defendant’s character. Call
your character witness Mr. VEGA.
c
97 INT - SPRINGFIELD COURT ROOM (1996) 97
an
Quelle walks into the courtroom. He passes police
officers who throw evil looks.
JUDGE
Please take your place on the
stand MR. QUELLE.
tV
VEGA
Sitting before in this court, is a
man, a special man who knows
MICHAEL ALVAREZ better than
anyone.
Someone who has observed my client

day in and day out over the last
OI
ten years from the very first day

back in 1984.
I want to thank MR.QUELLE for

taking the stand.
COWBOY BOB
D
No. No. No. Objection!
JUDGE
Over-ruled. You've had your fun Ms
Kildunne.
VEGA
In your own time MR.QUELLE, tell
me about your role as a prison
officer at the Illinois State
penitentiary.
Si
QUELLE
My role, how I justify my life to
myself, is to observe and learn
from men like MICHAEL ALVAREZ...
gn
VEGA
You must have seen a lot Mr.
Quelle.
QUELLE
Yes. Yes I have. Actually, you can
measure my age in mens' lives.
About 65 executions all told.
ifi
They see me as their only friend
on the road to oblivion.
VEGA
c
You talk like a father. Like a
confessor.
QUELLE
an
I certainly hear things that no
man should ever have to bear
witness to. But I keep their
secrets safe to myself, so that at
least a man’s last moments can be
filled with understanding.
tV
VEGA
You say 'observe'. Not 'judge'?
QUELLE
No sir, never judge.
VEGA
Interesting. Please proceed.
OI
QUELLE
My first thought, when I first saw
MICHAEL ALVAREZ was 'why him?'
This happens to some officers when
they can't figure why some men are
on the row.
D
Yeah. Some value ought to be given

to men like us who live with the
damned, day after day.
(MORE)
QUELLE (CONT'D)
You can be sure that we're
executing innocents, but by the
time the men come to us, they are
already condemned.
Si
VEGA
What were your personal
observations then of my client
after 10 years?
QUELLE
gn
I've never witnessed anything like
it in the 35 years I've been on
the row.
Such beautiful paintings passed

out from that cell.
VEGA
ifi
They were therapy then, not very
good.
QUELLE
No! They are miraculous sir. No
c
one who sees them, walks away
unchanged.
VEGA
an
Your honour, we wish to present a
final exhibit.
COWBOY BOB
No, no, no! Objection! Your
honour, the witness is stating
opinion.
tV
VEGA
Your honour. The exhibit has a
direct bearing upon my summation.
JUDGE
I will allow just one painting,
Mr. VEGA. This is a court of law,
OI
not an art gallery.
Vega nods to the court warden. A painting is retireved

from an ante room. The canvas is brought in. Set up. The
Judge gives a nod. The cover is slowly drawn. It's a
moment. The jury gasp.
D
VEGA
Is this one of his?
QUELLE
Yes. It was his first one.
COWBOY BOB
Your honour! Please!
JUDGE
Move on Mr. VEGA.
Si
VEGA
Mr. Quelle. Why are the paintings
important? Why do you say
“miraculous?”
gn
QUELLE
Well, as he painted, I was asking
that self-same question nearly
every day. The boy was a drop-out.
Never painted before. Where did he
get all this from? The ability? To
do this?
(he pauses)
ifi
VEGA
Mr. Quelle? Are you OK?
QUELLE
c
I don't... I can't see another
innocent man killed again. That's
why I'm here. I want to be
counted, I want to raise my hand
an
up for this man. In my opinion,
after all these years on 'the
row', I do want to make a
judgement. For the only time in my
life.
I want to say this: MICHAEL

tV
ALVAREZ, is not the man that the

State says he is. I know killers.
I live with them every day. I've
lead them to their deaths. I hear
their confessions.
MICHAEL ALVAREZ is not a killer!

OI
98 EXT - CHICAGO SKYLINE - EVENING (1996) 98
JOURNALIST speaks in front of the COURTROOM
JOURNALIST 1
...Late in afternoon of November
D
20th, 1996, thirty-year-old

MICHAEL ALVAREZ sat at a table
with his lawyers in Room 404 of
the Springfield courthouse,
Illinois.
ASPECT OF THE JURY.
The jury had just left to

deliberate. MICHAEL could only
wonder.
Si
Only eight hours later, on the
evening of the following day, the
answer came as friends, family and
supporters all hugged and shed
tears of joy. After ten years on
gn
death row, MICHAEL ALVAREZ was
finally FREE!
99 EXT - COURTHOUSE ENTRANCE - NEXT DAY - MORNING (1996) 99
At street level, it's carnival time. The steps of the *

Springfield courthouse are awash with local community
ifi
supporters. Alvarez at the top of the courthouse steps.
He is flanked by Marlene and Vega, Sunshine and Pez.
ALVAREZ
That man B’JESUS, the one who sent
c
the postcard, I owe it all to him,
- he should be here.
an
100 EXT - COURTHOUSE ENTRANCE - NEXT DAY - MORNING 100
B’JESUS on the roof standing proudly looking down.
B’JESUS
I am compadre...I am.
tV
101 EXT - THAMES EMBANKMENT (1996) 101
BIZARRO is sitting precariously over the edge of the bank

on the river Thames, reading a newspaper. Like he was at
the very beginning of the novel.
OI
B’JESUS
If you could point to a single
reason behind why MICHAEL ALVAREZ
found himself on death row - you
would have to say this: we are a
marvellous species by and large...
D
A series of drawings to support the final statement.
B’JESUS
...But there are far too many of
us.
(MORE)
B’JESUS (CONT'D)
And because we are too many,
we encourage the worst aspects of
ourselves.
For that reason it seems, state

Si
executions, genocides, civil wars
are going to continue... *
...But B’Jesus am content because

I have discovered that the 'art of
life' is in all of us.
gn
Maybe, just at the point of our
own extinction this art is always
there, waiting to make us better
people, waiting to set us free.
It's an important feeling. It

saved MICHAEL ALVAREZ. One day, it
ifi
might save us all.
201 END. 201

c an
tV
OI
D

B'JESUS - Comic Novel Script

Uploaded by

Document Information

Original Title

Copyright

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

B'JESUS - Comic Novel Script

Uploaded by

Copyright:

Si

THIS SCRIPT IS FOR YOUR

DO NOT COPY OR ELECTRONICALLY DISTRIBUTE

THIS SCRIPT TO A 3RD PARTY

A WGA COPYRIGHT REGISTERED SCRIPT NO: 1563913

STORY WRITTEN IN A 9 PANEL 2 X 2 GRID WITH PANELS MERGED

SELECTED IMAGE OF B’JESUS TO BE AGREED TOWARDS THE END OF

THE ART OF LIVING

1 PAGE ONE - SPLASH PAGE 1

Up on the roof with the pigeon shit.

Crooked as the stone on a poor man’s grave,

2 PAGE TWO - THREE PANELS - THREE INTEGRATED STRIPS 2

PANEL ONE: (PANELS 1-3 INTEGRATED) A SHARK OF A CAR IN

DISTANCE. A SIGN ‘WELCOME TO JOLIET - PRISON CITY’ IS

PANEL TWO: (PANELS 4-6 INTEGRATED) MICHAEL ALVAREZ, 17

3 PAGE THREE - SEVEN PANELS 3

PANEL ONE: GROUND LEVEL. ALVAREZ STANDS BY THE CAR WITH

PANEL TWO: CLOSE ON THE DARKENED WINDOW OF THE HOUSE

BEHIND ALVAREZ. WE DON’T SEE A FIGURE. JUST THE DIALOGUE

PANEL THREE: CLOSE ON TRIKI ALTHOUGH HE IS DARKENED BY

PANEL FIVE: THE BEAD OF SWEAT FALLING INTO THE DARKNESS

ALVAREZ’S MOTHER DIALOGUE

4 PAGE FOUR - SEVEN PANELS 4

PANEL ONE: (PANELS 1-3 INTEGRATED) OUTSIDE A DOUGHNUT

JUAN CARLOS DIALOGUE

JUAN CARLOS DIALOGUE

PANEL TWO: CLOSE ON JUAN CARLOS LOOKING AWAY AND SAYING

JUAN CARLOS DIALOGUE

PANEL FIVE: THE FRONT EXTERIOR OF THE POLICE CAR WAITING

PANEL SIX: CLOSE ON QUDDUS IN FOREGROUND, FLACO IN THE

5 PAGE FIVE - FIVE PANELS 5

JUAN CARLOS DIALOGUE

PANEL TWO: CLOSE ON RAY WITH THE RADIO PIECE.

Suzy? Ray here. We have a possible

PANEL THREE: CLOSE ON RAY’S FACE WITH CROOKED, EVIL GRIN.

PANEL FOUR: RED LIGHT ON THE ROOF OF THE POLICE CAR

PANEL FIVE:(PANELS 7-9 INTEGRATED) WIDE FRONT ASPECT OF

Flaco, ¿qué están haciendo? Flaco!*

6 PAGE SIX - SEVEN PANELS 6

PANEL FOUR: REAR ASPECT OF POLICE SIREN IN FOREGROUND

PANEL FIVE: CLOSE ASPECT OF ALVAREZ WITH WRY SMILE

PERHAPS SLIGHTLY ABSTRACTED.

PANEL SIX: CLOSE ASPECT OF TRIKI WITH PALPABLE RELIEF ON

and then we all run like shit in

7 PAGE SEVEN - SEVEN PANELS 7

PANEL ONE: CLOSE ASPECT TRIKI’S FOOT ON THE ACCELERATOR.

PANEL THREE: BACK OF THE GANG CAR. DIALOGUE COUNTDOWN

PANEL FIVE: CLOSE ASPECT OF ALVAREZ LOOKING FOR AN

PANEL SIX: ALVAREZ SPIES AND ALLEY IN THE DISTANCE.

PANEL SEVEN: ALLEY LOOKING UP WITH ALVAREZ RUNNING DOWN

8 PAGE EIGHT - SEVEN PANELS 8

PANEL ONE: ALVAREZ RUNS INTO THE FACE OF A LARGE BRICK

PANEL TWO: ALVAREZ POV LOOKING UP. A WALL TOO HIGH TO

PANEL THREE: CLOSE ASPECT ALVAREZ TURNS HIS HEAD.

PANEL FIVE: CLOSE ASPECT OF GUN HOLSTER AS RAY UN-

YOUNG ALVAREZ DIALOGUE

PANEL SEVEN: CLOSE ASPECT OF RAY WITH A PREDATORY GRIN.

PANEL EIGHT: (PANELS 8-9 INTEGRATED) CLOSE ASPECT OF A

PANEL TWO: GETTING HIGHER, STAYING ON THE SAME VERTICAL

PANEL THREE: ALMOST AT THE ROOFTOP, PERHAPS WE SEE THE

PANEL SIX: CLOSE ASPECT AS ALVAREZ’S HAND INSTINCTIVELY

PANEL TWO: (PANELS 4-6 INTEGRATED) THIS PANEL REPRESENTS

Sings the barrel of the gun.

PANEL THREE: CLOSE ASPECT OF B’JESUS IN CONTROL OF THE

PANEL FIVE: CLOSE ASPECT OF ALVAREZ IN TOTAL SHOCK AS THE

PANEL ONE: (PANELS 1-3 INTEGRATED) TOP DOWN HIGH WIDE